American Cinematographer - December 1950 - 35

T
Tackling Your First Ambitious Film Production: 242
Taking Full Advantage Of Magnetic Recording: 273
Tannura, Phil, ASC-"When And How To Use
Camera Angles": 201
Taylor, Burton--"Double Exposures - How And
When To Use Them": 277
Taylor, Gordon--"The Men Who Light The Sets":
85
Television: 12; 47; 94; 124; 160; 162; 194; 238;
272; 377
Television Newsreel: 194
35MM. Color Release Prints From 16mm. Color
Originals: 235
Tierney, Clifford L., Jr.-"An Experiment In Film
Technique": 18
Tough Assignment: 48
U
Underwater Photography: 236; 274
W
What's New In Equipment, Accessories & Service:
32; 69; 103; 180; 218; 290; 328; 398; 442
What Makes A Short Subject Click?: 422
When And How To Use Camera Angeles: 201

SURGICAL
CINEMATOGRAPHY
(Continued from Page 43J)

movements must not be missed for there
are never retakes in this work, and for
this reason there must be complete con¬
fidence, cooperation and understanding
between surgeon and cinematographer to
effect the desired results.
The question most often asked Burke
by other cinematographers is how he ar¬
rives at exposure. Use of an exposure
meter, he points out, is impractical. To
make a pre-operation reading would es¬
tablish a workable f/ stop figure, pro¬
viding that lighting remains fixed during
the operation; but this rarely is the case,
chiefly because the surgeon and his as¬
sistants are always moving about in the
very limited field and their heads in¬
variably get in the way to obscure light
from one or more lamps.
Burke has come to know light values
through years of experience in this
particular work. He knows that if he
has a certain number of photolamps
illuminating the field covered by his
lens, the exposure figure is so much.
When a lamp is obscured by movement
of the surgeon or assistants, Burke in¬
tuitively figures the illumination differ¬
ence and changes his exposure accord¬
ingly. Often he works with one hand on
the lens diaphragm ring, opening up or
closing the lens to conform with the
prevailing light, while the camera is
running.
Photography of actual surgeries is
only a part of the production of such
films. Invariably the pictures begin with
an orientation sequence consisting of
diagrams, animation or reproduction of
X-Ray negatives - perhaps all three.
This work is performed in the titling
and animation room of Burke's studio
and here, of course, all titles for the
films are also made.

Most of the films made by Burke
today are in sound and for this phase of
a production, the film is taken to a local
sound studio where the carefully pre¬
pared narrative is recorded, then later
combined in the dupe prints of the
picture.
While most of Burke's work is by
special assignment by leading surgeons
of the country, in recent years he has
undertaken the production of a series
of medical and surgical films for his
library, which he makes available to
physicians and surgeons, schools and col¬
leges. Films in this library now number
over 200 and more are being added as
time goes on.
Within a few months, Burke will
begin a tour of the United States, visit¬
ing most of the Master Surgeons of the
country - men who are tops in their
profession. Burke plans to photograph
one or more operations by each of these
men as a permanent record of their
work and technique. These films will
become an important part of the Burke
Surgical Film Library and provide a
priceless source of instruction and visual
data for tomorrow's surgeons as well as
the medical profession of the country.

SIGNIFICANT KEYLIGHT
(Continued from Page 415)

elements of illumination on the scene,
such as fill-light, back-light, and linelight are generally adjusted to be in
proper intensity relation to the keylight.
Thus it may be noted that the keylight
is the heart of the plan of photographic
illumination. It is of greatest significance,
both with respect to artistic effect and
as the basic determining factor of the
illumination level.
Since the keylight is of such vital
importance in the illumination of a scene
it occured to me, several years ago,
that a measurement of keylight intensity
might serve as an excellent foundation
for exposure control. Accordingly a long
series of tests were conducted on this
matter. Some very interesting findings
resulted.
One finding of considerable signifi¬
cance was as follows: The keylight has
two properties which are of prime im¬
portance in exposure determination.
The first is the intensity projected to
the position of the subject. This can best
be measured at the position of the sub¬
ject, by the use of a light meter pointed
toward the light source.
The second property of importance is
the location of the keylight with respect
to the camera and subject. It will be
appreciated that if the keylight is lo¬
cated approximately behind the camera
DECEMBER, 1950

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AMERICAN CINEMATOGRAPHER

439
American Cinematographer - December 1950

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