HAL MOHR

GREAT CINEMATOGRAPHERS

#1: 1971

#2: [Left] with actor Errol Flynn

HAL MOHR

Born: 2 August 1894, San Francisco, USA, as Harold Leon Mohr.

Died: 10 May 1974, Santa Monica, Calif., USA.

Career: As a teenager he built his own camera and shot some local events. The Motion Picture Patents Company, controlling the patent on the loop mechanism in cameras, confiscated his camera. In order to perfect his knowledge of photography, he became photo finisher in the lab of portrait ph Otto Boyer. Joined Sol Lesser's General Films as newsreel cameraman and ph items for the 'Golden Gate Weekly'. Formed Italia-America Films in Berkeley, Calif., and wrote, prod, dir, ph and ed 'Pan's Mountain'. Moved to Hollywood in 1915 and started working as film editor for Universal. Co-directed [and edited] some films with Ruth Stonehouse and George Bronson Howard. Served in the US Army [1917-18] and went to France as ph in the Signal Corps. After the war ended, he stayed in Paris for almost a year. Returned to the USA in 1919, working for the Earl Klasski Company in San Francisco, making doc's and commercials, eventually obtaining work with major Hollywood studios.

Was a member and president [1930-31, 1963-65 & 1969-70] of the ASC.

Was married to Aileen Gocher Trine, Claire Delmar [= Clara Eloise Loerch; 1926-29] and actress Evelyn Venable [1934-74].

Has a star on the Hollywood 'Walk of Fame'.

#1: With wife/actress Evelyn Venable

Interviewee [voice only, 1972] in the doc 'The Man You Loved To Hate' [1979, Patrick Montgomery; ph: Joseph Pipher, Tony Laillard, William Loeffler & Gregg Burton].

Awards: 'Oscar' AA [1935] for 'A Midsummer Night's Dream'; 'Oscar' AA [1943; color; shared] for 'Phantom of the Opera'; 'Oscar' AA nom [1953; b&w] & Golden Globe nom [1953; b&w] for 'The Four Poster'; George Eastman Award [1957].

Hal Mohr was an expert at serving the director by creating whatever look or visual effect that director required for his film. He was one of Hollywood's outstanding innovators with regard to photographic technique.

In an era when most film people remained employed by one studio, Mohr jumped from backlot to backlot. A majority of the scores of films he shot during his 50-odd years as a director of photography were made during the sound era, beginning symbolically with 'The Jazz Singer'. Even though the movies had learned to talk, Mohr showed how they need not stop moving. Particularly in 'Broadway', there is startling use of the moving camera: Mohr pioneered the extensive usage of boom and dolly shots, resulting in complicated, dazzling visuals that are among the most stunning examples of early Hollywood expressionism. It also was around this time that he designed a camera crane that remained in use for years.

By the 1940s and 1950s, Mohr had become a master of creating just the right visuals to mirror a film's mood, whether that mood be eerie [in 'Phantom of the Opera'], solemn ['Watch on the Rhine'], or stark and cool ['The Wild One']. The 1930s, however, was the cinematographer's most innovative decade. In 'Captain Blood', miniatures are flawlessly combined with process shots, and there is effective integration between shots made on the backlot and on location. Even more significantly, Mohr experimented with deep-focus photography in 'Bullets or Ballots' and 'The Green Pastures', predating Gregg Toland's work on 'Citizen Kane'.

Whatever artistic success 'A Midsummer Night's Dream' achieved is due as much to Mohr's creativity as the direction of Max Reinhardt and William Dieterle. In the scenario, sprites and fairies mix in the same shots with human beings; sequences filmed in real settings are intertwined with those filmed on obviously painted sets. Mohr's cinematography perfectly mirrors this combination of reality and fantasy via his utilization of soft photography and lighting to create an effect that is shimmering - at once magical and romantic. In accepting his Oscar, the cinematographer observed that while working on 'A Midsummer Night's Dream', he had the opportunity to "explore a few of the possibilities of our marvelous art-science," adding that "we must constantly seek new ways of picturing old stories, or we cease to progress."

