Dr Jim Frazier Photography Masterclass – Newbridge Photography Club

Dr Jim Frazier Photography Masterclass – Newbridge Photography Club


[Dr Jim Frazier] …Everyone ready-? (The secret of the Frazier Lens system) (Wendy Smith’s Newbridge Photography Club) Dr Jim Frazier’s Unique Crystal Art [Dr Jim Frazier] …doing all my work with (Sir David) Attenborough, I developed many techniques – and this was just another one of the many that served me well. – and to get butterflies in flight is a very difficult thing… [JTV] Yes! – for most people… But when you know how – It’s easy! One of my favourites – and one of peoples’ favourites – is this one… – which is called `Pas Seul’. In French, it means `Single Dancer’ So it’s a Single Dancer! (`Pas Seul’) And it looks like a ballet dancer. [David Lake] Well I thought- it reminds of, like- Antarctica, or something… Like with the- you know- it looks cold… [Dr Jim] -and then, this one – Hillary Clinton has one of these… And when she was going up for elections, I wrote on it for her: “Hillary, I hope this shows you the way through!” And then, Oprah Winfrey has one… And it is unique [crystal art] in the world – nobody else knows how to do it… And when the the first ones went to the
States, and I had an exhibition over there – – I used to get dozens of calls from artists
in the States (the U.S.A.), wanting to know how to do it! [Dr Jim Frazier] …I was going to divulge one of my secrets to you guys today… …Who’s got Macro lenses? You? Oh, that’s good… You’ll be interested in this… Now… Consider that – a Macro Lens – on the front of your camera. Right? …if you focus that Macro Lens, on a
Negative Lens, here… And a Negative Lens is usually that shape…
Some have Distortion, some don’t – And that’s a matter of selection – but if you
focus… what actually happens – You’re actually focusing on an image, this side of the lens – the way it works it’s like a… Audience Q: What’s a Negative Lens? One that de-magnifies… So it’s a concave lens. That’s a positive lens – that will magnify –
A lens like this, will de-magnify… All right? So if you focus on what really is
the aerial image, suspended in front there – – that’ll pretty well put everything into
focus. My [Frazier Lens] deep-focus lenses? That’s the principle! And so, if you want to… What I did, I pulled hundreds of lenses to bits, to get the various elements out – and I had a box full of (lens) elements, and I could try different ones… Some will distort the image — some will be perfect… And some will distort the opposite way – but – if you focus on that (so-called) `aerial image’ – …which is what you see in the Viewfinder – you’ll be amazed, how it holds everything in focus. Now… If you do that – all you have to do, is to put a tube – – a black tube – and you have a Deep-Focus Lens…! …Interested..? …Fiddle around – and have a go! Q: Where do you get a Negative Lens? [Jim] …out of old lenses. So Jim – is that “the secret of the Frazier Lens”? Yes it is. Wow-! …that’s it! And this is a simpler one – Now I think I mentioned last night,
the one I did for Panavision is a much more complex arrangement than this,
because of all the other gizmos, that I wanted to build, and rotate the front end – the Image Rotator – whereas this – is the one I’ve then called… this is the one that’s gone
into the Security Industry – which is the one called the `Frazier Ultimate’ – and it
was called the Frazier Ultimate for a good reason… … because that shortened down to “F.U.” And when I was taken for a ride, that’s why it was called the F.U. So there it is, guys! – Have a go! And you know – you’ll have your ups and downs with it, but that doesn’t matter. And – everything from… Q: Just a question – What size lens? [Jim] Well, whatever your Macro is, you’ve gotta pick – – a Negative Lens that
you can focus on where the lens-image fills the frame… Okay – otherwise you’ll have a circle in the centre. – if it’s too small. [Bob Potts] So it’s lucky enough, I just had 2 elements replaced in my 70 to 200mm… [Jim] Oh good. …Negative (lens)? [Bob] Well, we’ll play with it… But that’s the secret of the whole system… And this is what the CSIRO-guy told me was impossible! `Forget about it…’ He said something about The Inverse-Square Law of Optics – and “You’re a nutter!” …and so I went
away, and I thought “Well what does that nutter know?” And then I found a way. …A mind of curiosity is
