RUSSELL METTY

GREAT CINEMATOGRAPHERS

RUSSELL METTY

Born: 20 September 1906, Los Angeles, Calif., USA, as Russell Louis Metty.

Died: 28 April 1978, Canoga Park, Calif., USA.

Career: Started c. 1925 as asst with Standard Film Laboratory, then to Paramount working in the camera dept. Joined RKO in 1929.

Was a member of the ASC.

Appeared [archive] in the tv-doc 'Making 'The Misfits'' [2001, Gail Levin; ph: Dewald Aukema].

Awards: Golden Laurel Award nom [1959; color] for 'Imitation of Life'; 'Oscar' AA [1960; color] for 'Spartacus'; 'Oscar' AA nom [1961; color] for 'Flower Drum Song'; 'Emmy' Award nom [1970/1] for 'Tribes'; 'Emmy' Award nom [1972/3] for 'The Waltons'.

'It was only with 'The Stranger' in 1945, and the subsequent move to Universal in 1947, that Russell Metty made the transition from being a capable cameraman to a great one. Whether or not Welles had a creative place in this, 'The Stranger' would seem to be the first unmistakably Metty film, stamped with what became his highly distinctive use of light and shadow. In particular, his economy with and distribution of lights is frequently such that, as characters move around a room, they shift in and out of shadowed areas in an unusual way for a Hollywood movie, in which - with certain obvious exceptions such as film noir - a generally 'high key' evenness of illumination prevails. The effect is of constantly changing patterns of lighting, shading and silhouetting on faces and bodies which runs through the mise-en-scène like a rippling 'painting with light', independently of the director's contribution. For example, the first scene between Barbara Stanwyck and Robert Preston in 'The Lady Gambles' [1949], a three minute take in a hotel room, is somewhat awkwardly directed in terms of character staging and acting, but is quite subtle in the play of light and shade on the characters' faces. 'Ivy' [1947], as Charles Higham and Joel Greenberg in 'Hollywood in the Forties' [The Tantivy Press/A.S. Barnes & Co.] point out, is a tourde-force of Metty's art. They cite in particular the opening scene at the fortune-teller's, but the whole film is beautifully lit, with a range of effects from the dramatically chiaroscuro to the delicately patterned. The former may be seen above all in the expressionistic imagery of the poison sequences, in which, as Joan Fontaine's Ivy obtains the poison, she is so positioned and lit that she becomes faceless and bodiless, with just her arms, like white tentacles, reaching to spoon the poison into her purse. The beautiful butterfly of the earlier scenes here becomes a spider.

In both of these films, Metty's photography seems to me the best thing about them. In his late '40s work at least, this was not unusual: 'Arch of Triumph' [1946] is another example, Metty's low key photography contributing far more effectively than Milestone's direction to the film's noir atmosphere of angst and paranoia. Then, in the '50s, Metty was teamed with Douglas Sirk. The combination of talents could scarcely be more auspicious: a director with a superb eye for visual composition and a cameraman with an impeccable touch in the subtleties of light and shade. The difference between 'All I Desire' [1952-53] and 'There's Always Tomorrow' [1955] in terms of mise-en-scène is not the compositions - Sirk's visual sense is equally stunning in both movies - but the lighting. Whereas Carl Guthrie in 'All I Desire' executes Sirk's shots faultlessly, Metty in 'There's Always Tomorrow' transforms them, with his nuances of lighting, into dazzling examples of a cameraman's art.

Brilliant in black and white, Metty could be even more remarkable in color: is there a more beautiful film of the '50s then 'All That Heaven Allows'? Whereas other cameramen filming in color would feel obliged to increase the overall illumination, Metty frequently films with the same play of light and shadow as in black and white. The scenes in the old mill in 'All That Heaven Allows' contain shadow and silhouette effects that even by the standards of today look extraordinary. Mary-Beth Haralovich, looking into the Universal archives on Sirk's movies, has discovered that Metty allowed no-one to interfere with his work, including the Technicolor consultant, one of whom was assigned to every Technicolor movie to monitor the hues and contrasts. For such intransigence, we can certainly be grateful. [Not until 'A Time to Love and a Time to Die' (1957) did Sirk and Metty switch to Eastmancolor.] She also discovered that Sirk and Metty filmed very quickly, regularly finishing ahead of schedule and under budget. Clearly that would have endeared them to Universal.

