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JOSEPH BRUN, ASC, (2nd from right) and the crew he personally trained before starting to shoot "Martin Luther" in Germany for Louis de Rochemont. Brun used the new French-made Came-300Reflex camera (shown at right) to photograph the entire production. Also of interest are the unique incandescent booster lights grouped in tens behind wire mesh guards on tripod standards.
Joseph Brun planned a starkly realistic camera treatment for Louis de
Rochemortt's "Martin Luther," but equipment and an untrained crew.
were resolved
Assignment
By JOSEPH
This is it, the ‘Martin Luther’ story,” said Lothar Wolf, production manager for Louis de Rochemont, who had called me to his office to discuss the photography of de Rochemont’s latest film. “It is to be photographed in Germany,” Wolf continued, “in locales where the original action took place in the 16th century. You know de Rochemont’s ap¬ proach. He wants realism. It is to be photographed in your usual manner.”
Later in the day, while making an insert shot of a glamor¬ ized can of peas for a commercial, I fell to dreaming about this new feature assignment. The director squinted through the camera finder and exclaimed. “It’s like a painting!” But
failed to reckon with inadequate Here he tells how these problems on his recent
In Germany
BRUN, ASC
Lothar Wolf’s words still were ringing in my ears: “. . . to be photographed in your usual manner.”
Nor did I want to photograph “Martin Luther” in any ordinary manner. My style had been determined by the nature of the subject, and narrowed by operational difficulties. I thought of my other assignments before this: “Savage Splendor.” a feature-length picture in color shot entirely in Africa with a hand-held camera. I remembered begging for just one high-intensity arc when shooting “The Whistle At Eaton Falls,” and shooting “Walk East On Beacon” with only two 150-amp HI arcs and with so few additional lights that many another cameraman would have shuddered at the
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Am erican Cin ematographer
December, 1952