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TUTWILER, in right background, confers with others on production staff, while camera on boom of cherry-picker in background is elevated for next shot.
CAMOUFLAGED cherry-picker is seen here in one of its many uses — providing high vantage point for camera covering action on Tylosand course.
WITH EYES GLUED to their zoom lens finders, two slicker-clad camera operators follow the action played in the rain in Dublin, Ireland.
WONDERFUL WORLD OF GOLF'
My camera crew, organized in Hollywood, con¬ sisted of two operators and two assistant camera¬ men, augmented by a production manager and a sound man. This crew later was enlarged in London to include additional technicians with whom I had worked the year before when filming a segment of the series there, and three more very good men joined us in Manila. All of these men remained with us until shooting of the series was concluded.
Through a fortunate arrangement, shipment of our equipment was scheduled to arrive simultane¬ ously with us at each of our eleven destinations. We always traveled by air and so did our equipment. My crew and I left New York May 17, 1962, along with eight boxes of cameras and equipment des¬ tined for Copenhagen, Denmark. From there, we proceeded to Halmstad, Sweden where we were to shoot the first match. Following this, the second match was shot in Hague, Holland; the third in Dublin, Ireland; the 4th in Gleneagles, Scotland; 5th in Quebec, Canada; and the 6th at the Tryall course, Montego Bay, Jamaica.
There followed a two-week hiatus for the purpose of reviewing all the film shot up to that time and screening all the rough-cut footage that was ready. We then proceeded to the Philippines where we re¬ sumed shooting the series, with Dave Ragan playing
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B y
TOM TUTWILER, ASC
Photos by Hal Power, Shell Oil Company
JACK NICKLAUS, 1962 U.S. Open Champion, shows concern for putt made on Pebble Beach course in competition with Sam Snead. In background, Tom Tutwiler assists with camera recording the action in color for the Shell Oil Co. TV series.
AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963
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