Another of Metty's '50s masterworks, 'Touch of Evil', is in dramatic contrast to his films with Sirk. Sirk may have used wide angle lenses extensively [e.g. 'Written on the Wind'] and long takes occasionally, but Welles pushed everything to extremes: very wide angle lenses, very long, elaborate takes, fast tracks, sweeping cranes and harsh, slashing lighting. The Wellesian bravura of the mise-en-scène is dizzying, but Metty's control looks perfect. Certainly Charlton Heston eulogizes his work in 'The Actor's Life', stating that the speed with which Metty worked was exceptional in that, unlike with other cameramen, speed did not mean a sacrifice of quality.

Metty eventually won an Oscar for 'Spartacus', but the recognition of his talents was ridiculously overdue. He had been brilliant for years, only the films weren't the sort that attracted the attention of the Hollywood establishment. Nor were most of the films that he made through the '60s, although, on the evidence of those I've seen, his style continued to be similarly distinctive. Within the Hollywood hierarchy, Metty may have been the top cameraman at Universal, but Universal was a 'minor' studio. However, true cinéastes would place him considerably higher than that.' [Michael Walker in 'Film Dope', #42, October 1989.]

[Left] with dir Ray McCarey and actress Elaine Shepard [screen-test, May 1943]

'Charlton Heston, who had worked with him [Russell Metty] on 'Touch of Evil', insisted on Metty for 'The War Lord'. "Russ Metty is unquestionably one of the great cameramen. He is nearly the only one of them who is also fast." [Producer Walter] Seltzer describes the cameraman and his crew at work: "They had a series of hand signals. You never heard them talk or yell or scream. It was like a third base coach giving directions to the batter. Frequently they would be ready while the actors were still walking off the set to go to their dressing rooms to sit down." Characteristically, all of Universal's color pictures of the 1960s were very brightly lit; even a serious drama had a musical-comedy look, which definitely was not what Schaffner, Seltzer, and Heston wanted for 'The War Lord'. Grateful for the opportunity and challenge, Metty, who had long worked in the Universal flat lighting style, used gels on the lights to add to the medieval orange look of the period, providing a low-key, darker but richer, ominous visual quality to the film. Consequently, 'The War Lord' does not look like a Universal picture - there are shadows in the film. "It was exquisitely photographed," states another Metty admirer, Franklin Schaffner. This did not delight Universal; Metty's lighting would be sharply criticized.' [From 'Franklin J. Schaffner' by Erwin Kim, 1985.]