In addition to Mohr's willingness to let his imagination roam free as he experimented with then-unheard-of techniques, his career is a testimony to the fact that filmmaking is a collaborative art form. [From article by Rob Edelman on the filmreference.com website.]

FILMS [1 reel = c. 10m]
1912	The Last Night of the Barbary Coast [Hal Mohr] b&w; doc/1 reel
1912	Panama-Pacific International Exposition Ground-Breaking Ceremony [Hal Mohr] b&w; newsreel/?m
1914	Salomy Jane [Lucius Henderson or William Nigh] b&w; 5-6 reels; cph: Lew Hutt; + co-ed; or ph Arthur Cadwell & Arthur Pawelson; prod California Motion Picture Corp.
1914	Money [James Keane] b&w; 5-6 reels; + co-ed; prod United Keanograph Film Manufacturing Co.
*1914*	Pan's Mountain/The Daughter of the Gods/Pan's Daughter [Hal Mohr] b&w; unreleased
1917	The Big Idea [Gilbert Pratt & Hal Mohr] b&w; 1 reel; + scrpl; prod Rolin Films
1918	Restitution/The Conquering Christ [Howard Gaye] b&w; cph: Delbert Davis; prod Mena Film Co.
1920	The Golden Trail [Jean Hersholt & Lewis H. Moomaw] b&w; 6 reels; cph: Clyde Cook; prod The American Lifeograph Co.
1920	The Deceiver [Jean Hersholt & Lewis H. Moomaw] b&w; 5 reels; cph: Clyde Cook; prod The American Lifeograph Co.
1921	The Unfoldment [George Kern & Murdock MacQuarrie] b&w; 6 reels; cph: Edward Gheller (or Ernest Miller); prod Producers Pictures
1922	Watch Him Step [Jack Nelson] b&w; 5 reels; prod Phil Goldstone Prod.
1923	The Unsuspecting Stranger [Ford Beebe & Leo D. Maloney] b&w; 2 reels; prod Malobee Prod.
1923	Bag and Baggage [Finis Fox] b&w; 6 reels; prod Finis Fox Corp.
1923	The Adventures of Prince Courageous/The Little Defender [Frederick G. Becker & Charles R. Seeling] b&w; serial; prod Anchor

With actress Mae Busch - "A Woman Who Sinned"

1924	A Woman Who Sinned [Finis Fox] b&w; cph: Jean Smith; prod R-C Pictures
1924	Vanity's Price/This House of Vanity [Roy William Neill] b&w; 6 reels; prod Gothic Pictures
1924	He Who Laughs Last [Jack Nelson] b&w; 5 reels; prod Bud Barsky Corp.
1925	The Monster [Roland West] b&w + tinted; prod Metro-Goldwyn Pictures Corp.
1925	Playing With Souls [Ralph Ince] b&w; prod Thomas H. Ince Corp.
1925	Little Annie Rooney [William Beaudine] b&w; 9 reels; 2nd cameraman; ph: Charles Rosher; prod Mary Pickford Company
1925	Sparrows/Human Sparrows [William Beaudine & (finished film) Tom McNamara] b&w; 9 reels; cph: Charles Rosher; 2nd cameraman: Karl Struss; restored tinted version with music released in 1976; prod Pickford Corporation; 'Struss shot stuff on his own, and I shot stuff on my own. Sometimes we worked together, but most of the time we were working separately. It was a very good movie, and I had some very effective stuff in it, damned effective stuff. Karl was responsible for a lot of it - I don't want to take any of the glory away from him.' *
1926	The Marriage Clause [Lois Weber] b&w; prod Universal Pictures
1926	The High Hand [Leo Maloney] b&w; 6 reels; prod Leo Maloney Prod.
1926	The Third Degree [Michael Curtiz] b&w; prod Warner Bros. Pictures, Inc. (WB)
1927	Bitter Apples [Harry O. Hoyt] b&w; 6 reels; prod WB
1927	A Million Bid [Michael Curtiz] b&w; prod WB
1927	Old San Francisco [Alan Crosland] b&w + tinted; silent with music & sound efx (Vitaphone); prod WB
1927	The Heart of Maryland [Lloyd Bacon] b&w; 6 reels; prod WB
1927	Slightly Used [Archie L. Mayo] b&w; prod WB
1927	The Jazz Singer [Alan Crosland] b&w; silent with sound seq (a few passages of dialogue, music score/songs & sound efx); prod The Vitaphone Corporation & WB
1927	The Girl from Chicago [Ray Enright] b&w; 6 reels; prod WB
1928	Tenderloin [Michael Curtiz] b&w; silent & sound (4 talking seq) version; prod WB
1928	Glorious Betsy [Alan Crosland] b&w; silent with talking seq; prod WB