the best asset you have. There is no question in my mind. All my innovations and things have come around – because I have a curious mind. And I wanted to see what I could do… and what I couldn’t do… And I never, ever… – Years ago, I took the word “hope” out of my vocabulary… That’s negative. If you put in there: “I can” and “I will”… You will! Okay? It’s a matter of feeding your
subconscious – with positive thoughts, not negative thoughts. So there it is guys! …Go for it! Now… The other thing that irks me… This guy’s doing it right – because he’s
got a makeshift bit of innovation going on here… [Makeshift styrofoam-cup smart-phone adapter for tripod…] You see images – especially on television –
where people use their iPhones… And you see the image come up on the screen – and Gawd, Strike-Me-Pink — it’s vertical-?!! All you have to do, is… THAT. …Right-? Then you have a full picture. Not this… broken-off thing?! …Common sense isn’t very common, is it…? So. And – the other thing is, the images are all over the place. Right? And basically all you have to do is to prop yourself – or lean against a post – or
put it on the top of a stump, or a railing, or whatever… But for God’s sake – Steady images – eh? That should be steady…? [JTV] I hope so. Okay… And – Now I want to I want to
query you guys – because every sort of photography is different… If you’re out
in the bush, even with a telephoto (lens) – you’re better off against a tree, holding it
steady… Or even laying on the ground – or, stick it on a fence post… Whatever. For God’s sake, keep it steady – and you’ll get much sharper, and better images. …that little bit of sway, and shake – that is a destroyer! [JTV] That’s a thing I was wondering
about Jim – what’s your thoughts – I know I noticed probably most of your career,
you’re using a big heavy 35mm or 16mm (camera) or something like that… but with all the
handheld – with these handheld (smart)phones – you do get the camera-shake – and you can take
it out digitally, with a stabilizer, and that sort of thing, but it’s never quite…
you lose focus…? [Jim] We never had a `digital era’ when I was in there! We couldn’t fix it up – you had to get it
right from Day One… And I always had good tripods –
because I had to use Pan and Tilt for moving- all the time – and they had to be steady. You had to have a good flow – and the first prime objective, with any
work like that – your tripod heads are gotta work perfectly – you keep them
lubricated, whatever, and you give a few pumps and twists and turns before you
actually start filming, and that spreads the oil, whatever, through the system –
and then everything is smoother after that… But – you know, technology
has changed… and I wish to God I’d have had some of today’s technology back then – I could’ve done 10 times better. …And it is hard work. Now – one of my other big
secrets… and I haven’t told many people this – but it paid off, a million times… My prime lens, was a 50mm to 300mm Nikon zoom lens. And that was – then, when I was doing that – that was quite a heavy lens. It had a
lot of glass in it. And I sent away – and I got the best Diopters in the world – and I used to stack up to seven on the front of that Nikon, to do my
Macro and Micro work. Almost to Micro – you could get a one-to-one magnification – and you still had pan and tilt, and… You could do extraordinary things with
those diopters – and I could add or subtract them, depending on the
magnification I wanted, and I also put them on a swivel – and that paid off a
hundred times… And I’ll give you an example, when I was up in Kakadu shooting for the ABC – and there was a crazy director up there – was a woman, actually –
I’m not against women but this was a crazy woman director… And she had another team up there, from the ABC, shooting birds. I was up there to do the insects, and all the
usual sort of small stuff that they wanted… and I’m filming Weaver Ants
crawling up, and dragging their prey up this thing – and I’m focused in on it, with
that same system – the diopters on the front… and, I happened to look up – and against one of the escarpments, I saw an eagle – just almost static – on the updraft from
this escarpment – and it’s mate was beside it – and its mate was going completely
upside-down, and coming up under the other one… and I’d never seen it before
in my life…! …and, did this several times… And I thought “- Wow-!!!” — and I swung the diopters out of the road, and I was focused on it immediately, and I started to film it – and this crazy woman director she said “Don’t you film that-!!”
