Former architect, painter and sculptor who entered film in the early 1920s as a special effects artist. He invented the Schufftan 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" (1927) and Hitchcock's "Blackmail" (1929) before being supplanted by the less time-consuming "matte" technique.
Schufftan made several innovations in documentary techniques, particularly with his photography on "Menschen am Sonntag" (1929) for Robert Siodmak, with whom he would later collaborate in Hollywood. After fleeing Germany in 1933 he became one of the most influential, and cosmopolitan, of cinematographers, working with directors including Marcel Carne ("Drole de drame" 1937, "Quai des brumes" 1938), Max Ophuls, Rene Clair, George Franju ("La Tete contre les murs" 1958) and Robert Rossen ("The Hustler 1961, "Lilith" 1964).
Immigrated to the US