Honest Omar's runs a very tight operation. We always surveil our slavegirl candidates for weeks before we do a snatch-and-grab.We need to ascertain the candidate's true proclivities to ensure that they will fulfil your every requirement once converted and trained to your specifications.

Once we are convinced that a subject is in line with our and your high expectations, we waste no time. A snatch squad will be sent in to procure the new property, and humiliation and bondage training will begin at once. As you can see, our latest candidate has a fine figure and most promising fiesty outlook that will be a lot of fun to humble so you can liberate than wanton wicked slave girl inside! She will soon bow her head to your orders and submit to you!

Hywel's note: this film has been waiting for editing for a long time! We shot it in our previous house, and I think it was one of the first things I shot when I bought the RED camera. I hadn't figured out a reliable way to get sound into the RED yet and the sound on some takes was extremely crackly - and on others completely absent. (Hand holding a camera with regular 3.5mm audio jack input just floating around is a recipe for audio issues, it turns out. I fixed it by going through an audio box before the camera and enclosing the jack input with a protective cage, so it didn't wiggle about every time you handled tha camera).

So the footage was good visually, but close to unusable audibly. It needed a creative edit to make the most of it and tell the story without 90% the dialogue and Ariel and I put it off - and there it sat until I noticed it today and decided to give it a go. What seemed like hard work to reconcile at the time was no longer burdened by trying to edit the film as we'd scripted it - I could just go with the flow and tell the story that the footage we had actually supported. So I think there were some twists in the tale and sub-plots that the footage without sound just didn't support. What it would let me do is to tell a stripped-down slick music video version of the story - so that's what I did. And it came out super-hot because of the way Michelle switches gear from girl-next-door in the set-up to super-speed sex-kitten slave girl when she's naked in chains.

And this is why the editor isn't on-set in mainstream movie and TV production. It lets them see that film that the footage can actually make, rather than the one you thought you were making. The film is always much better as a result, as is the case with the super-sexy final film here. We'd got so hung up on not being able to tell the storyline we'd scripted that we ignored the stylish sexy stunning film that was actually there to be discovered. Lesson learned!