‘UFOcalypse Now’ Video With Synthesized Audio Triggers Psychic Dimensions [video and article]_Featured_, UFO, Videos Thursday, October 11th, 2012
“I wanted a cinematic mission,” explains UFO videographer Jon Kelly in UFOcalypse Now, a new video posted Sunday October 7, 2012 to YouTube. “The ETs apparently gave me one,” the Vancouver-based SecretMessageTV executive producer continues, paraphrasing lines from the more well-known Apocalypse Now. Francis Ford Coppola’s psychedelic and hallucinatory 1979 Vietnam War film is rated “99% Fresh” on RottenTomatoes.com.
Click here (or play the above video) to watch UFOcalypse Now on YouTube’s SecretMessageTV channel. Taped on location in Dallas, Texas, all sound design and video post-production for this project was completed in Vancouver, British Columbia, Canada.
Deep South Connections
UFOcalypse Now revisits Dallas, Texas providing a new look at a daylight sighting that took place in late 2010. The video also attempts to evoke the psychic dimensions of contact through the ambiance of a soundtrack populated with synthesized location sound.
The narrative states how, “In terms of UFO secrecy and ongoing government-sponsored cover-ups, a “UFOcalypse” reveals humanity’s deep connection with the universe (including our potential for contact with extraterrestrials and UFOs).
“Such revelations today mark humanity’s entry into a post-Disclosure society. People can now live with an understanding of how contact with ETs is normal in what science increasingly describes as a multiverse filled with life.”
In the documentary The Sound of Apocalypse Now, sound designer Randy Thom states how synthesizer-processed sounds of helicopters that key the opening of the film depict internal sounds heard within the mind of the central character.
“The whole beginning of the movie is Captain Willard’s point of view. You hear this helicopter circling around you. And for a long time I was thinking “Why is this helicopter synthesized?” That’s the way Captain Willard is hearing it. And that’s his brain we’re listening to.”
Film editor and sound designer Walter Murch concurred, telling Salon.com how, “The beginning of the film was a trigger for the psychic dimension.”