The News From Red Feline Pictures

[MasterKav]

Beautiful!

[yyy02]

..... and as to expense of multiple takes? Once my crew bought me a tee shirt with the director viewfinder printed at the front and on the back was :" Take two? Fuck you !

Ha ha, too cool!!

[La Reine Margot]

AI Discoveries Part 2



In large-scale film productions, elaborate special effects techniques have enabled filmmakers to depict impossibly spectacular locations and events to create visually stunning scenes at great expense.

AI offers the possibility of creating images that are difficult and costly to do in a production, specially if the ideas for the movie are ambitious, period films, for instance, AI can be used to create the type of locations that would cost enormous amounts of money to build and, in most cases, it would be impossible to set up.

Currently, artificial intelligence technology presents significant challenges when it comes to constructing film scenes or sequences with a comprehensive range of camera shots necessary for effective storytelling, it struggles to generate long shots, medium shots, and close-ups of the same action and with the same characters and even the same background, all of which are essential components in cinematic narrative.

For example, it is complicated for AI to create good shots for a convincing crucifixion scene—one that accurately portrays the nailing of an individual’s hands and feet— it requires multiple shot types and consistent action and AI finds it difficult to deliver such visual continuity and detail across various camera angles.

To Illustrate the point to himself, Jac used a couple of shots from Le Marquis De La Croix, where Mila, playing the gypsy woman Zinga, is crucified, after a lot of torture, by Le Marquis.

To get a shot for the nailing of a hand he used the following still picture from the film.



The description, or prompt was the following: Ancient Rome. A close shot of a hand pressed on a wooden log. The tip of a large nail is on the palm of the hand. A hammer comes crashing down on the head of the nail, the nail sinks into the palm of the hand, Blood blows out of the palm.

The result was not bad. AI did its work based on the simple description and using the still picture from the film.



He then tried with a still picture of Mila’s foot, from the same film and with the prompt: Ancient Rome. A close shot of a foot pressed on a wooden log. The tip of a large nail is on the top of the foot. A hammer comes crashing down on the head of the nail, the nail sinks into the foot, blood blows out of the foot as the nail sinks in.

He uploaded the still picture of the foot and pressed Generate.



After a few seconds, AI responded with the following message.

The prompt contains graphic violence and explicit injury depiction, which is not allowed. Try this instead: “Ancient Rome. A close shot of a foot on a wooden log, with a nail and hammer nearby, suggesting the process of construction or craftsmanship in Roman times. Please see our acceptable use policy for more information on what is and is not allowed.

He gets that kind of response a lot, but he always insists until he gets something. In this case Jac changed the prompt a bit and tried again.

Ancient Rome. A close shot of a foot on a wooden log. The tip of a large nail is on the center. A hammer comes crashing down on the head of the nail, the nail sinks into the foot. Blood flows out.


To his surprise AI decided to generate the video and the results were splendid, so much so that he might add the shot to the movie itself. He would need to crop the shot a bit to eliminate the text and the missing nail on the other foot.

Sometimes AI comes up with something good and this is the amazing result of that second try.



However, two shots don’t make a film, Jac would need to generate a good number of shots to build the scene as it is in the film itself, where there are close ups of the nailing, close ups of Mila’s face reacting in pain, long and medium shots of the nailing, side and high angle views of the action, and more. Mila’s crucifixion is a very elaborate scene and part of many extremely elaborate scenes in that film, something that AI would find it impossible to reproduce.

Le Marquis De La Croix is streaming now!
https://stream.redfeline.com

So… is AI good for anything?

The use of AI in combo with actual filming can fill holes quickly and cheaply. For instance, having a crowd watching the crucifixions and taunting the victim. That is an easy cut away and will add a lot to the film. Can also work for a view from the cross of the crowd.

Yes, but there’s a lot more that can be done. For example. There were some complaints, I know of at least one, that some of the dialogues “promised” in Seditiosa did not appear in the film. We do have the lines of those “missing” dialogues in the movie but in Voice Over, where you don’t see the character say those words in close up, I guess that did not satisfied the unsatisfied.

So, Jac played a little with a still picture from Seditiosa and prompted AI to make Simonne move her head to a side and speak some words. The result was good. It was a test, so, there’s no audio, but it is possible to use the picture, with the text and the voice of the character, in this case Simonne, and create a shot of her speaking the missing lines of dialogue.

[media/[/media]

Here is another novel idea – finish something and release it before you start working on yet another project. Still waiting on the release of the Simmone films that have been in post production all year. I swear you have the attention span of a 5 year old.

Fortunately my attention span, of a 5 year old, does not affect the team or the productions. I’m not in charge.

The CruXbound films with Simmone, as well as at least two movies with Dani and Ligia, are in the final stages of post production. As I mentioned before, Jac had to work on four older films, most recently Olalla, because he had to prepare them for a wider release deal Amy is making, the deals came with some specific specs that takes time to arrange and set up, a lot of time.

He is done with that work and he will be able to return to normal and finish those other films this coming week and get them ready to release them. Lots of releases.

Looks like Mila is still not available. Are you or are you not going to film the Crux 4 this year?
AI is rapidly evolving. Fidelity has gone from comic strip like to near photo quality. You folks keep messing around and AI films will be available to rival your stuff and without all the drama and delays.

Mila is pretty busy with her Tattoo biz, Simonne is busy with her university schedules, Ligia completed her contract with the Ministry of Tourism and is now completely free. There was a change of government the 8th of November and there are high hopes in the country. People expect the new president, who is right of center, will fix the huge problems that a 20 year populist governments created.

Ligia will be working, along with Geraldine and Dani on some Green Screen tests for Crucified Four next week. I heard that there are plans to shoot a couple of scenes in the location itself, with very few people, mostly close and medium shots that will open up to a large and crowded scene, like the shot below.



AI can generate the kind of backgrounds and images that would otherwise be impossible or prohibitively expensive to realize in the real world, with simply typing down a description of a scene. Something like Ancient Rome, market, vendors, buyers, Roman Soldiers. That’s it. AI does the whole thing.

Once the background has been created, Jac can work with the actors in front of a Green Screen doing something and then use the shot on top of the background image previously created. Like the shot below.



Jac is working on some tests with Green Screen. He didn’t have a large green screen at hand for a wide shot, he has a long green screen cloth that is not good enough for a wide long shot, it’s good only for close ups and it covers only a third of a wide shot. He worked with Dani first, and later with Ligia and Geraldine. He’ll be working with Mila, Simonne and all of the above again soon, with an entire wall turned into a green screen. He’s having the entire wall painted.

