Volchek earned high accolades with his outstanding pedagogical
work. He began to teach at VGIK as a fourth-year student, in 1931.
In 1943, he was promoted to the rank of full professor. Among his
students were such distinct masters of cinematography as Levan Paatashvili, Margarita Pilikhina, Georgii Rerberg, Vadim Derbenev, Yury Il’enko, and Petr Todorovskii.
Historical Dictionary of Russian and Soviet Cinema by Peter Rollberg
#鲍里斯·沃尔切克

ВОЛЧЕК Борис Израилевич
Среди его учеников оп. Г. Н. Лавров, Л. Г. Пааташвили, М. М. Пилихина.
Кино Энциклопедический словарь by Юткевич С.И.(гл.ред.) （苏联电影百科全书，谢尔盖·尤特凯维奇主编，1987）
http://istoriya-kino.ru/kinematograf/item/f00/s00/e0000566/index.shtml

#鲍里斯·沃尔切克 的著名学生：G.拉夫罗夫、L.帕塔什维利和M.皮利欣娜😆
虽然这三位确实都是六十年代出挑的摄影师，但是没有V.尤索夫、P.托多罗夫斯基和G.雷贝格真是叫人意想不到呢

For instance, for the film Lenin in 1918, director Mikhail Romm was given a raised salary of 100,000 roubles and his cameraman Boris Volchek received 30,000 roubles. The same amounts were given to director Alexander Dovzhenko and cameraman Yuri Ekelchik for the film Shchors, while director Sergei Yutkevich and camerman Zhosef Martov received 75,000 and 25,000 roubles respectively for The Man with a Gun (Chelovek s ruzhem, 1938).
epdf.pub/soviet-cinema-politics-and-persuasion-under-stalin.html

#米哈伊尔·罗姆 #鲍里斯·沃尔切克 #亚历山大·杜甫仁科 #谢尔盖·尤特凯维奇

1945年，米哈伊尔·罗姆没有拍电影，但他的年薪是18万卢布；#伊万·培利耶夫 的电影没有上映，年薪达到了20万卢布。
www.ng.ru/ideas/2016-06-17/5_movies.html

大导演们肥得流油……！

The work of the first-class operator B. Volchek, one of the greatest Soviet operators with whom I worked for many years, also bears the stamp of complexity in the lighting system he has chosen. Both in Lenin's films and in Thirteen, B. Volchek was much simpler. In "Dream" he wanted to achieve a special expressiveness of the image, which then gave excellent results in the film "Man No. 217" with its conventional drama. I also have to reproach myself for the excessive expressiveness of acting. This emphasized and somewhat conditional expression did not arise, of course, by accident. I, and B. Volchek, and V. Kaplunovsky deliberately carried this stylistic solution through all aspects of the director's and pictorial concept.

Six years later, I became acquainted with the first paintings by Rossellini and other Italian neorealists. If I could do Dream again, I would leave the script almost untouched, but I would shoot it easier in ordinary interiors, almost entirely on location. ‹…›

But I'm glad I did Dream.

This is a kind of film, and for me it was very interesting.

Romm M. Selected works: In 3 volumes. T. 2. M .: Art, 1981.

#鲍里斯·沃尔切克 #米哈伊尔·罗姆 #Мечта