FILMS
1934	West of the Pecos [Phil Rosen] b&w; 68m; cph: James Van Trees
1936	Night Waitress [Lew Landers] b&w; 56m
1936	They Wanted to Marry [Lew Landers] b&w; 60m
1937	Behind the Headlines [Richard Rosson] b&w; 58m; sfx: Vernon L. Walker
1937	You Can't Beat Love [Christy Cabanne] b&w; 62m
1937	Annapolis Salute/Salute to Romance [Christy Cabanne] b&w; 65m; sfx: Vernon L. Walker & Russell A. Cully
1937	Forty Naughty Girls [Edward Cline] b&w; 63m
1937	Bringing Up Baby [Howard Hawks] b&w; spec pfx: Vernon L. Walker
1937	Edgar and Goliath [Leslie Goodwins] b&w; short/17m; ep #39 of 'Mr. Average Man'-series
1937	The Dummy Owner [Jean Yarbrough] b&w; short/18m; a Leon Errol comedy
1938	Ears of Experience [Leslie Goodwins] b&w; short/18m; ep #40 of 'Mr. Average Man'-series
1938	Stage Fright [Leslie Goodwins] b&w; short/18m; a Leon Errol comedy
1938	Affairs of Annabel [Ben Stoloff & (uncred) Lew Landers] b&w; 68m
1938	Mr. Doodle Kicks Off [Leslie Goodwins] b&w
1938	Annabel Takes a Tour/Annabel Takes a Trip [Lew Landers] b&w; 67m
1938	Next Time I Marry/Trailer Romance [Garson Kanin] b&w; 64m
1938	The Great Man Votes [Garson Kanin] b&w
1939	Only Angels Have Wings [Howard Hawks] b&w; 2uc; ph: Joseph Walker
1939	The Girl and the Gambler [Lew Landers] b&w; 63m; uncred cph: J. Roy Hunt
*1939*	Career [Leigh Jason] started filming, but was replaced after 1 week by ph Frank Redman
*1939*	Bad Lands [Lew Landers] started filming, but was replaced by ph Frank Redman
1939	The Spellbinder [Jack Hively] b&w; 69m
1939	Everything's on Ice/Frolics on Ice [Erle C. Kenton] b&w; 65m
1939	Three Sons [Jack Hively] b&w
1939	That's Right - You're Wrong [David Butler] b&w; sfx: Vernon L. Walker
1939	Scrappily Married [Arthur Ripley] b&w; short/19m; a Leon Errol comedy
1939	Irene [Herbert Wilcox] b&w + c (night of the ball seq); sfx: Vernon L. Walker
1940	Curtain Call [Frank Woodruff] b&w; 63m
1940	Sunk by the Census [Harry D'Arcy] b&w; short/18m; ep #55 of 'Mr. Average Man'-series
1940	Dance, Girl, Dance [Dorothy Arzner (replaced Roy Del Ruth)] b&w; uncred cph (?): Joseph H. August; sfx: Vernon L. Walker
1940	Too Many Girls [George Abbott] b&w; fill-in ph (while F. Redman was attending his father's funeral); ph: Frank Redman; sfx: Vernon L. Walker
1940	Citizen Kane [Orson Welles] b&w; uncred spec cons & ph make-up/wardrobe tests; ph: Gregg Toland
1940	No, No, Nanette [Herbert Wilcox] b&w; sfx: Vernon L. Walker
1940	A Girl, a Guy, and a Gob/The Navy Steps Out [Richard Wallace] b&w; cph: Merritt Gerstad (first 2 weeks); sfx: Vernon L. Walker
1941	Sunny [Herbert Wilcox] b&w; ; uncred background ph: J. Roy Hunt; sfx: Vernon L. Walker
1941	Weekend for Three [Irving Reis] b&w; 65m
1941	Four Jacks and a Jill [Jack Hively] b&w; 67m; sfx: Vernon L. Walker
1941	Joan of Paris [Robert Stevenson] b&w
1941	The Magnificent Ambersons [Orson Welles] b&w; uncred ph revised ending (dir by Robert Wise); ph: Stanley Cortez
1942	Mexican Spitfire Sees a Ghost [Leslie Goodwins] b&w
1942	Framing Father [Charles E. Roberts] b&w; short/18m; a Leon Errol comedy
1942	Army Surgeon [A. Edward Sutherland] b&w; 63m; sfx: Vernon L. Walker
1942	The Big Street [Irving Reis] b&w; uncred background ph: Harry Perry; sfx: Vernon L. Walker
1942	The Falcon's Brother [Stanley Logan] b&w; 63m; 4th film in 13-part 'The Falcon'-series (RKO, 1941-46)
1942	Two for the Money [Lloyd French] b&w; short/17m; ep #67 of 'Mr. Average Man'-series
1942	Dear! Deer! [Ben Homes] b&w; short/17m; a Leon Errol comedy
1942	Forever and a Day/The Changing World [Frank Lloyd (London blitz seq), Robert Stevenson, René Clair ('1897' seq; replaced Alfred Hitchcock), Victor Saville, Cedric Hardwicke, Herbert Wilcox & Edmund Goulding] b&w; uncred ph; other (uncred) ph: Robert De Grasse, Lee Garmes & Nicholas Musuraca; spec pfx: Vernon L. Walker; filmed May 1941-January 1943
1942	Hitler's Children [Edward Dmytryk (replaced Irving Reis)] b&w; sfx: Vernon L. Walker
1943	Double Up [Ben Holmes] b&w; short/18m; a Leon Errol comedy
1943	Not On My Account [Charles E. Roberts] b&w; short/17m; ep #73 of 'Mr. Average Man'-series
1943	The Sky's the Limit [Edward H. Griffith] b&w; sfx: Vernon L. Walker
1943	Behind the Rising Sun [Edward Dmytryk] b&w; sfx: Vernon L. Walker
1943	Around the World [Allan Dwan] b&w; sfx: Vernon L. Walker
1943	Government Girl [Dudley Nichols] b&w; background ph Washington, D.C.; ph: Frank Redman