But to see how the screen test is working out, he made a clip with Dani. She’s posing in front of the green screen, the narrow Green Screen, Jac wanted a couple of shots of her to use with AI later, which he did.

The Green Screen technique has been used a lot in films and Television for many, many years at great expense, but it can be used now with the new AI technology for very little money but great effort.

For this particular exercise, Jac used a background he created before. A cave like dungeon, with chains, torches and a Roman soldier walking.

He placed the background under the Green Screen clip with Dani, where she talks, moves, follows instructions, the cat walks in, she turns to see and talks about it.

Jac had to crop the Green Screen image, to eliminate the walls, doors, and other annoying things on the sides of the long but narrow green screen cloth he used. He used a good part of the clip he made with Dani, without cutting it, leaving the sound with his instructions to Dani, her responses, all her movements, the background sound, that includes the music playing on his computer, and the many different set ups of the camera and movements, exactly the way it was shot.

The following clip is the result of the test.

bakerboy Check with electric city productions, they are getting close with 100% AI I understand why Jac is “married” to live production, I was like that also until I run into casting issues: tattoos, Botox, plastic boobs and generally unattractive women expecting a lot of money. All the good looking models are on OF and would not get out of bed for less then 1000 Euros/day, and even then, many were ” no show”. With all those headaches we decided to go full AI. Unfortunately we have not yet found a competent supplier, but we are sure that the technology is not too far.
.. and as to expense of multiple takes? Once my crew bought me a tee shirt with the director viewfinder printed at the front and on the back was :” Take two? Fuck you !

Making movies is Jac’s way of life since he was very, very young. We live in the world, for now, and I mean the real world, with real people who have real problems. Jac doesn’t remember one production where there were no problems and there’s always one or two people in any production that will make things very difficult, that’s life and we accept it.

AI is nice and all, but it does not replace live production, it cannot generate the kind of acting you get in a movie, any movie, but more specifically, our movies. No matter what you do with AI, it cannot do what live production can do. Here is a gif image from the rehearsal of Dani for Monxa Mala. Look closely, look at the intensity of the acting, at the breasts, the body. AI cannot reproduce this. But most importantly, nothing can substitute for the fun of creating this kind of scene for a movie… and better yet, dozens of scenes, each more intense, for one 90 minute movie. That’s days, weeks of a lot of incredibly beautiful, exciting, demanding and extremely satisfying work.



We have many exciting movies, extreme movies, beautiful movies and we are making more of them.

You can buy them at

https://movies.redfeline.com

Or you can stream some of them… and soon all of them, at

https://stream.redfeline.com

The latest inclusion at our streaming channel is Agent X.

[MasterKav]

Want to hear those bones snap!

https://redfeline.com/chronicles/wp-con ... ck-low.gif

[La Reine Margot]

Agent X – Streaming Now!



Agent X plans to meet her contact in an abandoned house. What she doesn’t know is that she’s been double-crossed. Instead, a government official is waiting for her. The interrogator plans to torture her for as long as it takes to get the information he needs. Will Agent X survive these ordeals, or will she spill the beans?



We continue adding films to our streaming channel. One of the latest is Agent X, you can

Stream it
https://stream.redfeline.com
download it
https://movies.redfeline.com
or get a DVD.
https://dvds.redfeline.com

You can’t miss it. This is one of the earlier works with Amy who is the perfect Agent X. For some people this is her very best of the earlier work. What she goes through in this film goes beyond sanity. She can take a lot, indeed.

Amy is, of course, the central protagonist of the Amy Cycle of Films that started in 2005 and ended in 2015 when she moved to the north west of the United States to pursue one of her dreams, the highly academic world of passing her knowledge to others and that’s what she’s doing now.

That amazing and incredibly productive cycle resulted with around 20 films, some shorts, some music videos and at least three documentaries, that’s a lot of work for ten years. And of course some classics were produced, like Maleficarum, Justine, Olalla, great films that now are part of our Streaming Channel.
https://stream.redfeline.com



The next cycle began with a NatGeo Documentary, ironic, because the 2005 cycle began with a NatGeo Doc. The first big production was with Bea, The Passion of Isabel and more work was produced, films that included Mila and Dani, who joined Jac because of Justine, along with other great stars that came into the team, like Simonne, Ligia, Geraldine and others. That cycle has its apparent completion this year, 2025 and I wasn’t sure what exactly were going to be the changes that were surely coming.

I think I know what those changes will be. The one big change, or should I say, new way of doing things is the use of AI in our work. Really. AI changes things in ways we were not expecting or even thinking about. That’s the big change we were expecting and it does start a totally new cycle. It opens the world of film production to possibilities never considered before.

The cycles have one important element. One cycle in the 80s, had celluloid at the center of production. We distributed our work on FILM reels. In the 90s it was Video, we began distributing our work on VHS tapes. At the beginning of the milenium it was Digital video in its different stages, from SD to HD. We began sending our movies in DVDs. We’re entering a whole new system with its own characteristics where streaming is becoming the main way of distribution and AI is entering the world of production, in full. We’re adapting to this new world and we’re going to dominate it, completely.

The picture below is from a session for Crucified Four where Jac used live images, in this case of Ligia, as the Runaway Slave, walking into the market. Her acting was in front of the green screen, in costume, doing what the character does before stealing a loaf of bread. Later on Jac set that image on top of a background he created with AI and he loved the results.

The production time was almost the same as if it would be done in location. Many shots of Ligia doing what she does in the scene. But the location was Jac’s studio, and the entire cast was only Ligia. Dani was on hand to assist with the camera.

Jac will be doing more of the Market Sequence for Crucified Four next week, this time with Dani and Geraldine and probably Simonne and Mila. Who knows, maybe most of the movie will be done in front of a Green Screen. One very interesting thing is that he’s going to be calling actors for casting in the new movie, they will be doing their parts in front of the Green Screen and, as a matter of fact, they will be already acting in the movie.

Look at the picture. It’s very, very pretty.

I don’t understand why some people dream of AI replacing real actresses; it doesn’t appeal to me at all. I’m more interested in seeing real actresses in crucifixion films, not fictional AI-generated girls being crucified. The magic is lost if AI replaces real crucified women with fictional characters.

In our case we are not interested in replacing our amazing actresses with AI. We can use AI to add to a movie and to create some really great scenes that would be impossible to do without a few million dollars. I can imagine a scene as huge as any scene in The Passion of Christ, the Gibson movie, that cost 25,000,000 dollars. We could do something that would look like that with some imaginative good work and very little money.

