egafd.com

What Do Girls Want?

Is Art in Porn Needed?

Or are Story Lines a waste of time?

Could there ever be Porn Movies with Special Effects. (I know they are out there)

When will 3D-Porn become the norm?



I am Interested in forming a UK Porn Company(or working with established companies/artists), a Co-Operative of Performers who have the right I have done work for Red Hot Dutch 3 half hour programs, and one shoot for Private, but after many years waiting in the wings, I feel it is time to put my skills to the test.

I want to explore Creative Possibilities brought about by the latest Digital Technologies, and production techniques. I Film, Edit, Post Produce, Design all the Computer Graphics Graphics for Priint or Video, and can Author a DVD. I am interested in producing multi angle DVD's and 3D Porn Video's, for playback on eyeglasses,. I am also interested in using Ring Lights (Kamio 6) and other Kino Flo?s, and also other Cinematic Photography Techniques for increased or de-creased ?Depth of Field? in Digital Video.

I want my productions to utilise advanced filming techniques to simulate 35mm film, and one of these days I will produce a movie that wins an Adult Video Network Award (AVN) ethre for technical achievement or Best use of Technology, Cinematography or Best new Director of Photography.

But I cant do this on my own I need people to work with and also need distribution etc. so the only way for me to do this may be to do it for someone else

ANYONE INTERESTED VIEW MY WORK THEN EMAIL ME.

examples of my visual expertise can be seen at www.i-matter.net (sorry no porn there just Photographic work and Computer Generated Artwork)

vrsex@i-matter.net



If anyone else out there is interested in forming a co-operative to make these advanced production
please email vrsex@i-matter.net, that?s Models, Financial Angels, and Investors.


Thanks for your Time, Johnvid

Do cakes dream?

Has the swan returned the library book?

Is punctuation a lost art?

Is the posting above a pile of wank?

"Is punctuation a lost art?"

Perhaps the Panda wrote it!

Mart

Hi,

Have you seen this from 3D Fantasy Films Inc. ?

Teen Beauties in Heat One of our latest releases.

Definately different!

Apparently it's done in the editing, they slightly alter the convergence of the image and shift the red and green apart. Bit technical for me, but www.howstuffworks.com is an amazing source of info.

I can assure you it isnt, but yeah my punctuation is shit

Thanks for your response, I havent seen it but I will be getting it, there are a few different techniques, it is probably done with a technique called, Chromadepth, some info here http://www.sledgeham.com/3dfilm/3dtv.html

other techniques listed ther also the pulfrich version can be good and I have seen movies done with this method (Telecast),

but I plan to make them using field sequential imaging but, I may have to do it in an easier viewing format so the titles could be seen by more people

The other poster's seem to think this is an english class????
---------------
MAKING THE EXPOSURES
3. Using a beam-splitter

The beam-splitter (more correctly called an image-splitter) is a device which attaches to the front of the lens of an ordinary mono camera and by means of mirrors or prisms produces two images of the same scene side-by-side on a single frame of film. The advantages of this technique are: (a) simplicity - the bearn-splitter simply screws on to the threaded front of a standard camera lens and can he put on or taken off at will, enabling stereo pairs and mono exposures to be mixed on a single roll of film; (b) economy - no special processing or mounting is required as the stereo pairs are contained within the ftame of a normal mono exposure; (c) reliability - provided the attachment is parallel to the run of the film in the camera the image pairs will always be in register with each other, and of course are completely synchronised.

There are, however, substantial disadvantages as well.

As a result of one eye-view effectively passing through one side of the lens, and the other eye-view passing through the other side of the lens, the device introduces distortions in opposite directions in the two images.

Also, as transparencies, the stereo pairs can only conveniently be viewed in a complementary hand viewer. The picture size, on a normal 35mm transparency, is small - no more than about 16 min in width at most, after allowing for the overlap of images in the middle - and although it is feasible to remount the half-frames in a small (eg, Nimslo-size) stereo mount the fusion is often rather unsatisfactory. The vertical format and the relatively long focal length of the small images do not lend themselves to satisfactory composition of many pictures: the best applications being for portraits and other near-to subjects. There is a risk of ghosting or flare due to the scattering of fight in the mirror system.

Nevertheless, the beam-splitter is a useful tool for experimentation with 3-D photography prior to commitment to purpose-made equipment. It is particularly suitable for the production of stereo prints in the form of normal en-prints from colour print film; such prints can either be viewed without modification in the Loreo (or a home-made) viewer, or cut up and mounted on board for use with a Holmes-type viewer.

Availability of equipment: In the past, beam-splitter attachments and viewers have been made for specific high quality cameras (eg, Leica and Contax) and for general use (Stereax): these are occasionally available on the second-hand market.

A Japanese-made system with the trade-name of Stitz, produced in the 1960s-70s, comprised a beam-splitter with adjustable mirrors to suit a range of focal lengths, a projector attachment (not very effective) and a viewer for stereo en-prints. The relatively recently discontinued Pentax Stereo Adapter Set, comprised a beam-splitter attachment and viewer, selling for around ?60 (either component was also available separately). It could be used on any 35min SLR camera with a standard 50mm-55min focal-length lens: it came with a 49mm filter thread but step-up rings were obtainable to adapt to other lens mount sizes. It could also be used, with limitations, on 120-size SLRs with standard 75mm-80mm lenses (where the wider film gave greater flexibility for remounting in stereo mounts).

The Franka Beam-splitter, a lower-cost alternative to the Pentax model, was available from Reel 3-D Enterprises in the USA. It did not include a viewer and was designed primarily for en-prints (for which a 3.5x5 inch print viewer was separately available).

The Loreo Company have offered a camera which is also designed on beam-splitter principles, incorporating angled mirrors on its front panel and having many of the characteristics of these devices. Although it can be used experimentally for the production of stereo transparencies, its simple point-and-shoot design (with fixed aperture and shutter speed) mean that it is only really suitable for the production of stereo prints from colour negative film with intrinsically wide exposure latitude.

Loreo have also introduced a "3-D Lens in a cap" which is basically two lenses with a mirror spreading/transposing box, which is produced with camera mounts for several popular SLR bodies. The two-lensed approach does not suffer from the distortions inherent in the beam splitter designed for single lensed cameras, but the Loreo version is designed to work with their viewer, and so the images are transposed on the film through the design of the mirror box, and unfortunately this does cause some keystone distortion.

It was the first Ninn Film (Latex) that got me thinking I could do that, because I thought that was BAD, but he got an award for it, and he is making them, Unlike me who is just talking about it at the moment.

I havent seen his latest stuff and I am not disagreeing with you it ART in MalePorn is possibly a waste of time, perhaps I should only make films for girls.

Though my point is one shouldnt stop experimenting with the genre or totally ditch high production values, and I looking for people who would like to work with me to try some stuff out, or if anyone out there has a production company that would like me on board...

let me know. I think to have these ideals is better than being an obnoxious lurker...

Apologies for my cack handed attempt at humour.

Given that every every UK smut peddler who posts here already claims that it's impossible to make a decent profit (even when they're filming Tesco cashiers taking double penetrations in pay and display car parks, rather then investing in sets, costumes and locations). Surely it would be near impossible to recoup the investment required if you plan on adding expensive post production digital effects? Isn't the technology expensive, given that most UK produced films are made for budgets of ?3-?4K?

Yeah agree with above but count me in and contact me privately if you get the funding, I'd love to be involved !