American cinematographer (Jan-Dec 1956)

PHOTOGRAPHIC ASSIGNMENTS (Continued from Page 646) MILLER "3LJ .Adi 77 on TRIPOD HEAD PATENTED WORLD’S FINEST STOPS FRICTION HEAD “JITTERS” SAVES TIME. NO LOST FOOTAGE SMOOTHNESS ONLY V FOUND IN A MILLER You Can Feel The Difference! Full 360° horizontal movement No shake or jitters Right or left hand operation No backlash Breakaway at 18 R.P.M. pan Complete control for smoother pan¬ ning in both horizontal and vertical positions Varied use with Bell & Howell, Bolex, Cine-Special, Arri-flex, F&B Auricon, and telescopes. Adapter plates available for Pro-Jr., S.O.S. and similar tripods Whatever camera is used, you will get better results with a Miller. The MILLER “Fluid Action” head is designed for use with motion picture cameras, telescopes and similar mechanical, optical or electronic equipment where smooth panning and tilting movements are essential. This movement operates on a semihydraulic principle, which is patented throughout the world. It should not be confused with any friction-type movement. Sold only by dealers. See your nearest dealer. MILLER PRECISION EQUIPMENT, INC. 7305 Melrose Ave. Hollywood 46, California Cable Address: MILEQIP ANOTHER “VISCOSITY DRAG” PRODUCT BY MILLER LABCRAFT INTERNATIONAL CORPORATION 4019 PROSPECT AVE. CLEVELAND 3, OHIO PHONE: UTAH 1-4334 INDEPENDENTS • Bernard Dresner, ‘A Dog Called Mr. Bozzi,” (Chamartin Prods. Madrid; shooting in New York). Ladislao Vajda, director. JERRY FAIRBANKS • Jerry Fairbanks, "A. C. Spark I lug commercial.* Hal Yates, director. KEYWEST STUDIOS • Walter Strence, ASC, Series of religious pictures.* William Claxton, director. KLING STUDIOS • Brydon Baker, '‘Death Valley Days,”* (McGowan Prods.). Stuart McGowan, di¬ rector. KTTV • Stuart Thompson, ASC, Lassie, (Robert Maxwell Prods.) with Jan Clayton and George Cleveland. Les Selander, director. • Mack Stencler, ASC, “Captain David Grief,”* (Guild Films, Inc.), Stuart Hisler, director. • Kenneth Peach, ASC, “The Trial of Benjie Galt,” (Grand Prod, for UA release; widescreen) with Sterling Hayden and Darryl Hickman. Sidney Salkow, director. LINKLETTER PLAYHOUSE • Alan Stensvold, ASC, “People Are Funny,”* (Art Linkletter Prods.) with Art Linkletter. Irv Atkins, director. METRO-GOLD WYN-MAYER • Robert Surtees, ASC, “Raintree County,” (65mm and Color) with Montgomery Clift and Elizabeth Taylor. Edward Dmytryk, director. • Russell Harlan, ASC, “Something of Value,” (shooting in Africa), with Rock Hud¬ son and Dana Wynter. Richard Brooks, di¬ rector. • Joseph Ruttenberg, ASC, “Harvest Thun¬ der,” (CinemaScope & Color, shooting in France) with Mel Ferrer and Pier Angeli. Jeffrey Hayden, director. • Robert Bronner, “Ten Thousand Bed¬ rooms,” (CinemaScope and color — shooting in Rome) with Dean Martin and Anna Maria Alberghetti. Richard Thorpe, director. • John Alton, “Designing Woman,” (Ci¬ nemaScope and Color) with Gregory Peck and Lauren Bacall. Vincente Minnelli, di¬ rector. • Paul Ivano, “Lizzie,” (Bryna Prod.) with Eleanor Parker and Richard Boone. Hugo Haas, director. MIKARO STUDIOS (New York) • J. Burgi Contner, ASC, “Diary of Jen¬ nifer Blake; AT&T commercial.* (Techni¬ color; Henry Strauss Prod.) Robert Wilmot, director. MOTION PICTURE CENTER • Sid Hickox, ASC, “I Love Lucy,”* (Desilu Prods.) with Lucille Ball and Desi Arnaz. James Kern, director; “December Bride,”* ( Desilu Prods.) with Spring Byington, Dean Miller, Frances Rafferty, Jerry Thorpe, di¬ rector. (Continued on Page 692) 652 American Cinematographer November, 1956