RKO head Charles Koerner - Ginger Rogers - prod David Hempstead - Edward Dmytryk -

RM - script Mercy Weireter - Robert Ryan - "Tender Comrade"

1943	Tender Comrade [Edward Dmytryk] b&w; sfx: Vernon L. Walker
1943	Seven Days Ashore [John H. Auer] b&w; sfx: Vernon L. Walker
1944	Triple Trouble [Harry D'Arcy] b&w; short/16m; a Leon Errol comedy
1944	Music in Manhattan [John H. Auer] b&w
1944	The Master Race [Herbert J. Biberman] b&w
1944	Betrayal from the East [William Berke] b&w; sfx: Vernon L. Walker
1944	It's in the Bag!/The Fifth Chair [Richard Wallace] b&w
1944	G.I. Joe/The Story of G.I. Joe/War Correspondent [William A. Wellman] b&w; ph miniatures (+ spec pfx): Howard Anderson; dir Leslie Fenton started the film with ph Archie Stout in March; prod shut down in May and resumed on 15 November
1945	Pardon My Past [Leslie Fenton] b&w
1945	Whistle Stop [Léonide Moguy] b&w; spec pfx: R.O. Binger
1945	Breakfast in Hollywood/The Mad Hatter [Harold Schuster] b&w
1945	The Stranger/Date with Destiny [Orson Welles] b&w; sfx: Harry Redmond Jr.
1946	The Perfect Marriage [Lewis Allen] b&w; process ph: Farciot Edouart
1946	The Private Affairs of Bel Ami/Women of Paris [Albert Lewin] b&w; uncred cph: John Mescall (replaced Metty who left to work on 'Arch of Triumph')
1946	Arch of Triumph [Lewis Milestone] b&w; 120m & 133m; filmed July-November 1946 & (add scenes) December 1946-February 1947
1946	Ivy [Sam Wood] b&w; aph: Paul Mantz; spph: David S. Horsley
1947	Ride the Pink Horse [Robert Montgomery] b&w; uncred cph: Maury Gertsman

With Ann Blyth - "A Woman's Vengeance"

1947	A Woman's Vengeance/The Gioconda Smile [Zoltan Korda] b&w
1947	All My Sons [Irving Reis] b&w; sfx: David S. Horsley
1948	Mr. Peabody and the Mermaid [Irving Pichel] b&w; uwph: David S. Horsley
1948	Kiss the Blood Off My Hands/Blood On My Hands [Norman Foster] b&w; spph (+ spec pfx): David S. Horsley
1948	You Gotta Stay Happy [H.C. Potter] b&w; spph: David S. Horsley
1948	We Were Strangers [John Huston] b&w; sfx: Lawrence W. Butler
1948	The Lady Gambles [Michael Gordon] b&w; sfx: David S. Horsley
1949	Curtain Call at Cactus Creek/Take the Stage [Charles Lamont] c
1949	Bagdad [Charles Lamont] c
1949	Buccaneer's Girl [Frederick De Cordova] c; sfx: David S. Horsley
1949	Sierra [Alfred E. Green] c
1950	Peggy [Frederick De Cordova] c
1950	The Desert Hawk [Frederick De Cordova] c
1950	Wyoming Mail [Reginald Le Borg] c
1950	Katie Did It [Frederick De Cordova] b&w; spph: David S. Horsley
1950	Up Front [Alexander Hall] b&w
1950	Little Egypt/Chicago Masquerade [Frederick De Cordova] c
1951	The Golden Horde [of Genghis Khan] [George Sherman] c
1951	The Raging Tide [George Sherman] b&w; spph: David S. Horsley
1951	Flame of Araby/Flame of the Desert [Charles Lamont] c
1951	The Treasure of Lost Canyon [Ted Tetzlaff] c
1951	The World in His Arms [Raoul Walsh] c; spph: David S. Horsley
1951	Scarlet Angel [Sidney Salkow] c