she said – “That’s not your province!” “- that’s Keith’s province!” and she would not let me shoot it…
And, he went out there for three days after – and they never saw it again – And nobody’s ever seen it again since…! Right-? I could have had that on film, as a unique thing… Have you ever seen anything like that before? No… I haven’t either, (ever) again. Q: It must have been courting? It was a courtship I believe it was. Yeah. Or it was a food-swapping thing – but they were both static on this updraft… and that is so indelible on my mind… because of that
experience – of missing an opportunity like that. And then the same woman told me… I was filming – and I build a studio – you know, we’d got a special room in
Alice Springs, at one of the motels… and we hired an extra room – and I built a
Set in there… and bought in heaps of red sand and put on – made ridges, and had
lizards running across it, and all sorts of things… And I happened to go outside for smoke
one day, and I looks up – and it started to rain – and all
the Galahs, and a few other birds, they’re hanging upside down – trying to bathe in
the rain – and I grabbed the camera and took it out — (crazy director) “Don’t you shoot that!” Again, again, again…
And – I went ahead and I shot it. I ignored what she was telling me. And when her boss got it, back in the ABC: “Oh – that’s incredible! Oh!” And he built it in to the (TV) program
they were doing. And that was egg on her face. And she’s never liked me since…! Cos she got hauled over the coals (at the ABC)… Yeah. Anyway… These are the ups and downs that you have, when you’re filming and photographing… A missed opportunity is a missed opportunity – and one that should not be missed. So, you just do what you need to do… Do what you have to do – and that was a big lesson for me. And they say, you learn by your mistakes? I learnt by that mistake. And you expect to make mistakes – it’s a
natural part of the process – I’ve used mistakes that I’ve made in the past, for something else-! …Have you done that? [JTV] Yeah! (laughs) – And that’s the way to go! Right? Remember your mistakes! Q/Comment: If you don’t remember your mistakes – you repeat them, don’t you? Exactly, yeah. But they can come in handy! [JTV] Jim, forgive me – I don’t know enough about Diopters – I was watching a movie the other day – `Catch-22’… towards the end of that, they’ve got – they use a diopter in one shot, where
the foreground’s in focus – and there’s a plane in- there’s a character in
front – in focus – and a plane in the background, in focus – but I think everything else is
out of focus…? Is that right? A diopter- No, Diopters purely magnify the image in the camera. Right. So – and there are three grades – 1, 2 & 3… The `1′ is the weakest…
So that will convert – like in my case, a zoom lens will allow you to zoom – and film 10 feet to 20 feet. …Okay? You put the second one on – add it to the first one – that
takes you three (3) diopters, in strength. That will bring it much closer – and allow you to use your full zoom on the subject with a fair range of distance that you can…
if you need to follow focus. – and the third one – I’ve actually stacked
up to seven (7) on there, to film -and these were high-quality, really high-quality
ones – not not the average ones that you buy at the Camera Shop… and I can’t
recall the brand of those but I’ve still got some at home. Anyway – Questions, Guys…? I’ll answer any Questions… I’ll see if I can pull it out of my thick head? Q: I saw `Jurassic Park’ was on TV last night… they used your lens – Frazier Lens – for shots in that, didn’t they? They did. And in fact – that was Spielberg’s first use of the Frazier Lens – and he did make a statement after that – – he said “I’m never going on the set without the Frazier Lens…” – Yeah. Q: Can you put the diopters on- I’ve only got a (cheapie) 700D Canon… Can you put diopters on that? Yes; What’s the size of the front of the
lens, 52 or 62? You have to go and get a 62 mil diopter… that’s the filter
size that goes on the front – Q: Can you use step-rings? You can use step-rings – and in fact I’ve done that in the past, where I’ve put bigger diopters on a much smaller lens just using steprings. It’s just common sense… You know? It either works or it doesn’t. Right? The real truth is in the viewfinder. Q: So you could just buy a set of step-up and step-down rings? You could. Q: And just attach it to it… So, if you buy the one set, you’ve got pretty much every lens, you’ve got covered. If you’ve got- one of my favourite Macro lenses is a Canon 200mm. Now that’s – a long way better, in many respects, than just a 52-millimeter macro lens. Q: They say that with Macro, 100 mils should be – 100 mil is the average best size… but I prefer a 200mm… because you’re already doubled-up, what you want to try and magnify… Okay. Q: I’ve got 100 mil, that I’ve just bought to try a bit of macro… Good. Well – don’t be afraid to add the diopters to it – you can stack them. Get the one, two & three, (or four) – and they all screw into each other – and then you can – If it’s a very small subject, you could get right on it… The tighter and the closer you get to it, the more stable the camera has to