[Right] with Erich von Stroheim [center] & Claire Delmar [or Aileen Gocher Trine]

"The Wedding March"

1928

The Wedding March [Erich von Stroheim] b&w + color seq; took over filming, but left after 14 weeks; Technicolor ph: Ray Rennahan; doph Ben Reynolds & Buster Sorenson were also involved; doph Roy H. Klaffki finished the film as photographer associate; shooting was stopped after 9 months and 2 films, 'The Wedding March' & 'The Honeymoon', were ed from the material by Josef von Sternberg; silent & sound (music & sound efx) version; prod Paramount Famous Lasky Corp.

'I took that over, you know; they had been about six weeks on that thing. I don't know what the trouble was, but I went out and took that over from Harry [Harris] Thorpe and Bill [William C.] McGann, and I think we retook everything they had made. I was 8 or 10 weeks on the thing. I worked like a dog; we worked day and night, and there were days I never left the studio... That was a difficult picture to do. But it was a great opportunity to make a beautiful display of photography, I thought. [...] I finished 'The Wedding March', and I got about halfway through 'The Honeymoon' when the bomb burst, insofar as Von and I were concerned. I just picked up my camera, walked off the set and went home, and that was the end of it.' *

1928

The Honeymoon [Erich von Stroheim] b&w; unfinished sequel (filmed simultaneously) to 'The Wedding March'; was given a limited release in Europe; film is lost

[On dolly] looking up at Michael Curtiz [with megaphone] - "Noah's Ark"

