American cinematographer. (1953)

^Eurr ent Assignments of fl.51 Members Major film productions on which members of the American Society of Cinematographers were engaged as directors of pho¬ tography during the past month. AMERICAN SOCIETY OF CINEMATOGRAPHERS FOUNDED January 8, 1919, The Ameri¬ can Society of Cinematographers is com¬ posed of the leading directors of photog¬ raphy in the Hollywood motion picture studios. Its membership also includes non¬ resident cinematographers and cinematog¬ raphers in foreign lands. Membership is by invitation only. Arthur Edeson, President Fred W. Jackman, Exec. Vice-President Milton Krasner, First Vice-President Arthur Miller, Second Vice-President Hal Mohr, Third Vice-President William Skall, Treasurer John W. Boyle, Secretary Robert de Grasse, Sergeant-At-Arms John Arnold Charles G. Clarke Lee Garmes Alfred Gilks Victor Milner Ray Rennahan Joseph Ruttenberc Leon Shamroy Alternate Board Members Joseph Biroc William Daniels Paul Eacler Sol Halprin Winton Hoch Charles Lanc Joseph La Shelle Sol Polito John Seitz James Van Trees COLUMBIA • Henry" Freulich, “The Miami Story,” with Barry Sullivan. Fred F. Sears, director. • Charles Lawton, “The Wood Hawk,” (Technicolor) with Robert Francis, Donna Reed. Phil Karlson, director. METRO-GOLD WYN-MAYER • George Folsey, “A Bride for Seven Brothers,” (CinemaScope, Eastman Color) with Jane Powell, Howard Keel. Stanley Donen, director. PARAMOUNT • Loyal Griggs, “White Christmas,” (Tech¬ nicolor) with Bing Crosby. Michael Curtiz, director. • Charles Lang, “Sabrina Fair,” (Wide¬ screen) with Humphrey Bogart, Audrey Hep¬ burn. Billy Wilder, producer-director. o Ernst Laszlo, “About Mrs. Leslie,” (Hal Wallis Prod.) with Shirley Booth, Robert Ryan. Daniel Mann, director. • Lionel Lindon, “Legend of the Inca,” (Eastman Color, Wide-screen) with Charlton Heston, Robert Young. Jerry Hopper, director. • Daniel Fapp, “Living It Up,” (Techni¬ color, Wide-screen) with Dean Martin, Jerry Lewis. Norman Taurog, director. • Robert Burks, “Rear Window,” (Wide¬ screen, Technicolor) with James Stewart. Alfred Hitchcock, producer-director. • Lionel Lindon, “Conquest of Space,” (Color, Wide-screen) with Eric Fleming, William Redfield. Byron Haskin, director. • Thomas Tutwiler, “The Bridges of Toko Ri,” ( Perlberg-Seaton Prod.: color) with Wm. Holden and Robert Strauss. Mark Robson, director. REPUBLIC • Harry Stradling, “Johnny Guitar,” (Trucolor) with Joan Crawford, Sterling Hayden. Nick Ray, producer-director. • Jack Russell, “The Outcast,” with Dorothy McGuire, Stephen McNally. William J A. Seiter, director. R.K.O. • Harry Wild, “The Big Rainbow.” (Techni¬ color) with Jane Russell. John Sturges, director. 20th CENTURY-FOX • Lucien Ballard, “New" Faces,” (National Pictures Corp.; CinemaScope, Color Corp. of America) with Ronny Graham, Eartha Kitt. Harry Horner, director. • Lloyd Ahern, “Princess of the Nile,” (Panoramic Prods.; Technicolor) with Debra Paget, Jeffrey Hunter. Harmon Jones, I director. • John Seitz, “The Kid from Outer Space,” (Panoramic Prods.) with Charles Coburn, Spring Byington. Oscar Rudolph, director. UNIVERSAL-INTERNATIONAL • Maury Gertsman, “Tanganyika,” (Techni [ color, Wide-screen) with Van Heflin, Ruth Roman. Andre de Toth, director. • George Robinson, “Echo Canyon,” (Tech¬ nicolor, Wide-screen) with Joel McCrea, Mari Blanchard. Jesse Hibbs, director. • Cliff Stine, “Fireman Save My Child,” I (Wide-screen) with Hugh O'Brian, Buddy | Hackett. Leslie Goodwins, director. • Carl Guthrie, “Playgirl,” with