During that same session Jac created a scene mixing the acting, and AI generating parts of the scene, where you can’t tell the difference between what’s only Green Screen with Ligia acting at the beginning the shot in front of the Green Screen, then AI working part of the shot using an image of Ligia interacting with characters it created, and finally Ligia, alone in front of the Green Screen, ending the shot.

Creating that scene was a challenge, Jac wasn’t sure about the outcome, but it worked out. Jac has most of the scene ready, from the time Taia, the runaway slave, arrives to the market, steals the loaf of bread, a soldier notices, to the moment she’s arrested, manhandled, part of her garment is pulled down exposing her breasts and the neck brace with a chain revealing that she’s a runaway slave and then taken away by the soldiers created by AI in front of dozens of people also created by AI.

When the entire sequence is done Jac will edit it, process it and make a clip that will be shared in some place yet to be decided. That sequence will include some cut aways to Paulina, Ide, Talissa and Sabina witnessing the event from different parts of the market, doing their dialogues, advancing the drama… in other words, the beginning of the film could be ready without us spending a lot of money in extras, going to the location, transporting them, feeding them, building sets, dressing them… etc, etc, etc. We’ll see.

In other words, I think the production of Crucified Four has begun.



Our Stream Channel is getting a bunch of more movies this coming week. We’re growing and Vimeo just added a lot more space for us to put in more films. Four times more capacity than we had, which was fine for most of the movies we have, but now we can have a whole lot more. Amazing! It means they like what they see as far as the channel growing and are encouraging us to grow and grow.

Join here! https://stream.redfeline.com

[La Reine Margot]

AI Discoveries – Part 3



In the director’s wise and ancient words from the early 70s, when he was a film and photography student in New York, I can say that Jac is tripping out with AI, discovering its possibilities, its drawbacks, its false promises, and the real advances of that fairly new technology that, apparently, is growing, improving and unleashing the unknown on us.

It takes one prompt (description) and one picture, or no picture at all, to create anything, anything at all. It doesn’t mean that what is created fulfills the creator’s wishes, but it is done, like the picture below, of Jac taking pictures somewhere in Upstate New York, very close to where Woodstock took place and where he enjoyed a couple of years in a Hippie commune. Yes. That’s right.

Jac used a still photograph he has of those days long gone, the one that opens this particular AI interpretation of that moment, and AI did the rest. It even made the flash work. Funny?

Cruxlover24 It would be impossible to replace Amy, Danielle and Mila’s suffering with AI. Their performance is always amazing.

Nothing and no one can replace Amy, or Dani, or Mila, or Ligia, or Simonne, or Bea… or Camille… All of them are amazing, daring, beautiful, courageous, extremely talented actresses and more than that. We don’t believe that AI can replace a person, no matter what. What it can do, however, is to help create scenes that are very difficult under normal circumstances.

From the times of early cinema, when rotoscoping was used in animation and even live action movies, a technique where a live-action film was projected onto a glass panel to then work on tracing the figures onto paper, allowing animators to capture the subtle, complex motions of real life that were difficult to draw from scratch.

Max Fleischer patented the process in 1915 to create his character Koko the Clown, whose lifelike movements were first traced from footage of his brother in a clown suit. That’s 1915!



Technology has advanced a lot, but the basic purpose remains the same, to create impossible scenes, like King Kong (1933) up on the Empire State building, or the amazing scenes in 2001 A Space Odyssey (1968), like the close up of the spaceship flying over the camera lens in all its awesome greatness, just to name a couple of movies spread over decades from each other that invented, created, imagined visual effects that made history and pushed the art of filmmaking way ahead.



In our case we see AI as an instrument, one more instrument, to use at its best to produce our movies and create some stunning scenes, if at all possible. Film technology was and is expensive and time consuming, Max Fleischer had to work on each individual frame to create the sequence of his animated characters dancing. That’s time consuming, of course. And he needed the equipment, huge, difficult to work with equipment. Cameras were really big and moving those monstrosities and then setting them up was a lot of work in itself. And not to mention the film stock and lab work. Tremendously expensive.

Creativity has no limits when you use what you have at your disposal, if you can afford it or risk it, whether that’s in the dawn of cinematography, early 1900s, or now, way into the new millennium with technologies that are beyond of what we could even dream about in the 20s, or 30s or 60s or 90s …

The difference is that AI and all the new era technologies and instruments are more democratic now.

I guess it is similar to how things were when it was costly to print a book. Not all writers had the possibility of someone taking their hand written manuscripts to turn them into a big book, but then fancy photocopy machines appeared and one could make dozens, hundreds, of copies of a typewritten manuscript and sell it in the streets of New York.

With AI anyone can write and publish a book these days. And what is worse, anyone can ask AI to write the book… and AI will write it!

Creativity dies there.

But, AI is also a tool that can be used for creative work and it can help create stunning scenes. But, in our case, it will not replace the people in those scenes. Maybe it helps in a couple of shots, but that is all. Sure, you can make an entire movie with AI, but the characters you might be able to create do not act well, they can’t, and never will.

wanttoknowmor So when are you going to film the scenes that require you to be outside? From previous posts, you run out of weather to do it by January. You can do AI and studio scenes anytime.

I don’t want to give any information that it is not completely under my latitude of knowledge of the things that are happening. What I can attest to is that if Jac had planned to work on the exterior scenes in the last few weeks, between October and now, the end of November, it would’ve been a major bust. It was raining a lot and it was really cold for most of the time. One comment often said by people was it looks like February. That was Jac’s more often used phrase.

We suspect there’s a complete change in the patterns of the weather because of the effects of climate change. We should make a documentary about it … for NatGeo … hmmm… Maybe we can get a couple of hundred thousand dollars for it… hmmm. Jac was playing with AI one night in Word, he typed proposal for ecological documentary in Madidi. Then he hit the AI button that now appears on word documents, five seconds later he had the entire, many pages proposal. He was in awe.

Going back to the weather issue. This week there was less rain, a little less. Lots of thunder and the skies showing heavy, dark clouds but less rain. Maybe it will get better next week but the way the dark clouds are looming in La Paz right now I doubt it… oops, it’s raining again.

This kind of weather is what we would expect in January, but it is here now. Does it mean that the next couple of months are going to be dry? Or are they going to be even worse?

Jac doesn’t want to bet on it, either way. He prefers to plan the work around or within this new reality.

The exterior scenes the Crucified Four needs are mostly in the market and during the crucifixions. Everything else are interiors, including all the tortures the four protagonists go through before they are taken away to be nailed up.



