innovative ways of moving the camera were introduced by Freund, including putting the camera on a crane. 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. Brooks also recounted useful advice he received from Freund two years later, just before Brooks' directorial debut. Freund gave Brooks reels of 16mm film, calling them "Lesson Number One." When Brooks watched the reels at home, he saw that they were pornography. The next day, Freund explained "I produced them. My pictures, 1922. Many times you will be wondering, do you put the camera here, or up here, or down here? Maybe you make the scene a little bigger, or a little smaller. Lesson Number One. Get to the fucking point." I Love Lucy 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