Shelley Winters, Colleen Miller. Joseph Pevney, director. WARNER BROS. • Wilfred Cline, “Lucky Me,” (WarnerColor, CinemaScope) with Doris Day, Robert Cummings. Jack Donohue, director. • Archie Stout, “The High and the Mighty,” (Wayne-Fellows Prods.; WarnerColor, CinemaScope) with John Wayne, Claire Trevor. William A. Wellman, director. • Edward Du Par, “Ring of Fear,” (WayneFell ows Prods.; WarnerColor, CinemaScope) with Clyde Beatty, Micky Spillane. James Edward Grant, director. INDEPENDENT • Stanley Cortez. “Broncho Apache,” (Hecht-Lancaster Prods.; Technicolor, Wide¬ screen) with Burt Lancaster, Jean Peters. Robert Aldrich, director. • Franz Planer. “The Long Wait,” (Parklane Prods.; Wide-screen) with Anthony Quinn, Charles Coburn. Victor Saville, director. • Lester White, “Adios, My Texas,” (Edward Small Prods.; Wide-screen, Color) with George Montgomery. Ray Nazarro, director. • John Alton, “Witness to Murder,” (C. Erskine Pics.; Wide-screen) with Barbara Sanders, George Sanders. Roy Rowland, director. TELEVISION (The following directors of photography were active last month in photographing films for television, or were on contract to direct the photography of television films for the producers named.) o Joseph Biroc, “Readers Digest” series for Alpha Television, Inc. • Norbert Brodine, “Letters To Loretta” series for Lewislor Enterprises, Inc. • Edward Colman, “Dragnet,” Mark VII Prods. • Robert DeGrasse, “Make Room For Daddy,” D.P.I. and Marterto Prods., Inc.; • Georce Diskant, “Four Star Playhouse,"’ Four Star Prods. • Henry Freulich, “Ford Theatre” for Screen Gems. ® Karl Freund, “I Love Lucy” and “Our Miss Brooks,” for Desilu Prods. ® Fred Gately, “Big Town,” Gross-Krasne Productions. e Burnett Guffey, “Ford Theatre,” for Screen Gems. • Russell Harlan, “Playhouse of Stars” for Meridian Productions. ® Benjamine H. Kline, “Fireside Theatre,” Frank Wisbar Productions, o Jack Mackenzie, “The Hank McCune Show” for Video Pictures, Inc. • William Mellor, “Adventures of Ozzie and Harriett,” Stage 5 Productions. Ernest Miller, “Hopalong Cassidy,” Wil¬ liam Boyd Productions. © Virgil Miller, “You Bet Your Life,” (the Groucho Marx Show), Filmcraft Productions. ©■ Hal Mohr, “The Joan Davis Show,” Joan Davis Productions. • Nick Musuraca, “I Love Lucy,” for Desilu Productions. • Kenneth Peach, “Ramar of the Jungle,” Arrow Productions. • Robert Pittack, “Cavalcade of America,” Jack Chertok Productions. ® Mack Stencler, “Life With Elizabeth,” Snader Telescription Corporation. • Harold Stine, “Lassie” series for Robert Maxwell Associates. © Walter Strenge, “My Little Margie,” Roland Reed Productions, e Phillip Tannura, “The Burns and Allen Show,” McCadden Corporation. Stuart Thompson, “Your Jeweler’s Show¬ case,” Sovereign Productions. « Gilbert Warrenton, “Chevron Theatre,” Revue Productions. ELECTRONIC RECORDING (Continued from Page 617) all through the day and the night with little or no help in the projection room. The tape will rewind itself and through that process slice millions each year in projection booth salaries alone.” Perhaps he could have speculated further and envisioned the director of photography in the era of VTR motion picture recording, seated off the set in a glassed-in booth along with the director, and operating lights and camera by pushbutton, tilting and panning the camera, changing focus, yes — even controlling the camera crane and dolly. A monitor screen before him would showr exactly what the camera was picking up. 618 American Cinematographer December, 1953