The idea is to shoot all the crucifixion scenes at the location in two days for each of the movies. The shooting will begin with the women picking up their crosses, that scene will be different for each of the victims. Two of them will be nailed to the crossbar before they begin their walk. In the case of the Warrior, she’ll be further punish after her nailing and before she starts walking, carrying her heavy burden.

After the nailing sequence is complete, the production will move to the via crucis of the victim. The walk won’t be as long as in Seditiosa, but long enough. Some will trip, some will fall, some will be dragged at times, until the poor suffering woman arrives to the place of her execution.

Then the production will move to the crucifixion where the condemned will suffer more torture for the most part of that seriously nasty sequence.

The production of those sequences will concentrate on one crucifixion victim at a time, not two, not three, not four… Just ONE! It will take at least a day and a half for each, including evenings.

There are only two cases where there’s a lot of Make-Up work to cover the actresses tattoos for their crucifixion in the nude scenes.

There’s always the possibility that a lot can be done with Green Screen, like the picture here, where Ligia carries her Patibulum in front of the Green Screen and Jac set up the scene with an interesting background. It was only a test, no make up involved, no blood, no soldier whipping her as she walks. Just her, the Patibulum and the Green Screen. The result wasn’t bad at all. In the video she walks towards the soldiers, turns around and walks again. The video is very atmospheric and Jac just might try to shoot a scene with actors and mix them up with AI generated backgrounds with soldiers and people. Maybe.



But if if Jac decides to go to the location for all the crucifixion scenes he says that, since he doesn’t need a bunch of actors to play the extras and groups of soldiers, he can do what he did for Dead But Dreaming. A small group of cast and crew would go to the location for two three day weekends and stay in the location to work on the difficult scenes, on each individual crucifixion day and night. It might be possible to do two crucifixions each weekend. Ligia and Mila on the first weekend, only Mila has Tattoo work to be done, Dani and Simonne in the second and only Dani needs to cover her tattoos.

The weather would not be a problem, even if it rains. The wet ground and sometimes the rain, can be used for dramatic purposes. And since the cast and crew would be lodged at the location, there’s no need to cancel the production if the rain is too hard, they can all sit and wait for it to pass. Something like what happened when he was directing Justine. The team was at the location, all built, when it began to rain. It was December. The team waited for an hour, the rain stopped and the production resumed.

Jac is considering that possibility and he’s going to have some talks with the owners of the location to set up the dates. But before closing a deal, he’s working on the possible interiors, the AI/Green Screen shooting, which will be most of the interiors, like the Palace, the Temple, the Dungeons, etc. And some possible exteriors with AI.



It is evident for us that the many exterior scenes like the market and even the crucifixion shots that need to show a lot will be done with Green Screen and AI. And that’s what Jac is working on now.

I have a funny example. A shot of Dani, which was done a couple of weeks ago in front of the Green Screen, and a shot of Ligia, also in front of a Green Screen, but shot last week, both placed over a market background. One of many Jac created for this purpose.

In the test scene, Dani is talking to Jac, in close up, talking to the camera, with the busy market behind her. Ligia walks into the frame, behind Dani, she walks past her, turns around and walks back to where she came from.

Dani’s shot was not intended for a scene like this, Jac was shooting to get still images for AI tests. He was moving the camera to get good angles of Dani dressed as the Warrior. During the shooting Dani was moving to pose, asking questions and so on. The intention Jac had when he combined those separate shots to make them part of the market scene works very nicely.

Cruxlover24 I really hope they are working in them, otherwise looks like promises that will never be true!

We are working in many productions, they are not promises, sometimes we fundraise and we commit to a project when those funds are raised. But still, that’s not a promise. A production company will produce as long as some conditions are met. A good story, the funds to make it, the cast and the crew commitment to work in the film, the locations available and arranged and the time necessary to make it when everyone can commit and so on.

Even multimillion dollar films have issues with the timeline of their productions and the release of those films.

We make a couple of films a year, sometimes more than two, and we release one or two films a year, sometimes even three. That’s a good record as far as film production companies go.

If we produced a movie and it’s in post, that film will be released when it’s done. If we didn’t produced a movie, even if we talked about it as a possible film, then maybe we’ll never make it, or we might make it at some other time, but if that’s the case, we don’t say we’ll release that film. Jac has a few ideas he was planning to produced, decades ago, and he might just do a couple of those.

There can be a plan to produce a film that is on hold for many reasons, but if the conditions to produce it are found, then it will be done and it will be released, but the timing for that is not something that can be predicted. A film takes at least a year from the moment the script is written to the time the film is released. That is if all the conditions are met. It’s not always like that. Some films can take longer for many, many reasons.

One thing is certain, we will be releasing all the films that were produced and are in post production, but this is not a promise, it’s just a fact. The timing is a whole different story. It’s different with each production.

One film that is having some good attention is CruXtreme I – The Playroom. This film is in our streaming channel.

https://stream.redfeline.com



And that’s it for now.

You can stream our films, the channel is growing a lot, I know that as I type this The Via Crucis of Jane 1 is being set up there: https://stream.redfeline.com

You can also buy them at https://movies.redfeline.com

Or get the DVD by mail at https://dvds.redfeline.com

[La Reine Margot]

Via Crucis of Jane 1 and 2 – Streaming Now!



At the beginning of their amazing adventure in Cinema, the cycle that began in 2006, Amy and Jac were working tirelessly on many films where Amy is the protagonist of endless suffering. Two of those early works were under the heading of The Via Crucis of Jane, they planned to do 3 of them, but ended up doing 2. What came after that were films like Agent X and Fantom.

In the two The Via Crucis of Jane films Amy prepares herself physically and mentally for the work to come by going through a series of ever increasing torments at Jac’s hands.

Two films that Jane’s fans can’t miss!



Back in December 2, 2008 Jac was listening to Koral, a Hungarian rock band, old friends of his, he met them back in 1984 in Havana, Cuba, at the swimming pool in the famous Hotel Nacional where they were staying and where he was living. Later that year he spent time with them in Budapest, and again in Szeged, in 1986.

But I’m digressing, Jac was listening to one of his favorite albums from that band while preparing to edit one of the many, many projects he produced. He said that much in a comment he posted in FB back then.

nrpooesStdfu08 gcel8b21200u2i42fi82if , ... ftcml079r

He made that comment sometime after Amy directed Jac and Veronique in her first feature film as director, Sirwiñakuy, released in 2010, and Jac directed Amy, Vero and himself in The Specters of Blood Castle, a film that hasn’t been released yet. Those two films were produced back to back at the end of 2008.



