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Vintage 90s Goodnites Wetting Video Promo


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5 hours ago, juntaglom said:

I know there's a high probability that this is an unpopular opinion, but aesthetically speaking I would choose the current ones over these every day of the week...

The newer ones are certainly cuter and better made, but these have more nostalgia. I can't imagine how I would have felt as a teen (ok if I had been a normal teen) and had to wear Goodnites with patterns. For me these medicalized the problem of bedwetting, while the cuter ones infantalize it. Don't get me wrong, I love the new ones, but you can buy them at the shop any time. To get these you need a Delorean :)

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5 hours ago, rachelkirwan said:

The newer ones are certainly cuter and better made, but these have more nostalgia. I can't imagine how I would have felt as a teen (ok if I had been a normal teen) and had to wear Goodnites with patterns. For me these medicalized the problem of bedwetting, while the cuter ones infantalize it. Don't get me wrong, I love the new ones, but you can buy them at the shop any time. To get these you need a Delorean :)

Or a magical backpack from a real teenage bedwetter.

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On 2/2/2017 at 0:37 AM, rachelkirwan said:

The newer ones are certainly cuter and better made, but these have more nostalgia. I can't imagine how I would have felt as a teen (ok if I had been a normal teen) and had to wear Goodnites with patterns. For me these medicalized the problem of bedwetting, while the cuter ones infantalize it. Don't get me wrong, I love the new ones, but you can buy them at the shop any time. To get these you need a Delorean :)

I do understand where you're coming from, though.

I guess as a non-bedwetter, I don't have very strong memories of the diapers I used. And even if I did, obviously none of them would fit. Plus, as a child of the 2000s (born in late '96, potty trained in like 2000) the branding has changed only incrementally since then, so there's significantly less of a vintage thing, I think.

I do miss some of the designs I bought as a slightly younger ABDL though. I liked the karate/BMX designs, and I'm still salty about them getting rid of the red skateboard design. I've liked both of the skateboarding designs more than the camo helicopter ones.

I've actually called K-C's customer support line to tell them about the designs I like. And also to get the Marvel/Disney designs on the L/XL size, especially last year when they posted something that seemed like it indicated that. I've also called the Pampers line to try to get them to make UnderJams bigger. It's actually a really fun activity.

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16 minutes ago, rachelkirwan said:

If you wore Goodnites before like 2006 you wore these ones

In that case, I definitely did.  Now I'm nostalgic about trying them again.  I bet they wouldn't fit though.

I hated having to wear them because it put me in a vulnerable position, which I hate being in.

But as I went through middle/high school, I wished I had kept some some where.  

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Stage Lighting Technique

It has been enough decades that I’d rather not write about how we did what we did.  Instead I surfed and found the links below.  I’ll not insist you have to own more lights than you can afford.  Many small photography and video operations do everything with clip-on flood lights and get decent results.

Jeremy G. Butler, Television Critical Methods and Applications, 1994, Figure 5.9 and pages 111-114 (pdf pages 127-131)

https://www.americanradiohistory.com/Archive-Bookshelf/Broadcast-Education/Television-Critical-Methods-Butler-1994.pdf

Butler sticks with the traditional lighting in his 2002 edition.

Herbert Zettl, Television Production, 3ed, 1976, Chapter 6.

https://www.americanradiohistory.com/Archive-Bookshelf/Business/Television-Production-Handbook-3rd-Zettl-1976.pdf

Zettl provides more detail plus many other techniques for video production.  As I worked in a station with enough Fresnel lights for our needs, I would stick with one for the fill.  I would not like to spend 10 minutes of our tight time budget installing a scoop (flood) light to find it spills into the wrong places.  It would have to be changed.  Ditto should the director call for a kicker light.  That turns the first installation into pointless make-work for whoever did it.  Neither would I have wanted to become the guy who had to chase someone else back up the ladder.  OTOH, had I worked in a place with a smaller light collection, I would follow Zettl’s choice.

https://www.americanradiohistory.com/Archive-Bookshelf/Broadcast-Education/Television-Critical-Methods-2nd-2002-Butler.pdf

The site owner still work on American Radio History’s file structure.  So the link may be broken by the time you read this.  However, the site has a good search engine.

Butler supplies the foundation lighting ideas usually used in portrait photography, live stage, movie making and television until the mid 1980.  The most noticeable change has been greatly reducing the “fill” and “back” light intensity.  Doing so gives a harsh, punk or slasher look.  My brief time in that industry ended before that technique became popular.  The lights as far as Butler goes need be spot or Fresnel.  Fresnel allow focusing.  That means the lighting engineer can narrow or expand the spot falling on the talent.

I agree with Butler – but wish to add a couple notions.  First, pull the talent far enough away from the backdrop or wall, that the key and fill lights don’t spill onto the backdrop.  Then add a flood light illuminating the backdrop.  If the director wants a greater sense of depth or more romantic touch, the lighting engineer installs a lower-wattage flood.