1952	Against All Flags [George Sherman & (uncred 2 days of add swordplay scenes) Douglas Sirk] c; spph: David S. Horsley
1952	Yankee Buccaneer [Frederick De Cordova] c; spph: David S. Horsley
1952	Because of You [Joseph Pevney] b&w
1952	Seminole [Budd Boetticher] c
1952	The Man from the Alamo [Budd Boetticher] c
1952	Take Me to Town [Douglas Sirk] c
1952	The Veils of Bagdad [George Sherman] c
1953	The Bond Between Us [Will Cowan] b&w; doc/?m; prod for the U.S. Department of the Treasury
1953	It Happens Every Thursday [Joseph Pevney] b&w
1953	Tumbleweed/Three Were Renegades [Nathan Juran] c
1953	Taza, Son of Cochise [Douglas Sirk] c; originally filmed in 3-D; 'Universal's 'Taza, Son of Cochise' played quite well in 3-D, as director Sirk and cinematographer Metty composed every shot with a foreground set-piece - from a dead tree to a wagon wheel - to lend perspective and depth to their compositions. Since the film was shot entirely on location at Arches National Park, they had spectacular scenery at their command, and made excellent use of it. Even the gimmicky shots are unusually well done. Other films have Indians throwing burning torches, but in this film the torch fills the screen, with considerable impact. Other in-your-face shots of a bullwhip and a gunshot are equally potent.' [Leonard Maltin]
1953	Magnificent Obsession [Douglas Sirk] c; spph: David S. Horsley
1953	Sign of the Pagan [Douglas Sirk] cs/c
1954	Naked Alibi [Jerry Hopper] b&w
1954	Four Guns to the Border/Shadow Valley [Richard Carlson] c
1954	Man Without a Star [King Vidor] c
1954	Crashout [Lewis R. Foster] b&w
1954	The Man from Bitter Ridge [Jack Arnold] c
1954	Cult of the Cobra [Francis D. Lyon] b&w
1955	All That Heaven Allows [Douglas Sirk] c
1955	There's Always Tomorrow [Douglas Sirk] b&w
1955	Miracle in the Rain [Rudolph Maté] b&w
1955	Congo Crossing [Joseph Pevney] c; spph: Clifford Stine
1955	Written on the Wind [Douglas Sirk] c; spph: Clifford Stine
1956	Battle Hymn [Douglas Sirk] cs/c; spph: Clifford Stine
1956	Mister Cory [Blake Edwards] cs/c; spph: Clifford Stine
1956	The Midnight Story/Appointment with a Shadow [Joseph Pevney] cs/b&w; spph: Clifford Stine
1956	Man Afraid [Harry Keller] cs/b&w
1956	Man of a Thousand Faces [Joseph Pevney] cs/b&w; spec pfx: Clifford Stine
1957	Touch of Evil/Badge of Evil [Orson Welles & (add scenes) Harry Keller] b&w; 95m, 108m & 111m (restored version 1998); ph add scenes: Clifford Stine
1957	The Female Animal [Harry Keller] cs/b&w; spph: Clifford Stine
1957	A Time to Love and a Time to Die/Will o' the Wisp [Douglas Sirk] cs/c; spph: Clifford Stine
1958	The Thing That Couldn't Die [Will Cowan] b&w; 69m; spph: Clifford Stine
1958	Monster on the Campus/Monster in the Night/Stranger on the Campus [Jack Arnold] b&w; spph: Clifford Stine
1958	Step Down to Terror/The Silent Stranger [Harry Keller] b&w; spph: Clifford Stine
1958	Imitation of Life [Douglas Sirk] c; spph: Clifford Stine
1958	This Earth Is Mine [Henry King] cs/c; spph: Clifford Stine; started by Winton Hoch, but Metty took over when Hoch fell ill