1928	Noah's Ark [Michael Curtiz] b&w; silent & sound (Vitaphone) version; quit midway through filming and was replaced by Barney McGill; miniature ph: Fred Jackman; prod WB (film was restored in 1989 from an old work print, a cut-down dupe negative, and material held by La Cinémathèque française; the original length was 135m, the restored version runs 105m.)
1928	The Last Warning [Paul Leni] b&w; silent & sound version; prod Universal Pictures
1928	The Last Performance/The Last Call/Erik the Great [Paul Fejos] b&w; silent & sound version; prod Universal
1929	Broadway [Paul Fejos] b&w + color seq; sfx ph: Frank H. Booth; silent & sound version; prod Universal
1929	Shanghai Lady/The Girl from China [John S. Robertson] b&w; silent & sound version; prod Universal
1929	Captain of the Guard/La Marseillaise [John S. Robertson (replaced Paul Fejos)] b&w; cph: Gilbert Warrenton (replaced H. Mohr); silent & sound version; prod Universal
1929	Czar of Broadway [William James Craft] b&w; silent & sound version; prod Universal
1929	King of Jazz [John Murray Anderson & (uncred) Paul Fejos] c; cph: Ray Rennahan & Jerome Ash; filmed 1929-30
1930	Big Boy [Alan Crosland] b&w
1930	The Cat Creeps [Rupert Julian & John Willard] b&w; cph: Jerome Ash
1930	Outward Bound [Robert Milton] b&w
1930	The Cohens and Kellys in Africa [Vin Moore] b&w
1930	Free Love [Hobart Henley] b&w
1931	The Front Page [Lewis Milestone] b&w; uncred cph (replaced T. Gaudio); cph: Glen MacWilliams & (uncred) Tony Gaudio
1931	The Common Law [Paul L. Stein] b&w
1931	A Woman of Experience/Registered Woman [Harry Joe Brown] b&w
1931	The Big Gamble [Fred Niblo] b&w; 65m
1931	Devotion/Alias Mrs. Halifax [Robert Milton] b&w
1931	A Woman Commands/Maria Draga [Paul L. Stein; (add scenes) Harry Joe Brown, Horace Jackson & Val Paul] b&w; uncred ph (add scenes): Arthur Miller
1931	Lady with a Past/Reputation [Edward H. Griffith] b&w
1932	Week Ends Only [Alan Crosland] b&w; 65m
1932	The First Year [William K. Howard] b&w
1932	Tess of the Storm Country [Alfred Santell] b&w
1932	State Fair [Henry King] b&w; uncred ph (Des Moines, Iowa): Joseph Valentine & Ed Hammeras
1933	The Warrior's Husband [Walter Lang] b&w
1933	I Loved You Wednesday [Henry King & William Cameron Menzies] b&w
1933	The Devil's in Love [Wilhelm Dieterle] b&w
1933	The Worst Woman in Paris? [Monta Bell] b&w; uncred cph: Ernest Palmer
1933	As Husbands Go [Hamilton MacFadden] b&w
1933	Carolina/House of Connelly [Henry King] b&w
1933	David Harum [James Cruze] b&w; filmed 1933-34
1934	Change of Heart [John G. Blystone] b&w; aph: Elmer Dyer & Paul Mantz
1934	Charlie Chan's Courage [George Hadden & Eugene Forde] b&w; 6th film in 28-part 'Charlie Chan'-series (Fox/20thCF, 1929-42)
1934	Servants' Entrance [Frank Lloyd] b&w; anim seq by Walt Disney
1934	Under Pressure [Raoul Walsh & (uncred revisions) Irving Cummings] b&w; cph: L.W. O'Connell; miniature ph: John Smith; filmed September/October & December (revisions)
1934	The County Chairman [John G. Blystone] b&w
1934	A Midsummer Night's Dream [William Dieterle & Max Reinhardt] b&w; took over from E. Haller; cph: Ernest Haller; spec pfx: Byron Haskin, Fred Jackman & H.F. Koenekamp; 'The art director built a forest set that covered two full stages; it was so realistic you couldn't photograph it... there was no place to get any light through the damn [trees]. Fortunately, [the film] didn't lend itself to reality, so it didn't have to be photographed in that way. So this cameraman was a very good cameraman, but he didn't have the guts to say, 'You can't photograph it, you've got to do it this way.' He tried to conform to what the art director had created. So they'd been on this thing for about 8 weeks, and they were really in a lot of trouble. [...] I said, 'I'll take it over under one condition, that I have absolute control. I can do whatever I want to do as far as photography is concerned. [...] By the time I got done spraying this set with color, and cobwebs, and glitters, it looked almost like a Christmas Card.'; filmed 1934-35 *
1935	Captain Blood [Michael Curtiz] b&w; addph: Ernest Haller; spec pfx: Fred Jackman
1935	The Walking Dead [Michael Curtiz] b&w; filmed 1935-36
1936	The Green Pastures [William Keighley (replaced M. Connelly) & Marc Connelly] b&w; spec pfx: Fred Jackman

[Left] with dir William Keighley, Joan Blondell & Edward G. Robinson

"Bullets or Ballots"

1936	Bullets or Ballots [William Keighley] b&w
1936	Ladies in Love [Edward H. Griffith] b&w
1936	Top of the Town [Ralph Murphy & (uncred) Walter Lang] b&w; uncred cph; ph: Joseph A. Valentine
1937	I Met My Love Again [Joshua Logan, Arthur Ripley & (uncred) George Cukor] b&w; + small part
1938	Back Door to Heaven [William K. Howard] b&w
1939	The Under-Pup [Richard Wallace] b&w
1939	Rio [John Brahm] b&w

[Right] with Marlene Dietrich and James Stewart - "Destry Rides Again"