Before the release of Sirwiñakuy in 2010, a whole bunch of films that were produced in 2008 and maybe even before, were released in 2009, amongst them Agent X, Fantom, the two Via Crucis of Jane… and others. That was before the dynamic duo embarked in Big Production Value films, like Maleficarum, and Justine for the next 7 years.

Something along those lines is happening these days. A lot of films are in the works, some in post production others in production and some in development. A new cycle is beginning with some interesting and unexpected changes and new challenges.

The year ends with the steady growing of a brand new way of showing our films, our Streaming Channel. Where both Via Crucis of Jane films are now streaming and it looks like they are very popular with our subscribers.

https://stream.redfeline.com



A few days ago, more specifically on December 4, 2025, in the morning, Jac was listening to Led Zeppelin, Babe I’m gonna leave you, and preparing to work on at least two of the many, many projects he produced recently while thinking about Camille, whose birthday was fast approaching… on the 6th of December.

Jac has a tremendous fondness for Camille. Her big film Martyr is streaming now, and soon all her other films will be part of the channel, including a beautiful homage to The Diary of Camille.

One of the big changes in the new cycle is the exploration of the world of Artificial Intelligence for our work. Jac is delving into all the ways it can be used in our present, future and even PAST work. Jac played a bit with AI to see if he could add some clever touches to scenes to past films like Martyr.

In one scene Camille the model and Tadeusz (Jac) the photographer are discussing her playing St Eulalia in a photo shoot. Camille asks Do you want to put me on a cross? Tadeusz responds I didn’t say that. Camille challenges him. Why Not? Crucify me!


Jac took that last frame of Camille saying Crucify me and set it up for an interesting shot of Camille suddenly floating up and ending up on a cross while turning into Saint Eulalia. Maybe as a way of showing Tadeusz imagining the scene or Camille … or both.



Jac has a good number of versions of that one shot of Camille floating up to the cross. He might keep on trying until he gets exactly what he wants for the movie.

He already has some scenes where he used AI to add some interesting flavor to some scenes in 69 Année Érotique and they are very interesting.

RedOrc I am really impressed at the AI’s ability to produce photorealistic background scenes that would need hundreds of extras in real life and huge sets. I think the combination of real actors for the speaking parts and AI crowds is a good one. The glitches of AI such as the usual six fingers are not as noticeable in the background.

The way Jac sees AI at this early point in time is a mixture of possibilities but the most clear to him is that AI can be used, without abuse, to create some very impressive scenes that would be impossible to do without millions of Dollars, or Euros, or Bolivianos.

AI doesn’t always work well. As a matter of fact, it takes many tries to get the results one wants. But once some good results are achieved, one can combine those shots with live action, not only speaking parts, but complete actions, an entire scene where the actors do their part in front of the Green Screen and that is later set up in front of backgrounds. A good whipping, for instance, in an interesting looking dungeon.

A good scene in a dungeon needs different views of the location, and then the action, in this case the whipping of the victim, has to be shot from different angles of the action itself. That is easily achieved by just having the actors turn around instead of moving the camera. One can have all the angles one needs with very little camera movement, if any at all.

In the clip below we see Ligia suffering the whip in a dungeon. We see two different views of the action and the dungeon with Ligia under the whip. It is a test, some instructions from the director to the actress are heard and sometimes Dani intervenes with comments, while Ligia stays in character throughout the shooting suffering the whipping.



I will have more info in the near future including the work Jac will be doing with Dani, Ligia and Simonne in the next few days.

You can get our movies at https://movies.redfeline.com

You can stream them at https://stream.redfeline.com

And if you want a DVD sent to your home go to https://dvds.redfeline.com

[La Reine Margot]

Happy New Year 2026!



2025 is leaving the stage. A complicated year that began with disappointments, which in turn changed all of the plans we set out to accomplish during the year. In some way we… or rather Jac, got stuck, but not in a limbo, he was always active and moving on, but without what was expected in his way of doing things.

The final days of 2025 came very fast, it sounds very dramatic, perhaps too dramatic, specially in these holidays, but those looming final days of the year had some good activity before the festivities took over, all those family lunches, dinners and parties. During the month of December and first part of January there are many birthdays in the family, the one closing the festivities in the new year will be Jac’s aunt’s birthday, she’s turning 98 in the middle of January.

Before all that endless hoopla, Ligia, Dani and Jac were busy shooting scenes for CruXbound. Dani was working the camera, under Jac’s direction. Ligia was suffering the indignities of being dragged almost naked, all chained up, led to a hanging chain, almost hanged by the neck and mercilessly whipped by Jac. That’s the beginning of the new film.



Jac decided to do the CruXbound film with Ligia all over again, from scratch. He worked with Ligia at the beginning of the year and did some great scenes for the film, but then Ligia got a contract and her time was limited, Jac was going through a lot of stress for the things that were happening those days, like the important trip to NY that had to be postponed as well as the failed campaign to raise funds for Crucified Four, and many other unexpected problems. He began the year, however, shooting with Simonne before his frustrated trip.



Jac decided to do Ligia’s film all over again this time because she looks different. Her hair is much longer, for one, and somehow she looks more dramatic. Ligia herself, when she saw the images commented:

Uhhh I look like a martyr there, for real. the light does total justice to my face, it looks very dramatic. Very, very nice. It looks like night light and it outlines my face very well. It’s beautiful.

The beginning of the new version of the film is somewhat different from what Jac did before. Back at the beginning of the year he had Ligia dragged by her neck, wearing the metal waist belt with the heavy ball attached to it. The scene was very dramatic. She was then made to stand on a metal platform with spikes, her neck attached to a chain in the ceiling and whipped, harshly.



After a few days of working in the set with Ligia and Dani, Jac went off into a lot of family issues, beginning with the arrival of his brother, from NY, they have a lot of things to do.

At the same time he was working on his AI explorations, gaining more insight into that and noticing that it has become some kind of a universal freak show. Apparently a lot of people are playing with it. He found all kinds of images generated with AI that are similar to what he was doing, rendering his AI work kind of repetitive. He will use AI a little, a lot less than what he thought he would. He’s actually annoyed with the whole thing.

He expressed that much at one point when he wasn’t getting what he wanted from AI.



One of the things he was finding this new development in technology useful for was dubbing a film into other languages. But AI is not really ready for that task. Below there’s an example of what Jac did.

He took the raw footage of a scene in Seditiosa, just to test the program he was using. He set the selected scene up to dub into english.

