On Video and Marketing (My New Venture)


Recently I was lucky enough to spend an entire day with the absolutely incomparable Jenna Love in and around a hotel room in Darling Harbour. We had been messaging back and forth for weeks and had a couple of sit down meetings, one over brunch and an afternoon drink when I was lucky enough to catch her on the way to the theatre. Jenna is an escort and, one of New South Wales’ most well regarded escorts, if social media presence is any metric, but it was not for the obvious reason that I was meeting her in an inner city hotel room in the middle of the afternoon.

Jenna is a bombshell, of that there can be no doubt. I saw men struck dumb by her presence, missing green lights or tripping on raised pavement. My wife and I moved in her orbit with a camera on a monopod, a light reflector, a satchel bag with water and cashews and makeup wipes. She damn near blew us away, romancing the camera with come-hither eyes and her heart-melting smile. We knew going in that Jenna is no stranger to people taking her photo, to quick costume changes through all manner of va-va-voom dresses and slinky lingerie. But damn.

I had spent those meetings trying to get to know her. I had told her I wanted to create a promotional video for her that showed the unique, ineffable qualities that a blurb in a scarlett blue ad and beautifully staged photographs could not. I wanted to show her comfortable, natural. Her ads (accurately) portray an absolute sex bomb, sure; that much is plain as day. But when I had sat with her I immediately caught in the charm and ease that radiates effortlessly from her. I probed her for stories and anecdotes so I could write something honest and true about her, but found myself telling her about me, sharing parts of myself with this undeniably cool woman who I was just so lucky to be sitting across from in a Surry hills cafe. That was the quality that struck me most of all, and the quality that I was most wanting to express.

I wanted to get into porn because I had a penchant for writing and film making, and had seen advertising swallow too many of my creative friends’ aspirations. I thought, at least I can be creative on my terms, in my own way. When I had the idea to start doing promotional content for people in the sex industry it didn’t feel like selling out, it felt like another way to express my regard the beauteous smut that I adore so much.


And the great news is, there’s already more content on the way. We recently spent a weekend filming in a repurposed St Peters warehouse and on the rocky cliffs above bondi with the amazing Frankie Mustang, and editing has begun.


The best part? If you like the videos you see, you can have one of your very own. Digital video is the most dominant form of online advertising, and is expected to continue to be so into the next decade. It drastically increases engagement, and is measured to increase sales conversion rates by up to 85%. Unique, personalised video content could be of incredible value to you.

Anyway, sales pitch over. More details are below.

My new offering

Promotional Videos

Unique, original and effective video content specifically geared towards those in the carnal industries. Video is one of the most effective, engaging and under-utilised marketing tools for escorts, non-sexual intimate companions, touring dancers, remote findommes and cam performers. We can produce promotional content for the full spectrum of cis, trans and non-binary individuals, as well as fetish specialists.

We work with you to create content that captures your personality, your vibe, and expresses your distinct point of view to potential customers; crafting high production value video content suitable for social media, advertising profiles and your own site. As well as your unique, orignal video, you will also receive a package of social media friendly GIF content and behind-the-scenes photographs which can be used to cross-promote or tease the release of your PV.

Bespoke Erotica

Got a great idea for a pornographic film? Want to make a sex tape on a whole other level than your average hotel room handycam job? Have you been desperately looking for an oh-so-specific video that, somehow, doesn’t yet exist? Or are you simply shopping for a totally unique gift for that special someone?

We can create a made-to-order work of high value erotica with YOU as the executive producer. We’ll collaborate with you from script, through storyboard, casting and scheduling, all the way to shooting and post-production to ensure your vision is fulfilled. The full resources of Debauched Films will be made available to bring your ideas to life.

All of this info is of course mirrored on my Portfolio and Services pages, should you be interested enough to read more.

Why I Should Pay For My Porn

There are a million blog posts and opinion pieces from industry insiders young and old about how, in this day and age, it is more important than ever to pay for your porn. As much as I totally agree with this viewpoint, hell my livelihood depends on it, there’s not a lot I can add to this discussion. There is one person who I think, more than anybody else, needs to pay for their porn… And that person is me.