be… Because that accentuates the vibration, like you can’t believe – so lay
it on the ground I used to carry a little – like a foam
block – and sit the camera on the foam block – …the foam blocks actually take a
lot of vibration out – and you can jiggle it around, on the foam block – like, foam rubber – and it’s quite stable, and absorbs the vibrations. Q: Or a wheat pack (for warmth on injuries)? – You heat ’em up for your (sore) neck, in the microwave! Even a little pillow, like that… I’ve actually used those, too. And they do work! They mold to the shape of the camera… Yeah. That’s common sense. Plus, when you get back to the motel, you can just heat it up in the microwave! Q: When you travel, you just make the bag, and you buy rice… Fill it with rice, use it and chuck the rice away, and the bag rolls up. There you go! That’s the innovation, see? Just: `Think outside the box!’ It depends on the situation… you know – I’ve used sandbags… and they
mold too, if you jiggle it around a bit… Get the camera where you want it, but they’re rock-solid… So. Q: What about Lighting tricks, Jim? Obviously, outdoors is just available sunlight, but you’ve done a lot
of studio work, because you’ll set up situations… …Any tricks for lighting? Yes. Quite a lot. And I like to carry – it depends on what you’re doing – and the size of what you’re
photographing – but I always carried a translucent bit of plastic packing… You
know, the white packing you get – that’s translucent? …you hold that up to the sun…
that’s a lovely soft light to use… Reflectors…! Reflectors, to fill in
dark shadows – just a white color, anything like that – is perfect for just
adding that – and filling the dark shadow areas. And I’ve used many of the translucent ones with one light, outside – and so what happens is – you get light going through the main one, but it disperses light onto the inside of the other ones, and you get this
beautiful Lighting effect with the main light-source coming from the top, but
it fades out into the darker shadows, but it doesn’t go completely
dark. So you can make those at home and they have these bench-top light-boxes you
get now, that have reflective inside things – I’ve don’t know whether you’ve seen
them – I’ve seen them quite a few times now. You can go to the camera places and
buy – and they just they fold up, you can unfold them – and you- if you’re photographing objects – like vases – or jewelry – or whatever – they
really disperse the light beautifully Q: They start out at about 30cm and work up to 90cm… And they’re reasonably cheap on eBay. I bought one, they’re like those shades you get for your car windscreen. And a little set of lights as well, I think they’re about: (AUD)$40? I’ve got one that you actually plug a cable, USB cable, and just plug it into a computer. And the lights are within the box itself. They’re all fantastic in today’s scene…! I never had those when I was there – you had to do it the harder way – and jiggle things around – and put pegs in, and put your reflector up against a peg… And – Ohh… y’know? Q: You know Corfu, that makes Real Estate signs? I’ve cut squares off that – with its ways a rectangle cover it with foil – and you put that all in a box, cart
that around, all of the things that they sell you things in – they usually give it in a black type of zipper-bag… You put that item you bought into your camera-bag, and that bag becomes the packing bag… All different sorts of reflector – as well as the big 3-in-1. You learn a lot off the pros, too… I’ve done a lot of filming in dioramas – where there are no
corners – and you can disperse the light depending on how you arrange your lights
so that you can have a subject – usually people, in this case – and you can alter
the color of the background much more easily with colored lights behind the
Subject – and you can alter your – in this case – maybe 1000-watt tungsten
light, with a daylight filter on it, or whatever you’re trying to achieve.
Or you balance your film to the daylight film, or the- Q: Film..? What is this substance-? Yes – exactly…! Technology’s changed so dramatically – I was in the wrong era… If I had the technology you guys’ve got – I could’ve done my work in half the time… Q:Yeah but is it better? I think it’s as good. Because you’ve got all the ancillary stuff now,
that – like all the digital effects and things you can do on the side… I couldn’t
do that. With film – you had to get it right. And then of course – the big one was exposure. Getting the correct
exposure… And, Light-meters were- I think they’re a thing of the past now? But I used to carry 2 or 3 of them. Q: You still shoot film though, don’t you, sometimes, Jim? No. After a while, I went to video – but see, the format’s change, too… My archives are full of the old 4:3 format. Which was the original film. And you think about things like this – `The Leyland Brothers’…
They shot on Super-8…! Everything! And they were ground-breaking at the time, because
their stuff was going to television – shot on Super-8! Unheard-of in those
days! And then of course, 16mm.. but now everything’s Widescreen… And 16mm format-? You can tell, as soon as you turn on the television – you tell the old
