Editing Conrad Hall (section)

=== 1949–1966 ===
After graduation Hall collaborated with his classmates, Marvin R. Weinstein and [[Jack Couffer|Jack C. Couffer]], to create Canyon Films in 1949. In the beginning they made advertising commercials and documentaries and did pickup shots for features. In 1956 Canyon Films acquired a short film, ''My Brother Down There,'' which allowed Hall to enter into the cameraman position and become part of the International Photographers Guild. However, the Guild made Canyon Films hire an established Guild Cameraman for ''My Brother Down There'', denying Hall credit, even though he shot the entire film. Instead he was credited as the visual consultant, after [[United Artists]] released the film under the new title ''[[Running Target]]''.

Once ''Running Target'' was finished Canyon Films dissolved, and its members went off on their own paths.  Since Hall was part of the Guild, he was able to work as an assistant cameraman at the side of many influential cinematographers such as [[Hal Mohr|Hall Mohr]], [[Ernest Haller|Ernie Haller]], Burnie Guffey and [[Ted McCord (cinematographer)|Ted McCord]], who were all part of the ASC. Following a year of working as an assistant cameraman, he was awarded the chance to be the camera operator on the television series ''[[Stoney Burke (TV series)|Stoney Burke]]''. In 1963, he began filming another television series called ''[[The Outer Limits (1963 TV series)|The Outer Limits]]''. Then, in 1964, he shot his first feature-length black and white film, ''[[Wild Seed (film)|Wild Seed]]'', which was made in roughly 24 days with producer [[Albert S. Ruddy]].

Hall's breakthrough came with ''[[Morituri (1965 film)|Morituri]]'' in 1965, for which he received his first Oscar nomination.  In the following year Hall shot ''[[Incubus (1966 film)|Incubus]]'', ''[[The Professionals (1966 film)|The Professionals]],'' and ''[[Harper (film)|Harper]]'', which was his first color film. His first collaboration with director [[Richard Brooks]] on ''The Professionals'' was put in motion by assistant director Tom Shaw, who worked with Hall on ''Wild Seed'' and recommended him to Brooks; the work resulted in his second Oscar nomination.