1939	Destry Rides Again [George Marshall] b&w; 'I did use some diffusion, but the lighting was meticulous, and [Marlene] worked right to the lighting. [...] I was lighting the set and she was sitting there. She started saying, 'Don't you think you ought to so-and-so and so-and-so?' I said, 'Look, Marlene, if you want to light the set, you go ahead.' I took my blue glass of and handed it to her, and said, 'You go right ahead.' So I sat down, and she started trying to light lights, and she got so involved, she finally said, 'For Christ's sake, Hal, go and light the set.' So I cured her of that.' *
1940	When the Daltons Rode [George Marshall] b&w
1940	Cheers for Miss Bishop [Tay Garnett] b&w
1940	Pot o' Gold/The Golden Hour/Jimmy Steps Out [George Marshall] b&w; dance ph: Harry Jackson; filmed 1940-41
1941	International Lady [Tim Whelan] b&w; spec pfx: Howard Anderson
1941	Twin Beds [Tim Whelan] b&w
1942	Lady in a Jam [Gregory La Cava] b&w
1942	Watch on the Rhine [Herman Shumlin & (uncred) Hal Mohr] b&w; cph: Merritt B. Gerstad; sfx: Edwin DuPar
1942	Top Man/Man of the Family [Charles Lamont] b&w
1943	Phantom of the Opera [Arthur Lubin (replaced Henry Koster)] c; cph: W. Howard Greene; spph: John P. Fulton; 'That was three-strip. I had Duke Greene working with me, the Technicolor man. He'd watch and see if I was getting in trouble technically; he'd say 'Don't you think we ought to have a little more light here?' He was kind of a follow-up man; he'd go in and measure the light to see if it was up to the Technicolor requirements. He was really very helpful.' * 'Also contractual were the services of color consultant Natalie Kalmus, which led to conflicts with the studio staff. Mohr never disguised his loathing for Mrs. Kalmus, and when Arthur Lubin started color tests of Eddy and Foster on January 4th, he, too, found her presence 'a pain in the ass. We had to make tests of everything for her. She and Duke [Greene] made the final decisions. You would listen to Technicolor; they had the final say on the printing of the thing.' [From article by Scott MacQueen in 'American Cinematographer', September 1993.]
1943	This Is the Life [Felix Feist] b&w; spph: John P. Fulton
1943	Ladies Courageous/Fury in the Sky [John Rawlins] b&w; spph: John P. Fulton
1943	Follow the Boys/Three Cheers for the Boys [A. Edward Sutherland & (uncred add scenes) Jack Rawlins] b&w; uncred ph 'Delta Rhythm Boys' seq; uncred add scenes ph: Charles Van Enger; ph: David Abel
1944	Prices Unlimited [Erle C. Kenton] b&w; doc/10m; prod for the U.S. Office of Price Administration and the U.S. Government Office of War Information
1944	The Climax [George Waggner] c; cph: W. Howard Greene
1944	San Diego, I Love You [Reginald Le Borg] b&w
1944	My Gal Loves Music [Edward Lilley] b&w; 69m; spph: John P. Fulton
1944	Her Lucky Night [Edward Lilley] b&w; 62m
1944	Enter Arsene Lupin [Ford Beebe] b&w; spec pfx: John P. Fulton
1944	Salome, Where She Danced [Charles Lamont] c; cph: W. Howard Greene
1944	A Night in Paradise [Arthur Lubin] c; cph: W. Howard Greene; spec pfx: John P. Fulton; filmed 1944-45
1945	Shady Lady [George Waggner] b&w