films that are up there, because of the formatting… It was dead on the edges! Some of the old cricket (games) back in the 1990s – When it comes up (on TV), you go “What’s wrong with this-?” Q: Have you ever shot on IMAX, the big format, Jim? I’ve been on IMAX sets… a couple of times… I’ve got a very good friend, a guy called Peter Parkes in Britain – and he set up a big IMAX studio… And I’ve also been on the set, where they have a complete
360-degree panorama – where they set up six cameras on the top, and you can walk
into those, when they do the final movie – and you’ll get seasick – and you’re
standing on a solid floor! – And they have to provide rails — and I remember one film
I saw, they had this fire-engine racing down the streets of San Francisco around
all these bends – and everyone in the audience is going like this-! And they’re standing on solid ground! And they actually have to provide rails, for them to hang on to… That’s a good effect- That is… Y’know? – Extraordinary! Q: There’s one of those studios at the Lithgow Mines Rescue… I used to go there for work… with the Emergency Rescue Team – and they’ve got this panoramic room,
and you walk in, and they just turn the lights out, and the video on – and you think you’re in an underground mining system – boggers, and everything’s working around you – and you step aside – because you think the bogger’s
coming over the top of you…! Well – and what’s replaced that today? 3-D (VR)…! Q: Have you tried them? (3D/VR headsets) Yeah I have. And it’s… quite a journey your brain goes on. Q: My daughter put some on me, and she said “Okay look at it, Dad.” – So I’m sitting in there, and she said “Can you see the sharks?” I’m going “Where’s the sharks?” She said “You’ve gotta move your head to look for em!” I thought you just put em on – look into them, and the picture was there – She said “Move your head”, so I’ve gone “Oh, shit!” But the funniest thing is – the person who’s got em on – everybody else is having a good time watching them! Q: Did you ever do much Astro-photography? I’ve done the moon… I had to shoot a lot
of stuff about the moon – and I had a six hundred mil lens – telephoto lens… [Dr Jim] …and, a few times in your life, you get shots like this…! This is a silhouette of a Sugar-glider against the moon… And, you
try and get that shot…(!) This is like – – for me, it’s like winning the
lottery… And I used to have a doubler for the back of that. So I could shoot 1,200…
and I did the moon… And get it travelling through the frame… and you could see the detail on the moon… Helen: Tell the story about the boat – the Sydney-to-Hobart (Yacht) Race… Oh yeah – I got invited over to film… Alan Bond – yeah – and they decided to do a movie on when
Australia won the America’s Cup – And so I was invited over, and I took along my special lenses, to do weird things – and I did a shot, I remember, of
the yacht, going through the water at a great speed – and I had my Camera Assistant holding the back of my neck, and I’m down over the edge – and I had a right-angle lens
on – and I’m filming the bow of the boat, cutting through the water… and all I did was hold it over the edge, like that – and in another shot – you’ll love this one – it’s the guy (Captain) at the helm, with the big wheel – and I need to get a shot from the perspective of
looking up – so I used my F.U. (lens) This particular one was about that long, and I came up behind him and I put it between his legs, here – and got the shot I wanted! Q: I hope you warmed it up? Q: So you’ve done a bit of porn then, too? Q: What you said there is, that – you’re using your mind, and saying `I want to get: this shot’ – but I want to get
get it different, you know – It’s like when I told you the other day when I was down at in the (Olde Bridge) Art Gallery with you – …It was my friend, that – when we went up to
have that barbecue – he said “Let’s take pictures of the kids”, so I stood there,
I was taking pictures of the kids playing on the tree — he laid on his
back! – And from that time on, even when I was shooting the V-8s (Bathurst Motor Races), I was the bloke who was on my belly, with my legs, getting a picture of the cars (V-8s) hitting the kerbs, and up in the air – everybody else was standing up, and getting the standard shots… So you’re gonna look, and use your
imagination…Don’t be scared to try. If the shot turns out, it turns out! That’s how you break new ground…! And I was never deterred – I remember, I got them to haul me up the mast, on the yachts and I’m looking from the mast, down at the
crew, and the boat – and it’s a different perspective… And you have to think that way… If you want to produce innovative stuff-! You have to think the outside the box, and do something different, that nobody else has done… Q: They’ve got drones for that these days Jim? Yeah! Of course… Q: So what’s your next project, now? [Dr Jim] `Symphony Of The Earth’ is my big project. And it’s got to happen… It’s a must in this world. It’s crucial that it happens. Q: So what is it? `Symphony Of The Earth’ is a film designed entirely to change the conscious thinking on this
