American cinematographer. (1920)

• Rusell Metty, “Little Egypt (Techni¬ color), with Mark Stevens, Rhonda Fleming, Nancy Guild, Charles Drake, Jerome Cowan, Leon Belasco, Minor Watson. Frederick de Cordova, director. 9 Irving Glassberg, “Francis Goes To The Races,” with Donald O’Connor, Piper Lauri, Jesse White and Cecil Kellaway. Arthur Lubin, director. • Maury Gertsman, “Cattle Drive” (Tech¬ nicolor), with Joel McCrea, Dean Stockwell, Chill Wills. Kurt Neumann, director. Warner Brothers • Ernest Haller, “Jim Thorpe, All-Ameri¬ can,” with Burt Lancaster, Charles Bickford, Phyllis Thaxter, Steve Cochran. Michael Curtiz, director. • Wilfrid Cline, “Lullaby Of Broadway,” with Doris Day, Gene Nelson, Billy de Wolfe, S. Z. Sakall and Ann Triola. David Butler, director. ® Ted McCord, “Goodbye My Fancy,” with Joan Crawford, Frank Lovejoy, Eve Arden, and Virginia Gibson. Vincent Sherman, di¬ rector. • Sid Hickox, “The Travelers,” with Kirk Douglas, Virginia Mayo and Walter Bren¬ nan, Raoul Walsh, director. • Robert Burkes, “Strangers On A Train,” with Rovert Walker, Ruth Roman, Farley Grainger, and Pat Hitchcock. Alfred Hitch¬ cock, director. • Edwin DuPar, “The Story Of Folsom,” with David Brian, Steve Cochran, Dick Wes¬ son, Ted de Corsia. Crane Wilbur, director. SURGICAL CINEMATOGRAPHY (Continued from Page 435) acquired over a period of twenty-five years. In his position as surgical cinematog¬ rapher his knowledge of surgery eti¬ quette, its procedures and its technical terminology must equal the surgeon’s. His position always is that of a guest of the hospital. He has no legal rights there, and he must conform to the strict hospital codes. His equipment must be sterile and draped in white linen when set up near the operation. As with sur¬ geons and their attendants, Burke must be clothed in the conventional cap, mask and “whites” before entering the sur¬ gery room. Other precautions consist of securely taping to sockets the electric cables fur¬ nishing power for his photo lamps. The circuits must be under-loaded to pre¬ vent any power failure during photog¬ raphy. Fresh photo lamps are used for every operation to avoid any possible chance of bulb failure or explosion— although the chances of the latter is said to be one in one-million. Essential to the success of surgical films is the matter of complete coopera¬ tion with the surgeon, his associates and assistants. The cinematographer and the surgeon, Burke points out, must first understand each other’s problems and be able to work harmoniously together. Prior to a filming assignment, the sur¬ geon explains to the cameraman what CINE SPECIAL CAMERA AND MAURER CAMERA • 1 1 5 V. Universal Motor — AC-DC • Variable Speed 8-64 Frames • Separate Base for Cine Special • Adapter for Maurer Camera Interchangeable Motors: 12 Volt DC variable Speed 8-64 Frames. 115 Volt AC 60 Cycles, Synchronous Motor Single Phase. 220 Volt AC 60 Cycle, 3 Phase, Synchro¬ nous Motor. Animation Motors for Cine Special. Maurer and Mitchell Cameras. Motors for Bolex and Filmo. Cameras. Time Lapse Equipment. NATIONAL CINE EQUIPMENT, Inc. 2 N °™ d VARIABLE SPEED MOTOR with TACHOMETER Art Reeves' New Address: ART REEVES MOTION PICTURE EQUIPMENT AND CAMERA SUPPLY COMPANY 7512 Santa Monica Blvd., Hollywood 46, Calif. Only Art Reeves Can Sell The Neiv Model SENSITESTER Will Handle Modern Fine Grain Film the pathological condition is, where it is located, what he intends to do and what he expects to find en route. He em¬ phasizes the important steps in the pro¬ cedure about to be undertaken. The cameraman then plans his shooting ac¬ cordingly. Because an operation may consume two or three hours, sometimes more, it is obviously impractical as well as unnecessary to film all of it. Except in cases of exceedingly rare operations, most of the routine will be familiar to both student and surgeon. Therefore, filming plans encompass only the high¬ lights which in most cases are ample to cover the main points to be demonstrated, and this usually provides jufficient foot¬ age for a film from fifteen to twenty December, 1950 • minutes screening time. During the filming of an operation, teamwork between cinematographer and surgeon must be close. Consideration must be given to whether the surgeon is left or right handed, for the field must not be hidden from the camera lens by the surgeon’s hands any more than is absolutely necessary. Because of this, the use of special instruments is sometimes required so that the surgeon’s hands may move smoothly and steadily outside of camera range. An experienced surgical cinematog¬ rapher such as Burke watches closely for the critical moments of the surgery. He has no script to go by. Essential (Continued on Page 43Q) American Cinematographer • 437