1945	Because of Him [Richard Wallace] b&w
1946	Song of Scheherazade [Walter Reisch] c; cph: William V. Skall
1946	Pirates of Monterey [Alfred L. Werker] c; cph: W. Howard Greene & Harry Hallenberger
1946	I'll Be Yours [William A. Seiter] b&w; spph: David S. Horsley
1947	The Lost Moment [Martin Gabel] b&w
1947	The Exile [Max Ophüls] b&w; uncred cph (for 1 week); ph: Franz Planer
1947	Another Part of the Forest [Michael Gordon] b&w
1948	An Act of Murder/Live Today for Tomorrow/The Case Against Calvin Cooke [Michael Gordon] b&w
1949	Johnny Holiday/Boys' Prison [Willis Goldbeck] b&w
1949	The Second Woman/Ellen/Here Lies Love/Twelve Miles Out [James V. Kern] b&w
1950	Woman on the Run [Norman Foster] b&w; process ph: Loyal Griggs & Robert Hansard
1950	Of Men and Music [Irving Reis & (Dimitri Mitropoulos seg) Alexander Hammid ] b&w; doc/85m; ph Jan Peerce/Nadine Conner seg (filmed in July); other seg ph by Floyd Crosby & William O. Steiner
1951	Rancho Notorious [Fritz Lang] c; 'Fritz had the faculty of riding the camera dolly. He had to watch through the finder; he'd hold the operator to one side while he'd be looking through. Hell, an operator has to have complete control of the camera while a scene is being shot. In rehearsal it's all right, but when you're shooting the scene, you have to leave that man alone. I can get behind the camera and see what the operator is doing, I can see if he's getting the scene or not. But with a guy doing what Fritz did you can't do the job. He got very abusive to some of my camera crew. I wanted to quit and Lang wanted to fire me.' *
1951	The Big Night [Joseph Losey] b&w
1951	The Four Poster [Irving Reis] b&w; anim interscenes dir by John Hubley

[Right] with actress Julie Harris - "The Member of the Wedding"

1952	The Member of the Wedding [Fred Zinnemann] b&w
1953	The Wild One/Hot Blood [Laslo Benedek] b&w
1953	Jamboree [Willis Goldbeck, Paul Burnford & Ross Lederman] 16mm-35bu/b&w; doc/54m; cph: John Boyle & Guy Rose
1956	The Boss [Byron Haskin] b&w
1957	Baby Face Nelson [Don Siegel] b&w
1957	The Lineup [Don Siegel] b&w
1958	The Gun Runners [Don Siegel] b&w; remake of 'To Have and Have Not' (1944, Howard Hawks; ph: Sid Hickox)
1958	Imagination in Motion [Richard Lyford] ?; comm doc/?m; for General Motors
1959	The Last Voyage [Andrew L. Stone] c; filmed May-December
1960	Underworld, U.S.A. [Samuel Fuller] b&w
1962	The Creation of the Humanoids/Revolt of the Humanoids [Wesley Barry] c

Danny Kaye - HM [center] - Frank Tashlin - "The Man from the Diners' Club"

1962	The Man from the Diners' Club [Frank Tashlin] b&w
1963	The Story of Dr. Lister [Arthur Pierson] c; comm short/28m; prod Hanna-Barbera Productions for Warner-Lambert Pharmaceutical Company
1964	Invisible Diplomats [LeRoy Prinz] c; comm short/22m; prod Jerry Fairbanks Productions for AT&T
1965	If an Elephant Answers [?] c; comm doc/26m; prod Jerry Fairbanks Productions for AT&T
1968	The Bamboo Saucer/Collision Course! [Frank Telford] c; spec pfx: John P. Fulton
* From interview in 'Behind the Camera: The Cinematographer's Art' by Leonard Maltin (1971).

