Max Tera

[2] Around 1948, during the Indonesian National Revolution, Tera joined the Dutch-owned production company South Pacific Film Corporation, where he studied cinematography under the Dutch cameraman AA Denninghoff-Stelling.

With South Pacific, Tera served as assistant cinematographer for several productions, including Djaoeh Dimata (1948), Gadis Desa, Harta Karun, and Tjitra (all 1949).

It was while working there Tera met Usmar Ismail, who was the director of Harta Karun and Tjitra.

[2] After the end of the revolution in December 1949, Ismail began work on Darah dan Doa (The Long March; 1950).

[4] Despite this, Tera remained with Ismail's company Perfini, later training several of its cameramen, including Kosnen, R. Husein, and Kasdullah.