139 segments
There's something that the whole world missed out on throughout the ages of this story being out.
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Is the fact that we've always focused on what Bob did at S4 or at Area 51 working on flying saucers.
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But there was a lot left out about who Bob Lazar actually is as a human being.
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Who's achieved? Not that any of that would have required alien technology.
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So basically the delay happened for a lot of reasons and the main reason was quality.
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As we were building the project, as we had developed S4, the entire Papuz mountain range and all that landscape around the base,
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we had done that all in a 3D software.
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But the actual software was actually improving over time and we had to make some strategic decisions.
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If we were to just continue with what we had created or do we go the extra mile, spend the extra dollars and upgrade the project.
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So the decision was technical, it was quality, it was for visuals and we really hope people like the final product.
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The project actually was not supposed to be a documentary film.
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Neither was it supposed to be a VR experience.
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Initially started out that we were going to be making a die cast model of flying saucer he worked on.
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And as this project was evolving and we were building the craft in a 3D environment,
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we started seeing the potential of creating the entire base.
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And we started building the hanger which was super cool because now you have a real three-dimensional physical.
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Real size environment where this craft was parked in.
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We were slowly getting into the concept of maybe this is going to be a VR experience.
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We were not thinking film.
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And we said well we could bring people back to 1988 with a time machine.
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The sleek stainless steel DeLorean.
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At a certain point I saw an ad come up on my computer that there's this company in the United States that rents DeLorean time machines from back to the future.
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So when we finally rented the car we all went out to Las Vegas.
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The whole production crew here, Bob and his wife all flew out to Las Vegas and we all drove out into the desert.
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And we ended up on this huge dry lake in the middle of nowhere.
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The guy who owns the car was there because he wanted to make sure we were not going to break the car.
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Because we were only supposed to like drive it really slow like 10 miles an hour.
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And we thought this is just not good enough.
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We need something better.
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And he eventually gave us the okay.
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And as soon as that happened it was like a turning point for the whole project.
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We knew at that moment that we had the opportunity to create a documentary film.
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The shots we had were just way too good.
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Bob's a very, very down to earth kind gentle soul.
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Like he's a good guy.
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You get to meet him.
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You see a different side of what you kind of read about a lot out there.
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So I mean this is not a person who just did that back in 88 and 89.
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And this is a man who was in charge of a big event called Desert Blast for many, many years in Nevada.
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When every reading about Bob was our on the internet it's just always gravitating to what he did at S4.
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But one of the things that I can say is he's an awesome person, very kind, very honest, very credible.
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What he's done with us is the generosity of his time, the generosity of providing us the information.
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I mean he's always been cooperative, he's never stopped helping us, he's always been there at any moment we needed him.
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So that part of Bob Lazar is going to translate.
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I can say it here in this interview but you'll also see it in the film.
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The VFX evolved in such an incredible way.
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I mean we started off with the basics of 3D.
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So the last three years have been paramount in the world of 3D.
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Specifically in cinematics, things that you could use in actual film.
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And not just video games or 3D virtual reality experiences.
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So the evolution of it is paramount to what we actually saw in the results of the project.
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The biggest thing was how we went about creating the textures for the craft.
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Regardless of how amazing this technology is that allows us to do all this,
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the craft itself was a very difficult build that we had to do. It was the most challenging.
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First of all, the craft itself, although it looks like it's made of metal,
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there is a specific look we were aiming for.
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Bob had explained exactly what this thing looked like,
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how it didn't have too much reflectivity, but it still had a little bit,
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there were a little bit of usage on it, but it looked pretty new.
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But when you're creating that in a virtual environment,
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there is a very complicated situation when you're in proximity to the object
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and when you go further away.
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Every time we were close up, it was perfect.
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As soon as we would go further away from the object,
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it would start looking like a cartoon.
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So we had a lot of trouble with that.
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And the evolution of what we were developing inside the software
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is along with coming up with the best textures
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and mixing them together, creating our own textures.
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I would say that was the biggest challenge at a certain point.
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We couldn't get that craft to look real from a distance.
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Up close, it always looked amazing.
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And we finally got that after two years.
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We had to actually write our own programs, either tools that were customized by our team
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inside some of those programs, or actual software that we created.
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So one of them is the Daging Bob Lazar software,
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which was completely done in-house.
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Although he's a pretty well-known figure out there,
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there's not a lot of stuff back in the 80s with Bob.
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So we had to write the software ourselves to actually utilize the limited amount of data
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that was out there to recreate him as a younger Bob today.
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So that was a really cool thing.
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There was a lot of challenges have been every single day,
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whether they be physical challenges.
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Did we have the right shot?
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Did we get the right angle?
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Like anybody who's in filming knows what that's all about.
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Sometimes you're dealing with cinematic challenges.
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In terms of the softwares and how we were blending real-life action with CG,
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Because what we want to do is make sure that it's a seamless transition,
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that you do not see when it goes from real to not real, basically 3D environment.
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I think that probably is the most challenging thing,
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and time consuming as well.
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But the result is absolutely incredible.
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The whole project, well, the whole movie, was shot out in the Nevada desert.
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We actually shot on the dry lake with the DeLorean.
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We then went out to Area 51 at the back gate,
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where we shot there with the DeLorean as well.
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We went out to Rachel and Nevada.
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A lot of interviews with them in Las Vegas.
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We did that with Maris Anacruz, Gene Huff, George Napp.
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We actually went to George Napp's house.
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That was really, really fun.
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Got to experience a whole bunch of cool stuff that he had to do.
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He had a cool stuff that he had at his place with Bob.
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And then Bob Lazar came here to Montreal,
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which is a huge, huge production that we did right here in this studio,
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where we had him on a green screen,
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we had him in different locations interviewing him about everything that happened at S4.
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Spending time with Bob was not just like one or two shoots.
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I mean, this is almost like a three-year project.
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It's like incredible to have had that experience,
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understand who he really is, so that the team.
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I mean, we spent days together, we traveled together.
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Well, this is great.
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That's the smartest, biggest kid you'll ever meet in your life.
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I mean, if you really want to see Bob's soul come to life,
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you also have to see him in his lab, in his work environment,
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where he's playing around with things that we usually don't see people doing.
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And he's so good at this.
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He's very careful, very methodical.
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He's a professional at it.
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And it's impressive to see that.
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And you can see his true passion is working with chemicals,
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working with explosives, working with uranium.
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I mean, this is something that you could see.
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This is who he really is.
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I can't stress enough how important to show the true Bob Lazar.
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True Bob Lazar in all this.
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This is something that we experienced,
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and we felt as if this was happening,
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that we had to bring this to the public, to the audience.
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We're going to be giving you a ton of information about what's to come.
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Definitely like and subscribe to this channel,
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because there's definitely a lot of cool stuff on the way.
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