TELEVISION
1951	Meet the Masters [ep 'Andres Segovia, Jan Peerce & Nadine Conner' dir by Irving Reis (IR), 'Marion Anderson' dir by IR & 'Trio: Rubinstein, Heifetz & Piatigorsky' dir by Jules Dassin] ?-part classical mus series/b&w, 1952 (NBC-tv)
1953	Your Readers [e.g. 'About Cats', 'David and Solomon', 'Children', 'False Jewels', 'Night', 'Oscar Wilde', 'Dan Defoe' & 'The Dream' dir by James Mason] 29 (?)-part series/b&w; cph: Joseph Biroc; each ep (20m) is a reading of excerpts from a literary work
1953	I Married Joan/The Joan Davis Show [e.g. ep #31 'The Artist Show' dir by John Rich] 98-part sitcom series/b&w, 1952-55 (NBC-tv); 1st season, 1952-53; other ph: Clyde De Vinna & Philip Tannura
1953	I Married Joan/The Joan Davis Show [possibly all 33 ep, e.g. #40 'Brad's Moustache', #42 'Furniture Quick Changes', #50 'The Musical', #52 'Superstition', #53 'Barbecue' & #55 'Mabel's Dress'; all dir by John Rich] 2nd season, 1953-54; see above
1954	That's My Boy [various] 37-part sitcom series/b&w, 1954-55 (CBS-tv)
1954	The Donald O'Connor Texaco Show/The Texaco Star Theater Starring Donald O'Connor/Here Comes Donald [various] 19-part sitcom series/b&w, 1954-55 (NBC-tv)
1954	The Bob Cummings Show/Love That Bob [various] 173-part sitcom series/b&w, 1955-59 (NBC-tv & CBS-tv)
1954	Life with Father [e.g. ep #14 'Father Buys a Horse' dir by Peter Tewksbury] 27 (?)-part sitcom series/b&w-c, 1953-55 (CBS-tv); 2nd season/b&w, 1954-55 (1st season was live and in color)
1954	Professional Father [ep #4 dir by John Claar] 6-part sitcom series/b&w, 1955 (CBS-tv)

1955	Screen Directors Playhouse [ep #2 'Day Is Done' dir by Frank Borzage, #10 'Rookie of the Year' dir by John Ford & #14 'Hot Cargo' dir by Tay Garnett] 35 (?)-part dramatic anthology series/b&w, 1955-56 (NBC-tv); other ph: Ed DuPar, Joseph Biroc, Paul Ivano, James Wong Howe, a.o.
1956	Panic! [ep #3 'The Boy' dir by Sherman Marks] 18-part dramatic anthology series/b&w, 1957 (NBC-tv); other ph: Harry Wild & Arch R. Dalzell
1957	The George Sanders Mystery Theatre/Award Theatre [ep #11 'The Night I Died' dir by Fletcher Markle] 13-part dramatic anthology series/b&w (NBC-tv)
1957	Playhouse 90 [ep #62 'No Time at All' dir by David Swift] 134-part dramatic anthology series/b&w, 1956-60 (CBS-tv - started live); 2nd season, 1957-58
1959	[James Michener's] Adventures in Paradise [various] 91-part adventure series/b&w, 1959-62 (ABC-tv); other ph: Maury Gertsman, Lloyd Ahern, a.o.
1960	The Barbara Stanwyck Show [ep #29 'Frightened Doll' dir by Jacques Tourneur & #32 'The Assassin' dir by David Lowell Rich] 36-part dramatic anthology series/b&w, 1960-61 (NBC-tv)
1961	Father of the Bride [various] 34-part sitcom series/b&w, 1961-62 (CBS-tv)
1963	Breaking Point [ep #1 'Solo for B-flat Clarinet' dir by Sydney Pollack] 30-part medical drama series/b&w, 1963-64 (ABC-tv); other ph: Robert Hauser; this ep was in 2 parts - part 1, 'For This Relief, Much Thanks', was ep #64 of the 'Ben Casey'-series (ph by Ted Voigtlander)
1967	Jack and the Beanstalk [Gene Kelly] special (anim + live action); ph live action seq; for NBC-tv

MISCELLANEOUS
1920	The Four Horsemen of the Apocalypse [Rex Ingram] co-c.asst; ph: John F. Seitz
1968	Topaz [Alfred Hitchcock] ph cons; ph: Jack Hildyard

FILMS AS DIRECTOR
1912	The Last Night of the Barbary Coast [+ ph] see Films
1912	Panama-Pacific International Exposition Ground-Breaking Ceremony [+ ph] see Films
1914	Pan's Mountain/The Daughter of the Gods/Pan's Daughter [+ scrpl/prod/ph/ed] see Films
1917	Perils of the Secret Service [9-part serial; co-d: George Bronson Howard & Jack Wells] ph: ?
1917	The Big Idea [co-d: Gilbert Pratt; + scrpl/ph] see Films
1936	When Love Is Young [feature] ph: Jerome Ash
1942	Watch on the Rhine [uncred; co-d: Herman Shumlin] see Films