1959	Spartacus [Stanley Kubrick (replaced Anthony Mann, who started prod with the filming of the slave camp scenes)] str70/c; ph add scenes: Clifford Stine; filmed January-August 1959 & (add scenes) November-December 1959 + January-March 1960
1959	Platinum High School/Rich, Young and Deadly/Trouble at Sixteen [Charles Haas] b&w
1959	Portrait in Black [Michael Gordon] c
1960	Midnight Lace [David Miller] c
1960	The Misfits [John Huston] b&w; 2uc: Rex Wimpy; filmed July-November
1961	By Love Possessed [John Sturges] p/c
1961	Flower Drum Song [Henry Koster] p/c
1961	That Touch of Mink [Delbert Mann] p/c; spec pfx: Albert Whitlock
1962	The Interns [David Swift] b&w
1962	If a Man Answers [Henry Levin] c
1963	Tammy and the Doctor [Harry Keller] c
1963	The Thrill of It All [Norman Jewison] c
1963	Captain Newman, M.D. [David Miller] c; spec pfx: Albert Whitlock
1964	I'd Rather Be Rich [Jack Smight] c
1964	Bus Riley's Back in Town [Harvey Hart] c
1964	The War Lord [Franklin J. Schaffner] p/c; sfx: Albert Whitlock
1965	The Art of Love [Norman Jewison] c
1965	Madame X [David Lowell Rich] c
1966	The Appaloosa/Southwest to Sonora [Sidney J. Furie] ts/c
1966	Texas Across the River [Michael Gordon] ts/c
1966	Thoroughly Modern Millie [George Roy Hill] c
1966	Rough Night in Jericho [Arnold Laven] ts/c
1967	Counterpoint [Ralph Nelson] ts/c
1967	The Secret War of Harry Frigg [Jack Smight] ts/c
1968	Madigan [Don Siegel] ts/c; 'In addition to problems with the producer, Siegel found that cameraman Russell Metty, a man with excellent screen credits, "did not seem particularly interested in the movie." Metty, according to Siegel, spent most of his time at the back of the set or scene listening to a radio. Siegel recalls that, in the scene in which the detectives first trap the killer, [Richard] Widmark lifts a window shade. When Siegel questioned Metty about the scene because the light didn't change when the shade went up. Metty reluctantly arranged for some daylight to come through the window. Once, according to Siegel, when Metty did get up to take a light reading, Inger Stevens, as a joke, looked at him blankly and said, "Who are you?"' [From 'Don Siegel: Director' by Stuart M. Kaminsky, 1974.]
1968	The Pink Jungle [Delbert Mann] ts/c
1969	Eye of the Cat/Wylie [David Lowell Rich] c; cph: Ellsworth Fredericks; new scenes filmed and added in 1971
1969	Change of Habit [William A. Graham] c; first shown on tv
1969	How Do I Love Thee? [Michael Gordon] c
1970	The Omega Man [Boris Sagal] p/c; filmed 1970-71
1971	Cancel My Reservation [Paul Bogart] c
1972	Ben [Phil Karlson] c
1973	That's Entertainment! [Jack Haley Jr.] 35mm (+ 70bu)/b&w-c; mus comp film + doc/134m; co-addph: Gene Polito, Ernest Laszlo, Ennio Guarnieri & Allan Green
1974	Alice Doesn't Live Here Anymore [Martin Scorsese] c; ph preliminary tests; ph: Kent L. Wakeford

TELEVISION
1958	Playhouse 90 [ep #69 'The Dungeon' dir by David Swift] 134-part dramatic anthology series/b&w, 1956-60 (CBS-tv); 2nd season, 1957-58
1958	Steve Canyon [ep #18 'The Prisoner' dir by Lamont Johnson] 34-part adventure series/b&w, 1958-59 (NBC-tv); other ph: Arthur Arling (16 ep), Philip Lathrop (11 ep), Kenneth Peach (3 ep), Maury Gertsman (2 ep) & Paul Ivano (pilot)
1958	Alcoa Presents: One Step Beyond [ep #1 'The Bride Possessed' dir by John Newland] 95-part occult anthology series/b&w, 1959-61 (ABC-tv)
1964	Broadside [ep #1 'Don't Make Waves' dir by Edward Montagne] 32-part military sitcom series/b&w, 1964-65 (ABC-tv)
1968	Marcus Welby, M.D. [pilot 'A Matter of Humanities' dir by David Lowell Rich] 169-part medical drama series, 1969-76 (ABC-tv)
1970	Tribes/The Soldier Who Declared Peace [Joseph Sargent] tvm; released to theaters outside USA
1970	Maybe I'll Come Home in the Spring/Deadly Desire [Joseph Sargent] tvm
1971	Columbo [ep #3 'Murder by the Book' dir by Steven Spielberg, #4 'Death Lends a Hand' dir by Bernard L. Kowalski, #5 'Dead Weight' dir by Jack Smight, #6 'Suitable for Framing' dir by Hy Averback & #7 'Lady in Waiting' dir by Norman Lloyd] 45-part (including 2 pilots) police drama series, 1968 & 1971-78 (NBC-tv); 1st season (7 ep), 1971-72; other ph: Harry Wolf & Lloyd Ahern
1971	Lock, Stock and Barrel [Jerry Thorpe] tvm; cph: Harry J. May
1971	The Harness [Boris Sagal] tvm