planet – in the most innovative ways, that have never been put on the big screen. [`Symphony Of The Earth’ – Trailer] (4 minutes) And it’s – using the people’s real heroes – which I said last night, are not politicians…. they’re: the biggest
celebrities and entertainers and singers and musicians in the world today. – That’s
who gets `bums on seats’ in the theater! And this two-and-a-half-hour blockbuster
film will be full of them. And the other innovation in it, is — I’ll be sending 35-40 wildlife
cameramen all over the world to film animals making sounds… And it can be
frogs – crickets – birds – all sorts of mammals…. And very high-profile composers and musicians will be listening to all this sound, and putting it together – and I’ll
be introducing the world to a whole new Genre of music… Not just that… I want to see `The Animal Orchestra’ — I want to see the animals making these sounds at the time
they’re cutting to that music. [JTV] And Jim you were talking about the Pied Butcher-Bird, yesterday – and I noticed in the doco `Sounds Like Australia’ (1987) they mentioned that Spielberg used that [# imitates Pied Butcher-Bird #] as the music in
`Close Encounters of the Third Kind’ when the aliens are trying to talk to the
humans… He did, yeah. (Q:) So it’ll be a whole movie using the sounds of – the music of nature…? [Dr Jim] For that sequence – I’ve got Jane Rutter – which is
Australia’s – one of the world’s best flautists… Plus another guy, from up at Wauchope, who’s making the flutes, to match the Pied Butcher-Bird’s resonant sound – and he’s pretty well perfected it! And so Jane will play that flute that
he’s made… – The birds will be up there calling… I’ve got one wildlife cameraman
that will be going around Australia filming all the different Pied Butcher-Bird calls – because all the regional calls are different. You can go to Woop-Woop, but it’s
entirely different to the ones here.. But similar! So – what that does is give
the composers a great choice on how to put this together. And Jane wants to be in
on that when it happens – and she will help compose the piece. And then Jane and this other guy will be doing the counter-melodies. We can’t change the Pied Butcher-Bird sound, but we can harmonize with – Jane, and the other guy. So, there’s that sequence… So, I can describe some of the sequences… `Symphony Of The Earth’ sends very serious messages in the lyrics of
song… Now, I’m always thinking visually – and entertaining. – How it can be
entertaining, and different from everyone else — So I’ve got a sequence with Pink in it – I’m putting Pink out among the flamingoes – And she sings – she doesn’t like politicians, I can tellya. And she’s singing a song, while she’s out among the flamingoes:
“We need to pick politicians as green as grass – – not as Pink as my ass!”
So there’s humor — there’s lots of humor in it. So – to give you an idea of some of the
animal implications in it: there’s – one of the big `hit-lists’ is frogs, all over the
world – and you’ve got the same orchestra with in all the frog calls… And there will
be a collage of frog images on the screen, and they will be activated when
their turn comes in `the Frog Concerto’, if you like. And then,
what was the other one – the Parrots – I’ve got a big sequence with parrots of the
world – called `Parrot-phenalia’ and the same treatment as the frogs… Yeah. And we get
to the serious stuff – I want Morgan Freeman to deliver the main message, along with
Joanna Lumley – the serious messages in the man’s golden voice – with Joanna Lumley – I need female interactions with the males as much – like one of the parts in
the poem for Joanna Lumley goes: “We need more women in high places – to lead the world with gentler graces – Men love power – sword – and lance — but
women cherish sustenance.” And this is a five-page poem that they will be going through. It’s serious stuff, to change the conscious
thinking of people – in the masses – and the only way to get masses – is to present
something so entertaining – and so lovable – that it will put – literally – billions of bums on
seats… Because it’ll be in 16 languages. It’s just as important in China, or in
Russia – or wherever – to get the message out to the masses. About how we’re
killing this planet. – And that’s what it’s about. Ostensibly. There’s a laughing sequence in there. Where we use animals… that laugh – literally! Have you heard the… (- kookaburra, hyena?) – – there’s a bird I was sent the
sound of, a few months back from Singapore – it’s one of the Hornbills – there’s
five species of these – but this particular one goes: “HAHAHAHA… HAHAHAHAHA…” – It’s better than the
kookaburra! And then you’ve got hyenas – So by the time you piece all these
laughing things together – the chortling sounds of a lot of birds, sounds just like
laughter. The one I’m thinking of, is the one with the bald head – the Wattlebird! Have you heard Wattlebirds, chortling and chuckling? – It’s fantastic! So, you know – when you when
you piece all these together, to make up a cohesive sequence, of these animals
doing specific things it is: Sheer Entertainment — and it will put
