This alien is not AI. And in fact,
moving forward, I will no longer be
using AI generative imaging on this
channel. Goodbye slop. Hello props.
So, while I tell you what's changing in
the videos, which analog tools we'll be
using to help tell these stories, and
most importantly, why uh which isn't
what you think. I'll be taking you
through my studio and showing you things
only podcast guests have ever seen. And
stay tuned to the end of the video where
I will share my most prized and valuable
piece of UFO ephemera.
So before I talk to you about why, let
me tell you about what's changing on the
channel. And it's very simple. No more
generative AI imaging. meaning we're not
going to be using any photos or videos
made by AI. That being said, I don't
necessarily have a problem with AI. I
use it for research. The software that
I'm using to edit this video probably
uses AI as well. So, to be clear, no
more AI generated imaging. And to tell
you why, I'm going to take you back to
where it all started. The old stomping
grounds. Follow me.
So to be completely transparent, this is
not a moral stance. It's not a political
stance and it's also not an
environmental stance. Uh this has
everything to do with my own creativity.
I've noticed that since I've began using
AI imagery, I've shot a lot less. I've
done a lot less videos like I used to
do. You know, back when we started this
channel, we had these full-blown
investigations that were, you know, kind
of this mix of this sole story happening
mixed with all sorts of fun archival
B-roll that we would get and we would
have a lot of fun being creative. And I
found since using AI imagery, it's kind
of stifled or held back a lot of the
creativity and I'm not growing as fast
as I'd like to as a cinematographer, as
an editor, as a producer, as a writer,
and it's just been really easy to use
for me. And so, it's been kind of a
crutch and I just want to get away from
that. Number two would be world
building. As you can see, every set that
we have takes place in sort of this
weird midcentury50s,60s7s
era. And everything back then was
analog. You would use typewriters or,
you know, these old tape recorders or
microphones or what have you. And and I
feel like using AI kind of takes you out
of that. So, it removes you from this
little fictional bubble that I'm trying
to create and immerse you in when I make
these videos. So really the worldbuing
aspect of it I think will benefit from
stepping away from generative imaging.
Number three is the challenge. This, you
know, I
it's so easy to use AI nowadays to just
prompt something. And again, I don't
have an issue with that if that's what
you're doing. Smaller creators, if it
helps them reach that next level because
of the overhead or because of time
constraints, do your thing. I really
don't care. This really has to do with
myself and my team and what we're
capable of. And one thing that I wanted
to do is challenge myself a little bit
more on this channel. And whether that's
tackling subject matter that might be a
little trickier, whether that's going
out boots on the ground and filming
stuff or whether that's creating that
immersive sort of feeling you get when
you watch these videos by using, you
know, various props and whatnot.
Number four, really this one kind of
goes without saying, but because we're
dealing with, you know, UFOs and aliens,
and there is already sort of this
muddied up imagery that's out there that
we don't know if is real or not. AI
really isn't helping that cause for a
lot of people. Now, I know some of the
younger generation might think, well,
they can detect slop a mile away, but I
think a lot of people are also
understanding that we're getting to that
point where we're not going to be able
to tell the difference. And I think it's
important, especially with the subject
matter that we're dealing with, which is
UFOs, to be as honest and transparent as
we can and without muddying up the
waters even further. What's funny is I
was looking through these old magazines
uh in from the ' 60s and ' 70s, these
UFO magazines, and they used to actively
once a year have these photo contests,
and then they would showcase the best
UFO photos, but there was like an actual
prize to win for submitting the best
photo. Now, if that isn't an incentive
to create a hoax, I don't know what is.
And I fear that that itself probably
muddied up the field with a lot of fakes
already. And so I think incorporating AI
in that way isn't really helping the
cause. And lastly, this is probably my
favorite reason, not my number one
reason, but probably my favorite. And to
tell you about it, I'm going to take you
to a brand new set that we have just
built. And I will also show you the prop
that I was talking about. And so if you
will folks, please join me in the
archive.