Second, add another flood well camera and illuminating a wall or large object directly in the talent’s line of sight.  It reduces the squinting to a dark place reflex.  This probably does not apply here.

Third, if you what to do nude scenes in the Chinese district during the day, for a fill light consider stapling aluminum foil to a one meter square thin-plywood sheet and mounting on an artist easel.  It will need some tilt adjust.  I supplies reflected sun light.  With the key light being the sun and fill being reflected sun, the key-fill color matching should be pretty good.

R. Gillespie Williams, Technique of Stage Lighting, 1947

https://archive.org/details/in.ernet.dli.2015.127835/page/n1

Once satisfied with your foundation lighting skills, you may want to thumb through Williams for techniques giving different moods. 

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5 hours ago, Stanley79 said:

Stage Lighting Technique

It has been enough decades that I’d rather not write about how we did what we did.  Instead I surfed and found the links below.  I’ll not insist you have to own more lights than you can afford.  Many small photography and video operations do everything with clip-on flood lights and get decent results.

Jeremy G. Butler, Television Critical Methods and Applications, 1994, Figure 5.9 and pages 111-114 (pdf pages 127-131)

https://www.americanradiohistory.com/Archive-Bookshelf/Broadcast-Education/Television-Critical-Methods-Butler-1994.pdf

Butler sticks with the traditional lighting in his 2002 edition.

Herbert Zettl, Television Production, 3ed, 1976, Chapter 6.

https://www.americanradiohistory.com/Archive-Bookshelf/Business/Television-Production-Handbook-3rd-Zettl-1976.pdf

Zettl provides more detail plus many other techniques for video production.  As I worked in a station with enough Fresnel lights for our needs, I would stick with one for the fill.  I would not like to spend 10 minutes of our tight time budget installing a scoop (flood) light to find it spills into the wrong places.  It would have to be changed.  Ditto should the director call for a kicker light.  That turns the first installation into pointless make-work for whoever did it.  Neither would I have wanted to become the guy who had to chase someone else back up the ladder.  OTOH, had I worked in a place with a smaller light collection, I would follow Zettl’s choice.

https://www.americanradiohistory.com/Archive-Bookshelf/Broadcast-Education/Television-Critical-Methods-2nd-2002-Butler.pdf

The site owner still work on American Radio History’s file structure.  So the link may be broken by the time you read this.  However, the site has a good search engine.

Butler supplies the foundation lighting ideas usually used in portrait photography, live stage, movie making and television until the mid 1980.  The most noticeable change has been greatly reducing the “fill” and “back” light intensity.  Doing so gives a harsh, punk or slasher look.  My brief time in that industry ended before that technique became popular.  The lights as far as Butler goes need be spot or Fresnel.  Fresnel allow focusing.  That means the lighting engineer can narrow or expand the spot falling on the talent.

I agree with Butler – but wish to add a couple notions.  First, pull the talent far enough away from the backdrop or wall, that the key and fill lights don’t spill onto the backdrop.  Then add a flood light illuminating the backdrop.  If the director wants a greater sense of depth or more romantic touch, the lighting engineer installs a lower-wattage flood.

Second, add another flood well camera and illuminating a wall or large object directly in the talent’s line of sight.  It reduces the squinting to a dark place reflex.  This probably does not apply here.

Third, if you what to do nude scenes in the Chinese district during the day, for a fill light consider stapling aluminum foil to a one meter square thin-plywood sheet and mounting on an artist easel.  It will need some tilt adjust.  I supplies reflected sun light.  With the key light being the sun and fill being reflected sun, the key-fill color matching should be pretty good.

R. Gillespie Williams, Technique of Stage Lighting, 1947

https://archive.org/details/in.ernet.dli.2015.127835/page/n1

Once satisfied with your foundation lighting skills, you may want to thumb through Williams for techniques giving different moods. 

Wow now that's a post, thanks for sharing. So a little history about this photo shoot. I took this (along with a video of me wetting these glorious pullups) when I had a lot of time on my hands and I did mess about with the lighting for like a good 30 minutes. I did only really have like house hold lights and nothing to properly bounce it or anything, and it was very jerry rigged. But I think my more recent panty shots are better, the trick is using natural light and fiddling with the curtains.

I should add something that was left out of your very detailed and most excellent discussion... and that is, how do you carefully adjust the tilt on a tinfoil reflector when you are about to wet yourself 🙂 

A truly gripping experience... 😉

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Sounds like an artist's dream apartment.  Yes.  When natural light does what you want, it's great.  Saw a photo of a late teen girl sitting on porch steps peeing.  The image came back to mind in the middle of the night.  It showed all the detail anyone could want in the shadowed area.  Was the girl photographed in a studio and layered in?  Looking at the image again, everything received good fill light.  The fill light came from a light-colored concrete walk way.  It reflected the sun exactly where needed.

As for doing anything "carefully" with a full bladder, "talent" should be in the intended position and and someone else adjusting.  Guess you don't involve your hubby in your business.

Lovely pun in your closing line. 

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