bums on seats, in a way that no other film ever designed, will. Q: So how long before it’s going to be ready? When I raise (AUD)$38 million dollars to do it. And I need people such as you – – if you have a friend – you get
enthusiastic about it – tell your friends and say: “Man, if you invest in this film,
you will make a fortune!” – Because they will! I think I’ve got to ring up and answer a call that was left for me — I’ve got a guy
out, trying to help me get this project off the ground… He’s well-known – he’s
been in contact with `The Shark Tank’ (TV show) And I think I’ll be going on `The Shark Tank’. Q: So how far away are you? Well – everything is ready-to-roll tomorrow – once I get the money. And I’ve got a good team behind me – they’ve been dedicated for many years now… We are a Non-for-Profit, and all the book-purchases that people have made here this weekend, all goes into `Symphony Of The Earth’. I don’t get a cent out of it – and I did it
for that reason. Q: Could you have a GoFundMe page, for the smaller investor? Unfortunately, $38 million is too big
for those programs… And if you – If you want to go that route – maybe if you
could get the (film) Sequences… But then – You’ve still got to get all the money, to
justify getting a small amount… and if you don’t get it – of course, you’ve got to pay it back. Q: Would you take smaller donations, like $500 and upwards? Absolutely, yes. That’s like me selling: two or
three dozen `Butterfly’ books. This would be most serious attempt of all time, to awaken the masses to the serious problems on this earth, which you are not being told about. We’re all dumbed-down by mainstream media – to a point that distresses me. `Future generations on this planet’ is how
we should be thinking… Forward-! Because we’re not leaving them a very good place
to live in. The world’s environments are being lost at a rate of knots. I think I said
the other night – we’ve already lost 53 percent of all plants and animals. That puts us over a tipping point! You cannot get back what’s been lost. You can only halt the losses – and hope
that we can sustain it. We need to – we need the people – the masses – to influence the politics on this Earth, that are killing the planet. And the only way that’s going to happen is – by the masses – and the high-profile people. Q: When you were talking the other night, you touched on: “inhuman climate change”…? What did you mean by that? Well- We’re supposed to be humans – but we’re actually being in-human, towards the environment. And we’re killing ourselves. And until we change that conscious thinking, we will continue to kill ourselves… And make it
extremely – so difficult – for future generations… Look at the flow-on
effects. – From my point of view – I’m at one with the environment; I understand
to the extreme that most people don’t. I can see things going on, that just goes by the average person. Now just around here – you have all these lovely big trees out in
the paddocks – right? Show me one young one, that’s coming up to replace that! – As they die…
they’re gone – but farmers across Australia should be planting
billions of trees – there’s a great example in Western Australia where they
grow trees in the wheat fields – in rows – and they get a higher wheat yield out of those areas than the plain paddocks!! Alright?
That is common sense. But – that needs to be done on a broad scale. We can’t keep the deforestation system going any longer. People don’t realize it – that, trees
actually put out signals, to attract rain. If you have- …the whole world is vibration –
by the way. Everything operates on vibration. Us – trees – plants – the animals.
If the trees don’t put out enough signal – – because there’s insufficient of
them – you don’t attract enough rain. And each species of trees puts out a
slightly different vibration – but they’re all tuned in together, to attract that rain. Q: Jim, I see Jim (James) Lovelock just has a new book out – `Novacene’ (2019) – he’s 100 years old now – and I just read `Novacene’ but will you be mentioning his `Gaia Theory’ in `Symphony
of the Earth’ ? [Dr Jim] Gaia (Theory) plays a big part in this. I did all Mary E. White’s photography for her
books `The Greening of Gondwana’ (1986, 1998) and that… Mary was a top scientist – and an
absolutely delightful lady – and she used to talk to me about Gaia, and the Gaia Theory – and at the time, I thought she was a bit crackpot. I regret that. I truly regret that… Gaia is big on this planet. And, the more tree-huggers – like Olivia Newton-John, she’s in with `Symphony Of The Earth’ – the better! I want Olivia to sing about deforestation, and trees, and stuff. [Dr Jim] …Right! …Here Endeth The Lesson (Again)! – Unless you have any more Questions. Q: Can you tell us a bit about your Butterfly book, Jim? [Dr Jim] Oh – you want to know how I do it-?! Are you quick on your feet…? Q: You tell him, and kill him – and we’ll just listen. See you can use your imagination… [Mr Squiggle] “It’s upside-down Miss Jane?” Now – this guy was put in the fridge… I