Considering I’m not in Southern California or Miami, the talent pool available to me is considerably smaller. That means that, above all else, the talent must be well taken care of. The producers working on the east coast of Australia are few, so many of these performers have other sources of income. They escort, they do cam work, they self-produce their own content and sell it through OnlyFans or ManyVids or through their own sites. Some of them even, like myself, have day jobs. They work in admin or sales or IT or nursing or whatever considerably less interesting civvie job they’ve wrangled. At the end of the day, some of want to do porn full time, some of them probably don’t. But they’ve all gotta eat.

When I first started putting my feelers out into the Twitter world of the sex industry I was shocked by the incredible hustle that these cats were putting on. They pay photographers to shoot pro level portraiture for their ads and their social media; they’re engaging with followers all day every day on Twitter and IG and Snapchat; they’re camming for eight to fourteen hours at a time, hustling for tokens on MyFreeCams or wherever; they’re filming solo and hardcore content, editing and releasing it themselves, then advertising it through every other channel they’ve got for five to fifteen bucks a pop; escorts especially are touring all over the country every other week, booking gigs months in advance; a lot of them are writing or speaking on the issues affecting them and their industry; some of them are getting hell political in the face of draconian measures that put their fellow workers’ safety at risk.

Sex work has a hard-out emphasis on -work-. I’m watching these feeds go by and it’s non-stop.

I’m not saying every single one of them wants to be full time porn star. But I’m of the opinion that if you go to a shoot that takes the whole day, that puts your body through some serious work, you ought to get compensated appropriately; and, it’s not like there’s no upkeep needed to keep a human body porn shoot ready.

That’s not necessarily what has been lost in the age of not paying for porn. Performers turn up, they do their thing, and they get paid to do that job. But the reduced budgets show up in other ways, and you will have noticed it. Smaller budgets are reflected in the loss of the adjacent crew members. You can’t have a dedicated lighting tech, so the lighting rigs have become simpler, down to as simple as just sticking an LED array on top of the camera. Same goes for a sound engineer/recordist/boom operator, so the sound quality drops right off. There’s no gaffer or best boy or second assistant director running around make the set run smoothly. There’s no dedicated costume or hair and make-up, so performers are just wearing what they own and doing their own face and their own hair. There’s no craft services, no samovars of coffee or bags of crisps even. And because there’s no creature comforts on set, nothing beyond the absolute basics, the best thing to do for everybody involved is just to get the footage in the can and let everybody go home.

So that’s why I need to pay for my porn.

I need to pay my talent on the better end of market rates, which is not uncommon; but, I do it because I’m asking them to act and learn a script as well as fuck on camera. I need to shell out for a boom operator and a first assistant director who knows lighting, so the porn I make looks and sounds as good as it possibly can. I need to pay for the talents of a cosmetic generalist and accept the time that adds to the day to make sure the talent looks perfect and their costume has had more than zero thought put into it. Because of the extra time that having those specialists bring their talents to bear on shoot day, I have to pay for craft services, water, coffee, tea and snacks. After the shoot is done, I take time with editing, colour correction, and post processing before putting the product out in the world and, as they say, that time is money. I choose to pay the performers again by offering a generous referral system that allows them to bring their incredible hustle to bear on the movies that they make with Debauched Films and continue to get their piece of the pie after the cameras have long stopped rolling.

When people say you should pay for your porn, their talking about paying someone like me, a producer, or the owner of a site. But doing so means that people like me can pay for their porn in kind; to make the best porn possible and pay talented people what they deserve.

Please, let me pay for my porn.

All The Things I Didn’t Know

When I started this, there were a lot of things I knew, or thought I knew, and a lot of things I didn’t know.

I knew I was going to be up against it handing off a fifteen-page script to people who aren’t trained actors. I knew that would be compounded by trying to shoot said scripts in a single day and in a single location, for an amount of money that would make even the most hardened indie filmmaker sweat. I knew that putting together a film crew would be tricky, considering the subject matter, and the fact that it has been a long time since I have stopped maintaining the network of young, open-minded creatives I once associated with. I knew it was going to be tricky, legally, as the grey area that the porn industry (and the entire sex industry) operates in within Australia keeps getting narrower and closer to black.