1972	The Waltons [25 ep (e.g. #2 'The Carnival' dir by Alf Kjellin) dir by various] tvm (1971) + 221-part drama series, 1972-81 (CBS-tv); 1st season (25 ep), 1972-73; series was followed by 6 tvm's (1982, 1993, 1995 & 1997)
1972	Brock's Last Case [David Lowell Rich] pilot; for NBC-tv
1973	The Waltons [17 ep dir by various] 2nd season (25 ep), 1973-74; see 1972
1973	Hawkins [ep #4 'Blood Feud' dir by Paul Wendkos (PW), #5 'Murder in the Slave Trade' dir by PW & #6 'Murder on the Thirteenth Floor' dir by Jud Taylor] 7-part mystery series, 1973-74 (CBS-tv)
1974	The Waltons [16 ep dir by various] 3rd season (25 ep), 1974-75; see 1972
1975	The Runaways [Harry Harris] tvm
1975	Rich Man, Poor Man [- Book I] [ep #3-6 dir by Boris Sagal & #7-8 dir by David Greene] 8-part miniseries, 1976; other ph: Howard Schwartz (ep #1-2 dir by D. Greene)
1975	Mallory: Circumstantial Evidence [Boris Sagal] pilot; for NBC-tv
1976	Delvecchio [ep #4 'Good Cop' dir by Richard Michaels (RM), #11 'Red Is the Color of My True Love's Hair' dir by Walter Donoger, #12 'APB: Santa Claus' dir by Arnold Laven (AL), #16 'Licensed to Kill' dir by AL & #17-18 'The Madness Within' dir by RM] 2hr pilot + 21-part police drama series, 1976-77 (CBS-tv)
1976	The Hardy Boys Mysteries/The Hardy Boys-Nancy Drew Mysteries (title in February 1978)/The Hardy Boys (title in fall 1978) [ep #7 'The Flickering Torch Mystery' dir by Ivan Dixon] 46-part adventure series, 1977-79 (ABC-tv); 1st season, 1977

FILMS AS 2ND CAMERAMAN & CAMERA OPERATOR
1931	Public Defender/Million Dollar Swindle/The Reckoner [J. Walter Ruben] co-2nd cam; ph: Edward Cronjager
1931	Secret Service [J. Walter Ruben] co-2nd cam; ph: Edward Cronjager
1931	Girl Crazy [William A. Seiter & (retakes) Norman Taurog] co-c.op; ph: J. Roy Hunt
1932	Symphony of Six Million/Melody of Life [Gregory La Cava] co-c.op; ph: Leo Tover
1932	State's Attorney/Cardigan's Last Case [George Archainbaud] co-c.op; ph: Leo Tover
1932	Is My Face Red? [William A. Seiter] co-c.op; ph: Leo Tover
1932	The Most Dangerous Game/The Hounds of Zaroff/Skull Island [Ernest B. Schoedsack & Irving Pichel] co-c.op; ph: Henry Gerrard
1932	The Penguin Pool Murder/The Penguin Pool Mystery [George Archainbaud] c.op; ph: Henry Gerrard
1932	Lucky Devils [Ralph Ince] c.op; ph: J. Roy Hunt
1933	Morning Glory [Lowell Sherman] c.op; ph: Bert Glennon
1933	One Man's Journey [John S. Robertson] c.op; ph: Jack MacKenzie
1933	The Bowery [Raoul Walsh] co-2nd cam; ph: Barney McGill
1933	The Lost Patrol [John Ford] co-c.op; ph: Harold Wenstrom
1934	His Greatest Gamble [John S. Robertson] c.op; ph: Ted Tetzlaff
1935	Laddie [ George Stevens] 2nd cam; ph: Harold Wenstrom
1935	Sylvia Scarlett [George Cukor] c.op; ph: Joseph H. August