I'm super pleased how these are coming out - much more definition in the video sorting that color balance.

I don't know if you just picked a bunch of amazing models with exceptional personality or you/Kosalsku/Miss T were just masterful directors, but there was a real magic to the content you produced in the 2000's and early 2010's that has never really been matched.

I'm loving the remasters, although there is something weird about the motion smoothing on wider frame shots of slime pouring that makes them look almost AI. The closeups are insane though.

Either way, thanks for the memories.

Makes me think of how much fun wam is compared to ai generation

I fully agree. Truly professional production. Great casting, good direction that took place *before* shooting began - no forced reactions, no blank expressions, no "look up!"; everything feels natural. You can tell the models understood what was happening and why in these scenes, Every scene was properly lit, with good pacing, and excellent hand-held camera work. I think noise was the only person doing hand-held and it really gave the scenes a dynamism that the competition lacked.

I miss GungeGirls.

I always loved seeing Fi get messy! Love me some gorgeous redheads!

I'm singing Fall Out Boy now, also from the same era as these clips.

Fi was one of the most gorgeous models to ever be gunged. She was smoking hot!

IFLF

Also sad she never cummed on camera

Thanks for the really nice things you guys said. It's very much appreciated. We really did have a great dynamic at the studio, which translated in the videos. I was incredibly lucky to work with the Kowalskis, MissT and all the models of the era. I've got a ton memories and stories I could wax on about. Maybe someday I will.

On the handheld, yeah, I believe I was the only person working with that. There were a couple of reasons. From a practical point of view, we were using cameras with digital zoom in that era, and when you zoom them, quality degraded. I wish I could remember what the actual inspiration was. It honestly might have been gonzo porn. Or BMX and skateboard videos. I loved the idea of the moving camera capturing the detail while the other was fixed. Also, the idea of interaction -- the whole thing most definitely being filmed and acknowledgment of the fact.

I never understood, and still don't, why so many producers don't understand light. I don't mean in a technical and artistic sense, I mean in the throw as much of it as you can sense. It's simply the biggest upgrade on quality that can be made, and it's not crazy expensive. If you look at the PieTargets stuff, you would laugh at how budget the setup was. I still think our biggest ingredient was effort. We weren't exactly making glossy studio productions, but it was never the aim. The aim was to be fun and relatable and in the realms of possibility.

Here in 2025, I'm currently sitting on a couple of the insane cameras now available. My working life has been stills for a while now, but my equipment is capable of 4K and I have some great glass to work with. I keep saying it, but I do plan to reboot something but it will need an investment of cash and time.

The motion smoothing is bugging me a bit, but I have to accept where we are now with upscaling. I kept putting it off waiting for the tech to improve, but at some point you have to work the tools available -- and I want to see them with more detail and on a big screen as well.

I do go on...