I figured it was going to be tricky, or at least expensive, to get a specialist entertainment lawyer to draft, or review, my likeness rights contracts and give me an honest assessment as to my legal rights and risks. I knew that the traditionally shadowy industry of porn might be totally impossible to break into, as other producers, both domestic and international, sought to protect their market share and their talent pool. I knew that the golden heyday of online porn as a license to print money was long dead. I knew that free streaming sites and torrent sites were the first stops for consumers looking to find even the most niche pornography. I knew that people only paid for porn that they couldn’t find on those sites, that it had to be of a quality, or content, or style that could appeal to a world that can get the latest tentpole superhero film for free two weeks before it comes out. I knew that, even without the added challenge of being a rookie producer, I had an extremely uphill battle ahead of me.

What I didn’t know, as it turns out, was that the terms of service of nearly every film industry freelancer website in the country flat out precludes companies in the adult industry from using their services. I didn’t know a large-scale selection of new laws passed in the US were going to aggressively excise the sex industry from its traditional online spaces and send it even deeper underground all across the Western world. I couldn’t have possibly foreseen that right at the time I was looking to court actresses and actors, they would be being “shadow-banned” from Twitter and having their client networks closed off to them; that, rightfully so, their feelings of trust and safety would be at an all-time low as they were backed into a corner by zealous legislators and law enforcement across the globe. I didn’t know that Craigslist would purge its personals section completely, in response to the almost certain future misuse of the just passed FOSTA, and that Backpage.com and Cracker.com would be seized by the FBI, shuttering them globally.

I also didn’t know that porn producers already established in the field, who make content both locally and for large international distributors, would be extremely generous with their time, knowledge and resources to ensure that this greenhorn producer is on the right track. I didn’t know that the producers already working placed such a great value on ensuring that the “ethical porn” industry in Australia. I didn’t know that when I put out my feelers into the broad network of Australian sex workers on social media, that almost immediately my DMs would be lit up with messages of interest, support and excitement. I didn’t know that the avenues for distribution and release were so vast and so global, because I had blinkered myself somewhat by only think about English speaking countries and markets. I didn’t know that the porn industry had moved from talent agents (almost entirely non-existent in Australia) to a social media network where it has become kosher to contact a potential actor or actress directly.

I didn’t know that I could go to Netflix and watch multiple documentaries and series about the modern state of porn and the history of the industry. I didn’t know that women like Michelle Flynn, Madison Young and Erika Lust have written thousands of words and given talks and shared their thoughts and their expertise and their passion on why porn and the porn industry can and should be better.

I knew that this was what I wanted to do. I knew that, for as long as I could remember, I wanted to write and direct thoughtful, contemporary films. I knew, from the moment a friend of mine jokingly suggested it after I finished my film school education, that I should make porn. I knew that there was a place for thoughtful, well lit, beautifully shot and cleanly edited porn. I knew I had to make it; and now I knew that I could.

My Personal Tenets of Pornography

After the last long rant about how ethical pornography should be the only pornography, it has occurred to me that I should probably share my personal rules for the making of good and healthy erotica. I wouldn’t want there to be any doubt that I am ready to walk the walk, after so vigorously talking the talk. So, without further ado, please enjoy my nudey film manifesto.


The rules:

Narrative first

A big issue I have with modern, mainstream pornography is the total lack of narrative. I’m not saying every single film has to be two hours long with a standard three act structure, but even a five-minute set up could have more story, more honest narrative motivation than: “One day me and my friend were SO HORNY. It was then that I noticed that my friend’s step-brother was SO HOT. And then I went in the pool and he leered at me so me and my friend double BJ’d him.”

