From Ernest Hawkins: "Moving Pictures in Colour: Records of moving pictures in colour taken during the season 1940 of work on the mosaics of Aya Sofya" [MSBZ004-02-01-04-242]
Fourth Film
December 3rd 1940.
Whole film exposed on Recess № 5.
North Tympanum Wall.
First shot
Normal speed
The whole panel. 15 feet.
Second shot
Slow speed
As above. 15 feet.
Third shot <- Close up
Normal speed with camera moving down from top of panel down to below the hand. 20 feet.
Fourth shot <- Close up
Normal Speed with camera moving down from hand down to [?] below mosaic. 20 feet.
Fifth shot <- Close up
Normal Speed with camera moving down to show the Right hand inscription and design at base of panel. 15 feet.
---
Fourth Film
December 3rd 1940.
Sixth shot <- Close up
Normal speed with camera moving downwards to show the Left hand inscription and design at base of the panel. 15 feet.
---
Recess № 4 John Panel
Fifth Film
December 3rd 1940
Whole film exposed on Recess № 4 and on the wall between the two Recesses of the North Tympanum Wall.
First shot <- Close up
Normal Speed
The whole panel. 15 feet.
Second shot <- Close up
Slow Speed
As above. 15 feet.
Third shot <- Close up
Normal Speed with camera moving down from the top of the panel down to the hand. 20 feet.
Fourth shot <- Close up
Normal Speed with camera moving down from hand to feet of figure. 20 feet.
Fifth shot <- Close up
Normal Speed with camera moving down to show Right hand inscription and the design at the base of the panel.
---
Fifth Film.
December 3rd 1940
Sixth shot <- Close up
Recess № 4. John Panel
Normal Speed with camera moving down to show Left hand inscription and design of base of the panel. 15 feet.
Seventh shot <- Close up
Wall between the two recesses № 4 + 5. Showing the large design at the base of the wall.
Normal speed.
5 feet.
More Exhibit Items
Gregory documents the technical specifications employed during filming, including the distance of the camera, the aperture of the lens, the number of lamps, and their distance from the subject. He also states that the film used is Kodachrome 16 mm for "artificial lightning."
Gregory documents the distance, speed, and aperture employed during filming, as well as the varying light conditions.
Gregory documents the distance, speed, and aperture employed during filming, as well as the use of natural light.
Gregory documents the subject, distance, speed, and aperture employed during filming, as well as the specifications of the lamps used to provide artificial light. Some pages also contain calculations concerning speed in relation to feet of film used.
Gregory documents the subject, distance, speed, and aperture employed during filming, as well as the specifications of the lamps used to provide artificial light. Some pages also contain calculations concerning speed in relation to feet of film used.
Gregory documents the subject, distance, speed, and aperture employed during filming, as well as the specifications of the lamps used to provide artificial light. Some pages also contain calculations concerning speed in relation to feet of film used.
Gregory documents that a new electric lighting system for the films was installed.
Gregory documents that installation of the new electric lighting system for the films was completed.
Gregory describes technical difficulties that arose due to mismatched lamps and adapters that postponed filming.
Gregory documents that a dark room was constructed to facilitate filming on the northern tympanum wall in Hagia Sophia.
The unknown author of this notebook documents the light conditions employed to film the Virgin and Child in the apse of Hagia Sophia.
The unknown author of this notebook documents the light conditions employed to film the Virgin and Child in the apse and the angel in the soffit arch in Hagia Sophia.
Hawkins documents the speed and length of film used to film the Virgin in the apse and the angel in the soffit arch in Hagia Sophia.
The unknown author of this notebook documents the speed and length of film used to film the Virgin in the apse and the angel in the soffit arch in Hagia Sophia.
Hawkins documents that a dark room was constructed on the scaffold to facilitate filming on the northern tympanum wall in Hagia Sophia.