Karl Freund
Karl Freund was born in Bohemia, Czech Republic on January 16th, 1890 and is the German Film Director And Cinematographer. At the age of 79, Karl Freund biography, profession, age, height, weight, eye color, hair color, build, measurements, education, career, dating/affair, family, news updates, and networth are available.
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Freund began his film career in 1905. He was a newsreel cameraman in 1907 and a year later was working for Sascha-Film in Vienna. In 1911, Freund moved to Belgrade to create a film laboratory for the Brothers Savic. Freund worked as a cinematographer on over 100 films, including the German Expressionist films The Golem (1920) and The Last Laugh (1924). Freund worked with director Fritz Lang on a multiple projects, of which Metropolis (1927) is the best known. Freund co-wrote, and was cinematographer on, Berlin: Symphony of a Metropolis (1927), directed by Walter Ruttmann. Between 1926 and 1929, Freund was the production head at Fox Europa Film.
Freund's only known film as an actor is Carl Theodor Dreyer's Michael (1924) in which he appears as a sycophantic art dealer who saves the tobacco ashes dropped by a famous painter.
American film and television career
Freund immigrated to the United States in 1929, where he continued to shoot well-remembered films such as Dracula (1931) and Key Largo (1948). His work on Dracula came under a mostly disorganized shoot, with the usually meticulous director Tod Browning leaving cinematographer Freund to take over during much of filming, making Freund something of an uncredited director on the film. He won an Academy Award for Best Cinematography for The Good Earth (1937).
Between 1921 and 1935, Freund directed 10 films, of which the best known are probably his two credited horror films, The Mummy (1932) starring Boris Karloff, and his last film as director, Mad Love (1935) starring Peter Lorre.
Freund worked under contract for MGM and Warner Bros. In 1944 he founded the Photo Research Corporation of Burbank to manufacture TV cameras and exposure meters.
In an interview Richard Brooks tells a story of his interactions with Freund when they worked on the film Key Largo together.
At the beginning of the 1950s, he was persuaded by Desi Arnaz at Desilu to be the cinematographer for the television series I Love Lucy from 1951. Critics have credited Freund for the show's lustrous black and white cinematography, but more important, Freund designed the "flat lighting" system for shooting sitcoms that is still in use today. This system covers the set in light, thus eliminating shadows and allowing the use of three moving cameras without having to modify the lighting between shots. While Freund did not invent the three-camera shooting system, he did perfect it for use with film cameras in front of a live audience. The cameras that were used were BNC Mitchell cameras with T-stop calibrated lenses on dollies. The center camera was for wider shots. The other two were positioned 75 to 90 degrees away from center and were primarily used for close-ups.
Despite his extensive experience in film cinematography, Freund said that switching to television was a challenge for him. Because I Love Lucy was filmed in front of a live audience there were restrictions on where the camera could be placed.
Freund and his production team also worked on other sitcoms produced at/through Desilu, such as Our Miss Brooks.