And that’s when they bother to give you a story at all. When you’re watching gonzo POV stuff it’s easy to think ‘Well, this is reality, it doesn’t need a story,’ but you’re actually being sold the laziest story of all. Some Producer/Director/Camera Op/Penis holding a GoPro asks some nineteen-year-old a bunch of tired questions to which she gives fake answers. A fake name, a fake age, a fake sexual history, a fake desire to be a porn star and a fake understanding of just how that experience is going to go. They’re as fake as those fake casting couches and fake “fake” taxi services. So, if even the “real” porn is fake, then we should at least put some time and effort in to quality fakery. Even a decade ago, the only “true” porn was made with handycams and leaked by wounded, vindictive exes. Now the “true” porn is monetised, faux girlfriend experience taking place on MyFreeCams, Snapchat and Onlyfans.

Sex is a messy, complex, complicated act and the motivations for involving yourself in it are, arguably, the most interesting part. When I show people fucking, I want you to believe they earned it, that it changed them, that their lives existed before it and continued after it.


Representation matters

If you go into production with the attitude that narrative is the most important thing, then the next thing that must fall by the wayside is the fetishisation of qualities and of individuals, or fetish in the place of genre. The BBWs, the big black cocks, the redheads, the traps, the MILFs, the GILFs, the bears, the twinks and every other tag for quick, optimised searching has to go. If the key to great porn is narrative, as I believe it to be, then the character should be played as written and as directed. It matters not at all that they are big, or small, or massively hung, or old, or young. If the actions and motivations of the character in the script do not preclude the casting of a talent that would have otherwise been a fetishized facsimile, go for it. There’s nothing wrong with fetish, but the commodification of type in porn production is at best reductive, at worst actually harmful. The most obvious example being that ‘Interracial’ is not a genre, it’s a casting choice. Come on.

It makes sense to give people a heads up if they’re getting some hardcore, forced, watersports, scat, BDSM, or other -actual- fetish content. But I think you can absolutely stop there. Making the title of your film ‘BBW MILFs Love Young Black Cock 17’ is an admission that your narrative is so weak that it is less important than your actors respective ages, dong colour and body sizes. And, frankly, there are better ways to goose your Google results.


Content awareness is social awareness

Porn’s oft-repeated criticism, that it is the power fantasies of underdeveloped male brains, was at least somewhat credible when we were dealing with the Vivid videos of yesteryear. Where every hot co-ed was only a flat tyre away from an explosion of bisexual nymphomania, and all you had to do was be the lucky soul who swung by with your tyre iron out. Today, the criticism that porn portrays unrealistic and dangerous representations of sexuality… Well… I mean it’s still not -totally- untrue, is it?

When you focus on narrative, you can spend your time creating realistic, healthy depictions of even the most extreme sex acts. I don’t think there’s anything wrong with, or any credible argument against, consenting adults exploring the realms of fetish and fantasy, both light and dark. Out there in the world is a person whose only turn on is the idea of a Eurasian professional golfer in a yellow polo shirt vomiting onto the back of an Italian chef, and I absolutely want that person to find (or better yet, commission) an adult video that can scratch that itch for them.

Where porn has historically misrepresented and warped the reality, the healthy ideal, of sexual relationships comes in the way it handles power dynamics. I choose, as a director, to depict strong, equal interactions between sexual partners, where sex is a positive, healthy experience. This is a personal choice. When I see porn, the sex education of choice for an entire generation, normalising the idea that it is appropriate, even desirable, for a situation where a step-father catches his step-daughter smoking to end in a facial… I just can’t understand it. This is not a condemnation of the industry as a whole. Porn doesn’t -have- to be realistic or responsible in its representation of sex, because at the end of the day it is not reality. It has the same moral deniability as video games and mainstream cinema. But I think there’s no harm in trying to be better.

The idea of sex as punishment, as barter, as a means of social or interpersonal domination could absolutely be seen less in porn. That clear lines of consent should be shown and respected. That socially irresponsible representations of pairings that would tear apart families or communities (step-familial, teacher-student, et al) can probably just be skipped all together without losing much in the way of quality content.