Now, to tell you about how we're going
to go about replacing AI generative
imaging in these videos. And to do that,
we're going to need a lot of help. some
of your help actually. So, I reached out
to the community and I'm currently
working with about close to a dozen
artists right now that are handdrawing,
painting, and sketching a lot of the
scenes that are going to depict some of
the upcoming episodes. And we will use
those sketches to cut away to. So,
instead of generating images through AI,
we're generating images by human
illustrators. We're also going to be
using a lot of costumes, a lot of props.
We're going to hire actors and we will
also use a lot of the archival stuff
that you see around me. This isn't just
filler props, although it looks great.
Um, these are actual videos and reels uh
that we've had digitized that we'll be
able to cut to. And we're also going to
use some of it, whether it's the
microfich back here or the 16 mm reel.
We've also been going through the entire
archives of magazines that I have, page
by page, painstakingly b-rolling every
illustration and title that we can find
that'll help tell the stories. Point is,
I kind of want to do away with using the
generated imagery. I think that where
this channel is going, and I think that
the skill set that the people who work
with me have far exceeds whatever prompt
we could come up with. And I think all
of that is really stifling our
creativity. And by making this switch,
not only can we challenge ourselves to
create better content, but we can also
enlist the help of a lot of amazing
artists that will end up showcasing
here, who by the way will be paid for
their work. And you will find all of
their information in the descriptions
and on screen when I feature some of
their art. But no hard feelings honestly
for people who do use AI, whether it's
generated imagery or whether it's vibe
coding an app. You do you. I have no
problem with it. Uh, the reason we're
doing it is purely out of selfish
creative expression and hopefully that
translates through these videos and
hopefully that inspires creators out
there to perhaps do the same. And if it
doesn't, that's cool, too. But we'll be
over here filming silly stuff in silly
costumes, using a bunch of silly props,
and enlisting the help of our community.
So, if you do enjoy this and you want to
encourage us, um, simply like this
video, subscribe, comment below, and
head over to our Discord channel. In our
Discord channel, we have a subsection
that is devoted entirely to art from our
community. And it is there that a lot of
the artists have submitted their work in
order to be chosen to help with this
channel. So if you want to submit your
art, whether it's props, whether it's
paintings, drawings, even digital art,
which we will not be using for this, but
we might be using, you know, for
products, who knows? Go ahead and share
your art over there in our Discord. Um,
it's open to everybody. And yeah, that's
it for this week. So next week, stay
tuned for another video and we'll see
you then. I almost forgot.
My coveted and most prized possession in
terms of UFO ephemera.
This folks comes straight from the
archive of Wendell Stevens himself, a
famed researcher who's written a lot of
books on the UFO topics and studied a
lot of contact cases. Well, a lot of his
original photos of UFOs came up at an
auction and I got a whole bunch of them.
And so I'll show you a few of them, but
a lot of these will be used in upcoming
investigations. So this one from 1942,
uh, actually purchased from a Japanese
general in China. You can see a UFO
there. There's even a guy pointing to
the UFO.
You can see some of the writing here,
possibly from Wendell Stevens himself.
This one was Amorei Rivera, the original
Amorei Rivera photos of an F-14
seemingly chasing
a flying disc.
Then we go to Albuquerque, New Mexico in
1965.
A disc standing up on its side. And then
over here, just kind of turning around.
Now we go to Honolulu, Hawaii. A very
famous photo of a UFO here caught in the
sky. Just wild. Kfax, Wisconsin. Mark
coal train. Look at this one.
Now again, a lot of these could be
hoaxed. They could be fake. Some of
these have incredible stories that go
along with them, which is what I'm very
interested in, such as William J.
Herman, otherwise known as Bill Herman's
UFO photos. Some of the most stunning
UFO photos I've ever come across. These
are absolutely beautiful and really hope
they're real, but who knows?
Santa Fe, Argentina. Another UFO tilted
to the side here. And the list goes on
and on. This book is filled with
original UFO photos that we'll be using
as well in a lot of the videos that we
cover.