Editing Conrad Hall (section)

=== 1967–1976 ===
Their second collaboration, 1967's ''[[In Cold Blood (film)|In Cold Blood]]'', resulted in yet another Oscar nomination.<ref name=":0" /> It is notable for the documentary feel and location shots, which were rare at the time. In that same year, Hall shot ''[[Cool Hand Luke]]'' and ''[[Divorce American Style]]''. ''Cool Hand Luke'' is known for being shot in Panavision, which contributed to its lush color palette.<ref>{{Cite news |title=Cinematography's Hall of Fame |last=Brodesser |first=Claude |id = {{ProQuest|236330589}}}}</ref>  In 1968, Hall filmed ''[[Hell in the Pacific]]'' for director [[John Boorman]], which was not a box-office success but has since become a cult classic.

In 1969, Hall received his first Oscar for ''[[Butch Cassidy and the Sundance Kid]]''. To make ''Butch Cassidy'' visually compatible with the time period, he used experimental techniques, such as overexposing the negatives in order to mute the primary colors when printing it back (Hunter, 2003). The result was considered an innovative success. He made two other films that year, ''[[The Happy Ending]]'' and ''[[Tell Them Willie Boy Is Here|Tell them Willie Boy is Here]].'' In 1972, Hall shot ''[[Fat City (film)|Fat City]],'' with director John Huston. ''Fat City'' was known for its grainy texture to reflect the harsh reality of the storyline.<ref name=":0" /> In 1973 he shot the police thriller ''[[Electra Glide in Blue]]'', followed by ''[[Smile (1975 film)|Smile]]'' and ''[[The Day of the Locust (film)|The Day of the Locust]]'' in 1975, the latter of which earned him his fifth Oscar nomination. In 1976 he shot ''[[Marathon Man (film)|Marathon Man]]'' with director [[John Schlesinger]] which was one of the first to use the [[Steadicam]] technique (although it was not the first to be released).