There’s more to this of course. I feel that ‘porn’ does its best work when it is not the genre, but instead works best as an ad-genre that can be attached to the front of others (porn-horror, porn-drama, porn-comedy, and so on). I think that the porn parody may be porn’s greatest cultural contribution. The porn is one of maybe three film areas where the idea of behind-the-scenes content is even remotely interesting. The list goes on. I managed to bang out a thousand words without getting through half of what I wanted to talk about; but, porn is the industry of the never-ending series, so let’s call this part 1.

Shooting Great Sex

The key, I think, to shooting great sex, is the same as shooting anything else: Time.

Time for your performers and time for you.

Over the course of the day, we might shoot across a couple different locations. We definitely shoot for coverage, first getting our wide shots, any mobile shots, shooting close ups for that emotive touch. In that time, we have to move lights around, make sure we’ve got fill on our actors faces, that continuity remains while taking advantage of the moving frame limits. We’ll put on and remove lavaliere microphones, hang booms inches above actors faces just outside of frame. We’ll run take after take, refining the performance between actors and director until it’s all just… Perfect.

Then, our actors strip down and we shoot the intra-sexual dialogue scenes, usually in close up. This gives us a little more flexibility in terms of lighting and sound, as well as ensuring we get our close-ups and dialogue recorded before everyone gets too sweaty, flushed, dishevelled or otherwise anointed with fluids. It’s not that I’m worried about the photogenic-ness of our actors during a supposedly mid-coitus bit of talking; sometimes, I think it’s got to be way harder for us to get that look using make up and some tactical hair tousling than it would be to interrupt our actors during the act.

Except for one thing.

In a lot of mainstream porn, the actors spend a good amount of their time in positions that are designed to maximise camera and lighting exposure. These contortions, constant interruptions to get a particular shot, a particular angle, to put the talent into a specific body configuration destroy the natural flow of sex. The way I shoot, the way I try to shoot, is to let my actors get going with their sex scene and, once they’ve started, then try to interrupt them as little as possible. I set my lighting in a nice, even, versatile way before the sex actually begins, and move with a reflector if I need a quick fill on a certain angle. I’ll run a boom microphone and throw a shotgun on top of my camera (not how I usually like to capture sound, but this part of the film is a single take kind of deal).

The whole point is I want to interrupt, or distract, the two or three people who are focusing on getting down as little as possible. I want to give the talent the most amount of space possible to work their magic. No long breaks while we reset lighting rigs, no arguments about framing with the DP or lenses being held in front the of the guys face so we can get that POV doggie angle. Hell, the ideal is that the talent legitimately forgets that me and my crew are in the room. I’d love to see them talk to each other, negotiate what they want from each other, worry about each other’s pleasure and their own performance like people actually do when they have sex. I’d edit around a guy having to hold himself back from blowing his wad early fifty times over fighting to get both players back to the level we need them at after a fifteen-minute lighting change break. Every interruption takes the talent further from the moment, from the scene; from the idea that they are two people actually having sex.

It’s a bit like reverse Stanislavski. You’re asking these two people to actually have sex on camera, in character as two people who are having sex. Are they method acting? Two actors in mainstream film wouldn’t have to worry about it. They can pretend to have sex like they pretend to do everything else. In the porn industry, there’s an expectation that we want them to have real sex in a fake story; and, no expectation that we would give them the time or the space to worry about characterisation, about the role, about getting into the mindset of the character or worrying about their backstory. We expect the sex to be real. Real, actual sex between people who have no chance to consider why they are there. It’s almost no wonder that the industry has fallen back on everyone being choked, hair-pulled, spat on, tit slapped and throat fucked. At least, to the average viewer, you’ve added a layer of complexity to these characters who are getting at it.

“Oh,” they say to themselves, “he likes to be a bit rough, and she likes it a bit rough.”

Or she doesn’t. It actually doesn’t matter. It’s not a directorial choice, a character choice, an organic moment that the actress found through her study and work. It’s as fake as a face full of pina colada mix.

My point is that once the lines are shot, once the script is down, and it’s time to put the sex bit on film. I want to give my actors the best possible chance to follow natural, characterised urges and impetus. I want to do that by giving them space and time and a chance to direct themselves and each other. Therein, I think, lies the best sex and, consequently, the absolute best porn.