It’s Kayla Kayden’s new Naughty America VR release, Road Head. Did I mention that it stars blonde Goddess, Kayla Kayden.
KAYLA KAYDEN!!!!!!!! That calls for an immediate 22 Kayla Kayden picture drop without hesitation. KA BAM!
All right, let’s talk about what was done right in this movie and where there’s room for improvement:
1. Kayla. Enough said.
2. Doggy, blowjob, reverse cowgirl were acceptably scaled, but, for me, just slightly distant feeling to achieve excellence. That’s okay. Personally, I generally take a cursory approach with those sections. I peek, scan, check the optics and move on.
Doggy style has proven, in my opinion, to be a difficult position to VR shoot. Again, to my eyes, it tends to feel a bit distant.
I find reverse cowgirl turns out best when the woman’s upright rather than leaning away.
I’m going to tell you why this one’s more than worth the admission cost.
Now, it’s always one man’s opinion. And, your viewing experience can vary based upon your viewer and facial structure.
But, for me: I’ll tell you why this is worth the ticket price:
3. Beginning at the 10:00 mark, you get a HORNY, well-scaled upright cowgirl that morphs into squatting cowgirl hoverface at 11:00, which morphs to smothering lean forward cowgirl, which slips back to upright and ends with a hoo-ha close-up.
This sequence starting at 10:00 will rock your eyeballs clean out of their skull sockets.
Let’s do a screenshot recreation, friends…and talk our way through this horny…
This is useful because it’s perhaps the best way to demonstrate another term we coined—sense of spatial correctness—which can sometimes seem complicated.
The basic idea of this concept goes beyond scale to really evaluate the full optical experience as bodies move through 3D space.
So, at the 10:35 mark we have Kayla in a very upright cowgirl that feels close and is well-framed: meaning, Kayla fills the FOV (frame of view) nicely.
Come the 11:02 mark, Kayla folds into the much desired squatting cowgirl hoverface (another term coined here).
What’s important to note is that optically things remained realistic as Kayla shifted depth in 3D space. Oh, man… we’re
getting technical as hell, gentlemen!
At 11:59, Kayla leans in at a different depth. What’s important to note is that optically things remained realistic as Kayla shifted depth in 3D space.
At 12:07, depth is again subtly changing. I’m drawing attention to these fine points, because it is this sense of spatial correctness of moving bodies that will make-or-break the optics of the movie.
At 12:21, we morph into a smothering cowgirl: while visually everything remains convincing with the depth change. Very well done!
At 12:53: back to upright.
So, that was a great cowgirl segment that was intensely realistic and engaging with the depth/positional shifts.
Then, skip to the sequence from 31:25 to 35:15. Why? Cowgirl Missionary Hybrid! (another term we…you get the idea, but, some fellas ain’t much for attribution…)
Now, those sexual sequences referenced above all shared a close camera perspective while simultaneously maintaining a competent sense of spatial correctness.
Once again, I’m repeating: this is a way of saying that as Kayla’s body moved through the depths of 3D space, the optical size/proportions of everything looked good: created a realistic illusion.
I’m emphasizing sense of spatial correctness because this metric is vital in judging the illusion.
For instance, this extreme close-up on Kayla’s funbags felt correct as each funbag changed depth position.
In particular, what was nice—and, no doubt intentionally configured—was the way that they managed to keep Kayla’s face pushed close to the camera during much of the sexual action.
This was most evident during the squatting cowgirl hoverface (LOVE THAT!) and the cowgirl missionary hybrid.
In my opinion, these are the two best sexual configurations needed in VR porn.
Why do I say that? What about doggy? What about reverse cow? What about blowjob? What about missionary?
Those perspectives have proven challenging for the studios. I think that for those positions POV should be abandoned and the camera should just be shoved close.
We’ve seen this recently with how some other studios have been approaching missionary lately: truncating the FOV to only include from the woman’s face to belly button. I find that effective for segments.
But, for me, the sexual sequences discussed above make it a keeper on my SD card.