The results were mixed, at the very beginning, where two characters in the scene said things that were off camera and the program made it look like it was the two in the camera who were making some of those off camera comments; but then, when the scene began there were some issues when Ligia started talking. It came out weird. When Simonne began her lines, it was great, Dani’s voice off camera was good too. And for a while the scene looked good, Simonne’s lips in synch without changing her expression. At the end, when the scene was over, it got crazy again, funny crazy.

Overall, it was not horrible. It was not the best, but it was good enough. Take a look.



Dubbing a film with AI is a good possibility, if all the conditions are in place and the program does a good job. It can happen under certain technical specifications. It is an option.

Other good possible uses of AI that may be good are still under consideration. I’ll have more about that in the future.

But in general, Jac is annoyed with AI. It promises a lot but the delivery is not up to his expectations and, again, everyone is doing it so it looses its charm. He believes that even his cats can create some short movies just by walking on the keyboard.



And so we close the year of our ladies 2025 and begin the first steps on the new year, the start of a new cycle and the beginning of new things.

One new element on this new cycle is what has become the rule in film distribution: Streaming. Our channel is growing, both in films and in audience, it is a slow process but it is becoming an important way of showing our films. We don’t know how far it will go, how many subscribers we will have by the end of 2026, if it goes as we modestly hope, it will be a good thing. It will give us the real possibility of having steady productions.

We recently added Fantom to our channel and more are going to be uploaded in the coming days.



You can find our films https://movies.redfeline.com

If you want DVDs by mail you can go to https://dvds.redfeline.com

If you want to stream them visit our great channel at https://stream.redfeline.com

We all wish you a prosperous and great 2026!!

[La Reine Margot]

2026 a New Year a New Cycle



And so, the new year begins. The start of this New Year marks for us the beginning of what we consider a New Cycle. We see this period as an opportunity for fresh starts, where new beginnings and plans take shape. Even plans that were previously set aside or postponed can be revitalized and approached as if they were new, simply by reprogramming them to fit our current goals and circumstances.

As we move forward into the year, we will have new releases and the production of new films, large and small. Importantly, these endeavors will be undertaken using somewhat new approaches to working, allowing us to adapt to changing environments and embrace the new methods in front of us.

Our new baby, the Streaming Channel, is experiencing steady growth. This positive trend is evident in the data, indicating that our audience is increasingly engaging with the platform. As a result, the Streaming Channel has become a clear priority for us, and we are committed to sustain its continued development and expansion throughout the upcoming cycle.

During the first month of the year, we will be adding more films to our Streaming Channel. Beginning with with the release in our platform of Romana Crucifixa Est, setting the tone for ongoing content growth and offering our audience fresh viewing options right from the start of the new cycle.



Stream our films now!
https://stream.redfeline.com

Rather than providing a list of upcoming releases or new productions in bold black and red letters as they are on our whiteboard, we have chosen a more dynamic approach to sharing news. Announcements will be made in real time, as each release or production occurs, instead of beforehand.

As the current projects advance, I will continue to share updates regarding our plans and ideas as they arise and evolve. These insights will be provided as the situation develops, with the understanding that no definitive commitments are being made at this stage. The intention is to keep all interested parties informed of the project’s direction and progress while maintaining flexibility to adapt as circumstances change.

I might share something like this:

Jac thought of a great idea this morning, he thinks it can be a great movie, it involves crucifixion and a burning at the stake, preceded by the nasty work of the inquisitors. Jac is thinking that Dani can be the fantastic protagonist whose suffering is endless.

In that spirit, what I can say for sure is that for two weeks beginning in January 5th, Ligia will be put through hell. She will be nailed, scourged, torture and subjected to various forms of torment. Jac will be responsible for orchestrating these demanding scenes, ensuring that Ligia experiences a level of suffering unprecedented in her previous roles. Dani, following in-depth consultations with the director regarding the desired camera work, will be in charge of capturing these moments on film. Jac anticipates that filming of CruXbound I will require at least three days each week to complete all the necessary scenes.



The production days for CruXbound I will take place predominantly during the late afternoon and extend into the early evening. This scheduling allows Jac to dedicate the earlier part of each day—specifically, most mornings and early afternoons—to essential preparatory and administrative tasks. These activities include accounting, pre-production planning, editing, and writing, all of which are vital to ensuring the smooth operation and creative development of the projects.

On the afternoons each week when active production is not taking place, Jac focus will shift entirely to post-production work. These sessions are extensive, requiring many dedicated hours to ensure the highest quality in the final output. Looking ahead to the upcoming two weeks, it is anticipated that Jac will allocate a significant portion of these post-production hours to advancing CruXbound III, the film featuring Dani, which is now approaching completion. Additionally, considerable effort will be devoted to finalizing Agent Honey Trap, as it nears its completion and release.



The work outlined above will be carried out on weekdays. In addition to these regular activities, the next two weeks will include important steps toward securing the location for the upcoming production, Crucified Four. This process involves traveling to the chosen site on a weekend in order to meet with the location administrators and finalize the agreement.

During these meetings, the dates for the production will be determined, and plans will be made for the pre-production phase, specifically the construction and/or decoration of the necessary sets at these locations. While some scenes for Crucified Four will be filmed in interior spaces at the site, the majority of the filming will take place in exterior settings.

At present, I am able to comment on the developments expected to take place during the first month of the year. However, detailed information regarding specific dates, schedules, or other logistical aspects is not yet available. These elements remain a work in progress as part of the ongoing planning for the films previously mentioned.

wanttoknowmor So I guess you did nothing with regard to producing the Crux 4 films with the good weather in December. Are you going to offer those of us who provided funds during your fundraising period a refund? Or are these funds just gone?

I wouldn’t say nothing was done. It would be inaccurate to suggest that no progress has been made. In fact, much of Jac’s activity over the past couple of months has directly contributed to the ongoing work for Crucified Four. These efforts form a significant part of the preparations and development required for the project, reflecting a continuous commitment to moving the production forward.

At this very moment, as I write this on Wednesday 31st, at 6:58 PM, and as the end of the year reaches its last few hours, it’s raining heavily in La Paz. It was raining this morning, except for a couple of hours, it was raining all week… and practically all month with the exception of a few hot and sunny days, preceded and followed by heavy rains and extremely cold days. It snowed up in the mountains and the wind brought the icy cold to the city.


This is La Paz on the 1st of January, 2026, at 6 30 in the afternoon

The weather in the region has recently become highly erratic and unpredictable, making traditional approaches to scheduling production activities less feasible. Due to this volatility, Jac has determined that spreading work across several weekends over a couple of months is the most practical strategy for completing this film. This approach allows for greater flexibility and minimizes the risk of weather-related disruptions.