mentioned to you – cool them down – NOT THE FREEZER! The fridge! (refrigerator). …Ten minutes. You can take the container that they’re in, out – and sit them on the prepared stump, that you’ve already set the lighting up on…
which I did in this case – see the soft light underneath? And that was using that
white Reflector – because the Sun would have made it too contrasty. Helen: I can tell you how you’ve got to stand – for 2 hours – and hold a Reflector over it… [Jim] But – it’s all common sense. Y’know? Q: Unfortunately it’s not a Subject they teach in Education these days. [Jim] Oh, okay – well… Q: It’s the imagination that’s involved in: “How am I going to get this shot”? You know, you don’t follow any rules – soon as you follow rules your imagination is going- [Helen] The best-selling butterfly image, the leaf was chosen (first) for its beauty – then we had find the appropriate moth to put on the leaf! [Helen] That one didn’t start with the butterflies or the moths, it started with a leaf, that was perfection… (the `background’ image) [Jim] It was just a beautiful leaf – with the lovely veins on it, and… backlit – And another one that comes to mind is the Green Frog, with the moth on it. I just got the idea… Wow, wonder would a green moth camoflage on the frog back? And we had these frogs at home – real pets – I could just go and get one – and sit it there, on the appropriate background… and with a moth, in the frig – Q: Don’t frogs eat butterflies? Q: Yes but not if they’ve been in the freezer. The FRIDGE! The fridge! They’re (frogs) tactile. They only will eat the stuff they see. So the fact that, I put it (the moth) on its (the frog’s) back… It didn’t see it. [Jim] Okay? …Try it. Q: What about the colourful ones on your cards? Yes – the ones in flight… Q: Is that timelapse? (photography) [Dr Jim] No… That’s: hard work! That’s: `How fit are you? Can you run?’ Can you chase them? Q: No… Well… (then) you are destined to be, one of the regular people, who photographs them on flowers. Q: So those card ones are in flight, are they? [Dr Jim] Yeah. And there’s no- (special effects used) Now – thats – I use these Filters, on the camera lens… [One of Jim’s cards: “Frozen Beauty”] The only thing is – you have to orient it in the way that the butterfly is going – and be prepared to do that – in order to
get the flight-lines in the right direction… Q: And your background-colours are to do with the filter? Yes, they are. And for that, I don’t want deep-focus. I want out-of-focus backgrounds. …Blurred. Because this (the butterfly) is the main subject – it’s not the background that’s the main subject. I’m not: `putting it, in it’s environment.’ Q: So you depth-of-focus is pretty shallow there? Pretty regular. But I like to use it f/16
minimum. But with a Macro Lens, to do that shot – at f/16, the background will be out of focus. Q: You can do that with Photoshop…? [Jim fires up] There is no Photoshop in any of my work(!!!) … None! I actually tell a lie – with some of the crystal stuff, I have got out defects with Photoshop. But that’s as far as it goes. Q: So you don’t do any adjustment whatsoever? [No.] …No sharpening? [No.] Q: You get it right the first time. [Yeah.] [Wendy Smith] For our visitors from Orange – we’ve got the butterfly canvases down at the [Olde Bridge] Gallery, if you want to come down. Q: So your crystal stuff is paintings, not photographs? They’re painted, in miniature. And if you go down to the Gallery – there’s a glass plate down there, with the crystals on them… – and you’ll see what I’m actually
painting – originally – before I ever put a camera near it. – and it’s all painstaking work – and I’ll
tell you – the others have heard it – I put crystals, of a certain type, in solution
– and dissolve them – and you know yourself if you put sugar in water, the sugar
crystals dissolve – but if the water dries out, the sugar crystals reform – they have
to… That is the process. And so these are the specialized crystals, that I can mix
different things with it, to produce different results. Q: How did you start doing that? (making crystal art) Because the ABC approached me… They were doing a big film called `The Big Bang Theory’ – and it was a documentary, and they
approached me to do all the Special Effects for it because they knew I knew a lot about chemicals – and I could get a lot of SVFX using chemicals, in water – with fluids – and mixing dyes in with the different chemicals that got different reactions. Have you ever seen Methylated Spirits, in your sink? And how it disperses? That’s the principle. [Wendy Smith] Helen – can I have you down the front too, please? [Wendy] We have had a delighful weekend, Jim. Fabulous night, last night – and fabulous [Exhibition] Opening – Just a thankyou gift from the Olde Bridge Gallery… And… Carmel has something special from the Camera Club [aka – Newbridge Photography Club] [Carmel] Jim, thanks for coming, and sharing all your wisdom with us – we look forward to `Symphony Of The Earth’ coming out. And here’s a little reminder. And even though it (the wine) says “Orange” – the grapes are Newbridge! [Wendy] And everyone’s welcome to join us for our sausage sizzle! [Helen & Jim] Thank you everyone!

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