Born in Breslau, Germany (now Wroclaw, Poland). Former architect, painter and sculptor who entered film in the early 1920s as a special effects artist. He invented the Schüfftan Process, a technique which allowed a single camera to combine live action with shots of miniature models by means of a specially adapted mirror. The process was used in films including Fritz Lang's METROPOLIS (1926), Abel Gance's NAPOLÉON (1927), and Hitchcock's BLACKMAIL (1929) before being supplanted by the less time-consuming "matte" technique. Schüfftan made several innovations in documentary techniques, particularly with his photography on PEOPLE ON SUNDAY / MENSCHEN AM SONNTAG (1929) for Robert Siodmak, with whom he would later collaborate in Hollywood. He directed two films in Germany: DAS EKEL / THE SCOUNDREL (1931) and DIE WASSERTEUFEL VON HEIFLAU (1932). After fleeing Germany in 1933 he became one of the most influential, and cosmopolitan, of cinematographers, working with directors including Marcel Carne (BIZARRE, BIZARRE / DRÔLE DE DRAME, 1937, QUAI DES BRUMES / PORT OF SHADOWS, 1938), Max Ophüls, René Clair, Georges Franju (THE KEEPERS, 1958 / LA TETE CONTRE LES MURS) and Robert Rossen (THE HUSTLER, 1961, LILITH, 1964). Schüfftan never joined the American union of cinematographers, the ASC, and so he never received proper screen credit for many of the films he photographed. Other notable screen credits include: IT HAPPENED TOMORROW (1944, technical director); BLUEBEARD (1944, production designer & cinematographer -- uncredited); SOMETHING WILD (1961); and his last film, the hallucinogenic CHAPPAQUA (1966). Visit the Internet Movie Database for a listing of Schüfftan's extensive film credits.  Cinematography (Black & White) 1961: THE HUSTLER 1 nomination, 1 Award