Rather than attempting to mobilize at a moment’s notice whenever favorable weather appears, the production team is emphasizing careful planning. Coordination among the cast, crew, and essential service providers, such as hired transportation, is a priority. This methodical preparation ensures that all necessary personnel and resources are available when needed, supporting a smoother and more reliable workflow despite the challenging weather conditions.

For the production of Seditiosa, transportation logistics were efficiently managed by reserving both a minivan and a large bus for each scheduled production day. This ensured that all cast and crew members could travel to filming locations reliably and comfortably.

The team operated according to a well-established schedule, which contributed to the smooth execution of daily activities. No to mention that adequate financial resources were available throughout the production period, supporting the transportation arrangements and other operational needs.



The production of Crucified Four presents greater complexity and higher costs compared to a film like CruXbound. Filming the scenes at the remote location presents significant challenges, primarily due to the demanding and intricate nature of the crucifixion sequences. These scenes require careful preparation and coordination, as they are both physically and logistically complex for the cast and crew involved.

To address these challenges, and to maximize productivity and ensure efficient use of resources during filming, the plan involves utilizing several extended weekends—specifically, three-day weekends—to conduct filming at the distant location. This approach involves lodging on-site for two nights, thereby allowing the team to dedicate all available time to advancing the production of each film. By staying at the location, the crew can focus on intensive work sessions, minimizing downtime and travel interruptions and maximize productivity during each trip.

It is anticipated that this three-day, on-location schedule will be implemented at least four times, with one dedicated weekend for each film.

The cabins where the cast and crew will be spending the resting hours are pretty nice and they are very comfortable with spacious sleeping quarters to ensure all team members have a comfortable place to rest after long working days, a fully equipped kitchen, modern bathroom facilities, complete with showers, dedicated spaces for dining providing a welcoming environment for shared meals and downtime. One of the rooms within the cabins will be specifically set up for make-up work, ensuring that the cast has a private and well-equipped area for preparation before filming.



The work carried out on the CruXbound films serves as essential preparation for the actresses facing difficult scenes. The experiences and elements encountered during the CruXbound productions have parallels to what will be required in Crucified Four. In this way, these films act as a valuable foundation, helping the actresses adapt to and endure the demanding circumstances they will encounter during the more challenging sequences of the project.



As the pre production on Crucified Four progresses, I will be able to provide further updates on the project’s development in the near future.

It is important to emphasize that this undertaking extends beyond a single film; in fact, the project comprises four full-length feature films. The magnitude of this endeavor is considerable, and it must be approached with the appropriate scale of planning, resources, and coordination that such an extensive production demands.

navi All I want is the film with Ligia to be released

If I’m not mistaken, CruXbound I, with Ligia, will be the first of the four CruXbound films to be released. But that’s just a comment of mine, not an announcement. I will be announcing releases when I get the dates and order of the releases, not before.

Ligia will have at least three releases this year in addition to the theatrical release of 69 Année Érotique where she plays a very intriguing character. She’s the first ‘victim’ of Mr Hyde in the opening sequence of the film. And of course, she plays the runaway slave in Crucified Four, where she suffers three separate crucifixions.

Cruxlover24 what movie is this picture Of Danielle and this handsome guy from???

The image of Dani with Alejandro is taken from 69 Année Érotique, in which Alejandro reprises his role as Alan from Pygmalion where Alan is an actor interested in Mila’s character, Vera, who plays Eliza Doolittle. Vera becomes the focal point for Jac’s characters—Hendrix, the director, and Professor Higgins, who is determined to transform Eliza into his ultimate Galatea.

In this collaborative adaptation of Pygmalion, Jac wrote the script, Amy directed the film, the actors are not simply playing characters from the original play. Instead, they are portraying actors who themselves are engaged in the process of making a film adaptation of the famous play Pygmalion. This means each performer is taking on two roles simultaneously: their own (as an actor within the story) and the classic character from the play (such as Eliza Doolittle or Professor Higgins). In addition they all play themselves making Pygmalion a complex film within a film within a film.


Image from the page of the Platino Awards. Pygmalion was nominated to this famous international awards.

In 69 Année Érotique, the narrative employs a layered storytelling technique, similar to Pygmalion. The primary film, 69, serves as the main story, while within it, Jekyll and Hyde operates as the movie within the movie. This structure allows for a complex exploration of character and performance, inviting the audience to engage with multiple levels of reality and fiction.

Alejandro portrays Alan in 69, a character who harbors romantic feelings for Lucy, played by Dani. Lucy, however, does not reciprocate Alan’s affections, adding emotional tension to their interactions.

Dani’s role is multifaceted; she plays a bass player and actress named Lucy in the overarching movie, and in the movie within the movie, she embodies Mona as well as her dual persona, Nadya. This duality mirrors the Jekyll and Hyde dynamic of Dr Jekyll, a psychiatrist who has a new patient, the timid and secluded Nadya, and Mr Hyde, who has an intense sadomasochistic relationship with Mona, presenting two distinct personalities within a single character in both cases, Jekyll and Hyde and Mona and Nadya. Dani’s performance captures the complexity and transformation required by these intertwined roles, demonstrating her range and skill as an actress.



Alejandro’s career within the company reveals a remarkable versatility and commitment to his craft. His first role was as the young priest in Maleficarum, marking the beginning of his collaboration with the team. In Dread But Dreaming, he played a young soldier, whose blood feeds the Vampire played by Mila. He then stepped into the complex role of “Young” Felipe in Olalla. In Justine, he took on the role of a gay aristocrat who sells Justine. Alejandro’s ability to embody antagonistic figures was evident in Seditiosa, as he played the nasty centurion responsible for crowning Yahel with thorns. This trend continues with his upcoming appearance in Crucified Four, where he is set to portray another harsh Roman character.

You can see all those films now!

Get them at https://movies.redfeline.com

Get the DVDs by mail at https://dvds.redfeline.com

Or watch them in our Streaming Channel. https://stream.redfeline.com

Fantom Streaming Now!

[La Reine Margot]

50 Shades Of Green



We are planning to incorporate green screen technology into our production process for a variety of reasons. The potential impact of Jac’s initiative is significant. If Jac’s planned approach to implementing green screen technology proves successful, it could influence our workflow and production methods. The changes he is experimenting with—such as painting an entire wall, and eventually the whole studio, with chroma green—are aimed at maximizing flexibility in background selection and enhancing the overall visual quality of our projects. This initiative has the potential to redefine how we utilize our resources, streamline the integration of diverse backgrounds, and ultimately change the way we make films.


