As all who have enjoyed my cruel but creative bondage attentions in the BDSM Laboratory will testify, it doesn’t take a lot to get my creative juices flowing in all sorts of imaginative ways.
I love to produce bondage scenarios in which my clients become creative works of art in my hands, and then (if each client’s circumstances allow) to photograph or film the end bondage result to preserve that moment of intimacy for posterity, and for the growing number of guys and women who enjoy following their Mistress’s exploits on my ‘Only Fans’ site.
Lockdown has been a godsend in recent weeks in giving me time to refocus my efforts on an area of bondage film production in which I’ve not been fully engaged for some years… the actual editing of the raw camera footage into a polished work of movie art.
As I’m sure many of you are aware, both my B.A. and my M.A. were gained in this area quite a few years ago, but time has not dulled my desire to create movies. Naturally, delegation is a useful skill to have, but taking back control of the creative process has always been a long-term aim of mine.
I’ve recognised that my filming skillset is very out of date, and that means I need to start from scratch again, albeit with the bondage experience behind me of knowing precisely what I want to achieve, even if I don’t yet possess all the technical knowhow of how to do it.
Studying my older films and making my first attempts at using the latest non-linear editing systems have shown me that I need to adjust my methodology when I am filming in order to improve the raw footage in the first place.
Every step forward I take in the actual filming will greatly improve the edit at the end of the process. I am still at the beginning of a learning curve, but structuring a clip, easing the transitions from one scene to another, producing a basic ‘voice-over,’ track, and techniques such as adding music have already shown that I need to produce my movies using professional microphones, tripods, cutaways and all of the many other filmic techniques and equipment used in modern movie production.
As someone who has lost 95 per cent of her income during lockdown, it has certainly become expensive to collect all the kit now needed to raise my productions to the next level of enjoyment for the viewers. Fortunately, I now have all the kit I need to become the next Spielberg.
All that remains is to cope with all the hiccups that strike along the way. Take, for example, the wonderful footage obtained in my rubber experimental shoot! All was going well… until I found out that the microphones had been turned off the whole time, and that all the footage I had shot was as silent as the proverbial grave. My first thought, naturally, was to throw the lot into the bin, but I hate admitting defeat as easily as that. So, my efforts now are focused on producing the world’s first fetish ‘silent movie’. It may well win awards, but perhaps, on this occasion, do not hold your breath.
For my next shoot I was determined to ensure that the sound was perfect, and to that end, I took the time to check that the mics were all turned on: always a good move don’t you think? My new radio mics were working a treat – until part way through the shoot I completely forgot about the one strapped at my back and decided to don a heavy rubber coat that seemed perfect for the bondage scene I was filming. Cue an improvement to the wardrobe department – but an end to sound recording for that production.
So, as I said, ‘teething problems’. My most recent challenge has been the failure of the automatic upload of my footage onto the One drive storage. That’s left me with the task of manually uploading hours and hours of footage from my phone onto my computer. I won’t pretend that this has been fun, but I think I’m now almost at the end of that. So, in the spirit of nothing ventured nothing gained I have accepted that this has been a learning curve and am hoping that from now on these problems won’t arise.
Any of you who have worked in a movie cutting room will know that every ‘performer’ finds listening to him or herself in the edit is akin to scraping fingernails down a blackboard. I become painfully aware of my speech patterns, and my sayings and mannerisms that I find far from endearing. Watching myself over and over again on the edit screens is not fun… but it’s necessary to improve the end result and to continue making better bondage films for you to enjoy.
As you see, detailing these more mundane events may not make this the most erotic blog you will ever read from me… but it is true to life.
The scenes I decided to film most recently involved a lot of ‘behind the scenes’ preparation and arrangement of the studio. We had a logistical problem in the form of a new mirror mounted on the wall behind the bondage table. It makes the room appear massive and is great for sessioning; but an absolute nightmare when it comes to shooting because of the difficulty of ensuring that the cameras are not in shot!
As ambitious as ever, I decided to shoot using three cameras simultaneously to capture every twist and turn and bondage knot of my interaction with the subbie. He had brought a new black catsuit, with toesocks, and gloves for his scene, and the movie concentrated on how I could bury hum under his hood, the head harness, sheeting and straps in order to – literally – just deal with his cock.
There is nothing more erotic and objectifying than being lost under layers of latex, with only your available member hanging-out and exhibited for all to see… and for yours truly to use and abuse.
This subbie has been in strict chastity for three months, so it’s fair to say that his cock was sorely in need of some attention.
To see how he endured many hours of teasing and frustration before a final milking as the climax of my latest movie, you will have to wait for the edit to finish. Watch this space!