A test of the use of Green Screen

JDArts The good news is knowing that the use of AI will decrease. Honestly, I wouldn’t have liked to see a movie made with AI. I much prefer real, natural art, art that comes 100% from human beings, where everything is performed by real people in a natural environment, without green screens or AI-generated characters.

It is important to clarify that AI and green screen technology are distinct tools within the realm of film production. While both serve valuable yet different purposes, they should not be confused as interchangeable methods. In the context of our current projects, there is no intention to fully use AI for the creation of a film.

We remain dedicated to using real actors to portray the characters in our movies. Throughout the production process, these actors will perform their scenes on actual sets, whether those environments are indoors or outdoors.

While our commitment to using real actors is unwavering, we are also exploring the use of green screen technology as a tool for set creation in certain films. This approach allows us to design and realize specific environments that may not be feasible to construct physically. For example, in the film Crucified Four, we anticipate the need for elaborate sets such as an Egyptian temple. By employing green screen techniques, we can create these visually complex backgrounds while maintaining the integrity of live performances by our actors.

Below test of Geraldine, who will play Pauline in Crucified Four, in an Egyptian temple.



Green screens play a crucial role in the world of cinema, serving as a foundational technology for creating immersive visual effects. Their use is widespread, appearing in a variety of genres and productions. For example, many Roman epic films rely extensively on green screens to recreate ancient environments and grand battle scenes that would otherwise be impossible to film. Likewise, television series such as “Game of Thrones” are renowned for their heavy use of green screens, which allow for the seamless integration of fantastical elements and expansive landscapes into live-action footage.



Far from being a rare or niche technique, green screens have become a standard component of most film productions. In fact, many contemporary movies could not be realized without this technology, as it enables filmmakers to transcend the limitations of physical sets and locations.

Despite their widespread adoption, working with green screens is far from simple. The process demands significant effort and expertise, typically involving large teams of skilled professionals. This level of complexity contributes to the substantial resources and expenses associated with producing high-quality visual effects. In summary, while green screens are indispensable to modern filmmaking, their effective use requires careful planning, coordination, and, in most cases, heavy investment.

The evolution of green screen techniques did not begin with AI. Previously, filmmakers relied on sophisticated video technologies to produce scenes that required the illusion of expansive backgrounds and large groups of people. An example of this was showcased at a film conference in New York, back in the year 2000.

Jac attended the film conference in New York with the aim of sourcing the right equipment for the production of Martyr. His search extended beyond just cameras, including computers and specialized software necessary for the filmmaking process. During this conference, Jac witnessed a demonstration by a company showcasing the use of green screen technology in major film productions. The presentation specifically highlighted how scenes from “The Lord of The Rings” were created using green screen setups and the associated software tools. This experience provided valuable insight into advanced set creation methods, which would later influence considerations for integrating green screen technology into our own filmmaking practices.

These methods, although predating AI, laid the groundwork for current advancements and highlighted the importance of innovation in cinematic visual effects.



Among filmmakers, the use of green screen technology is universally accepted and rarely questioned if at all. It has become a fundamental aspect of the filmmaking process, relied upon consistently across a wide range of productions. From its early adoption to its current, pervasive role in the industry, green screens have shaped the way visual effects are created, making their use an unquestioned standard rather than a subject of debate.

For Jac, the primary challenge lies in determining the most effective way to utilize green screen technology given the resources available. Driven by this question, Jac recently began hands-on experimentation to explore the possibilities. As a practical step, he painted an entire wall in his studio with the specific shade of green commonly used for green screen effects, also referred to as “chroma green.” His goal is to eventually repaint the entire studio green—transitioning from its current black—to provide greater flexibility in choosing backgrounds for his projects. This approach mirrors techniques seen in major productions, such as those used in “Game of Thrones,” where set design enables seamless integration of diverse backgrounds through green screen technology.

wanttoknowmore Best is to use AI to supplement scenes – Provide background or crowds scene from the person on the cross. That can greatly enhance the film and lower production costs. I agree at this point in development, a full AL movie does not have the quality of one with real people as the main characters.

AI technology has made significant strides in recent years, but the AI video generators that Jac is currently testing still face notable limitations. At present, these tools are not sophisticated enough to produce an entire film on their own. Although AI video generators can contribute to the filmmaking process by creating certain types of video content, their capabilities fall short of the complex requirements involved in assembling a full film sequence typical of traditional film production.

Despite these constraints, AI video generators can still be valuable when used thoughtfully and with patience. Rather than constructing complete scenes, these tools are most effective when employed to generate select shots within a scene. This focused application allows filmmakers to incorporate interesting and unique visuals into their projects, even if the technology cannot yet handle every aspect of scene creation.

During the post production of 69 Année Érotique, Jac took time to review some scenes and found inspiration to incorporate artificial intelligence into a few of them. Jac described this particular moment as a genuine flight of fancy.

The process of experimenting with AI led to unexpected and intriguing results that added a unique quality to the film, it benefited from an added richness and originality. Pleased with the outcome, Jac decided to retain these AI-enhanced scenes in the final version, allowing their distinctive and appealing characteristics to become part of the movie’s overall aesthetic. with the AI-driven moments now forming an integral part of its overall visual and narrative style.

The image below shows a small part an initial attempt at crafting the intended material. It is important to note that this version serves as an early draft.

The completed and polished version of this scene, including the music will be featured in the film.

Cruxlover24 Danielle is going to do camera work now? I hope she doesn’t stop acting in Jac’s new projects.

Throughout their work with Jac, Dani and Mila have both contributed significantly behind the camera and in technical roles. Under Jac’s direction, Dani operated the camera during scenes in CruXtreme IV, capturing moments where Mila was made to suffer. Dani also handled camera duties for Deep Cover Mole, again documenting scenes of Mila’s torture.

Likewise, Mila took on camera responsibilities in films where Dani was the character experiencing suffering. This mutual exchange of roles highlights their collaborative approach to filmmaking. In addition to camera work, both Dani and Mila were involved at different times with the camera and sound for 69, further contributing to the technical and creative aspects of the production.

It is common practice in our productions for cast members to take on multiple responsibilities behind the scenes. Many performers contribute to various tasks, supporting the filmmaking process in diverse ways. For example, Carmen assisted with several duties during the filming of Martyr, stepping in to help with certain scenes. This spirit of collaboration ensures that each project benefits from the collective talents and flexibility of the team, enriching both the technical and creative aspects of production.



We will have more updates coming up soon. In the meantime you can watch our films!

Get them at https://movies.redfeline.com

Stream them at https://stream.redfeline.com

Get a DVD by mail at https://dvds.redfeline.com