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I think it's too little of the raw material behind the scene.
I love WR and would like to see more of the behind the scenes.
I want to see more of the girls behind the camera. I would like to see their reactions to the naked guys. Wouldn't you be able to bring dressed girls with whom they pose. It would have been an exchange of WR. MVH Danny
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I have been waiting to hear some reaction to the films this year. Angus has asked for some feed-back, but so far I have seen none. I was disappointed by the films of 2019, having been very impressed with every year before. I thought that producing a monthly film had lead to repetition and stasis. WR have said that they had listened to us and that there would be more interaction and more sport. So has there been, or do the 2020 films look very similar to 2019? 
I have yet to invest in the 2020 product. I have yet to be convinced that I should. I am not sure that the suggestions of the previous contributor would interest me very much.  
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Angus WR
Hi, Dirk and Lefkippus

As WR grows and evolves, there will certainly be more raw footage, more athletes, more sport and more public settings.   We already have a large database of volunteer participants, and we are gearing up for a big announcement that will support further recruitment and participation.  Right now, however, our shooting plans are being compromised by the global lockdown - shoots we have been organising in Spain, Italy, the UK and Canada have all had to go on hold, and we will be making an announcement about this shortly.

Thank you for your patience.

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If you want a female photographer e here i am Pammy 

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Having subscribed to the WR20 I have to say I am mostly very pleased with the footage and the behind the scenes feel of the current bunch of clips. The biggest problem is finding the clips in the download section. Especially when a bonus clip has been given the same title, Extended Sequence, as the ordinary monthly WR18 clips have. 
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I think this is the first review of the films for 2020 that I have read. Hardly a ringing endorsement. Angus has called for comments about the film footage for this year. Is ther no-one out there who would like to compare them with the 2019 monthly films?
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I have purchased several years of WR.  I found the 2019 format for downloading films confusing as they did not appear in order.  I also thought I was watching footage I had already seen as they were all similar.  I realized that the first teaser film had the best coverage, and it was been repeated.  The films are high quality and the guys are great looking.  A lot of work went into making them high quality.  You can't argue with the amazing settings, but I wish there was that little something extra.  Honestly I wish they were sexier.  I realize this isn't porn, but I do think they could be hotter and sexier.    I have't purchased the 2020 film yet.    
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Compare them to the 2019 films. Let`s see? The poses and settings are mostly the same kind - only this time Epping Forrest and some more urban locations, London being one of them, also are included. So far the most featured models are Alfie, Sebastian, Amir and Sebastian`s twin brother Alex of the known models. Newcomer twins Lewis and Thomas, plus philosophy student James, are so far, as memory serves, the only ones who were not in last year`s monthly clips too.

In 2019 the villa in Spain was white and ultra modern - this year`s Spanish villa is more homely, and at least to me more appealing as a location. The cold white and the square lines of last year`s Spanish villa, made it a little too cold and impersonal to me. For filming last year`s pool also far from was ideal because it had fewer available angles available for camera access. This year`s pool is both smaller, have surround access, plus bird`s view for filming, and therefore is a dream location for filming. Not the least because it allows a closer range, which again provides a better view of the individual models at the same time as everything that goes on around them also is being captured at the same time. At least there is a potential for that, with a location and setting like the pool scenes from the WR20 April film clip. But even though Damian is a master camera operator, who - which is particularly true about the WR20 April film clip - shoot the most fantastic frames of nature, models and other locations alike, I am not to the same extent blown away about how he has edited and put them together. That does not mean the clips are poorly edited, or that he doesn`t know what he is doing. Only that with a few different choices I - I, this is my personal opinion - feel the over all impression of the WR20 April film clip could have been even better.

But let me stress this, the WR20 April clip, just as the previous WR20 clips, is a very well made little film clip displaying young hunks in their Adam`s suits in a most appealing way. My slight - slight - reservations are of a nitpicking nature, but nevertheless something I think could have made the clip, as a piece of film, even better.

So welcome to film school.

The main rule in film is to inform the viewer as much as possible only through the frames, and how they are put together. In tv, as an example, it is essential to capture the interest of the viewer, within the first minute to minute and a half, if not - zap, the viewer change channel. The viewer, although off course watches through his/her eyes, consumes what they see from either their heart, their mind - or what is below the belt. It doesn`t matter whether it is the news, a soap or a porn film even. Those three still applies, even if the active mind is more stimulated when we watch news, than what the below the belt area is. But if you notice the news reader is good looking, that is not an intellectual observation - that was made from below the belt. 

WR clips are trying to establish themselves not solely to be consumed below the belt, but to be a little more highbrow than that. So I assume that is why subscribing viewers are being drowned in a parade of white letters on black background in front of every clip, wasting, in my opinion, around a minute of film every month, cause it looks more serious that way? But it also is kind of depressing to watch, cause black background and white types is what is used in tv when someone in the production has died, and is being honored with a mentioning - or in documentaries if there hasn`t been possible to obtain footage or get an interview. It is quite down-putting. Why not instead edit a little one minute intro, choose a tune to go with it, and that way build up expectations within the viewer of what is to come in this months clip (because the intro would have included little snippets of clips to come through the year), and which included the faces and names of all the models involved, all the locations, plus the names of the photographers and more? For the viewer an intro will both build up excitement and bring back memories of earlier clips the viewer have seen. Along with the names of the models, little statements of why they are taking part, and what WORLD ROAR is could be included.

Another tip I have is to end every little clip with a little teaser of what is to come in next month`s film installment. If you included that little teaser clip on your various accounts around the net, censored to cater for the various sites, those might attract new subscribers too?

That was the suggestions - now to the tiny bit of criticism of the editing, and I am restricting it to the otherwise excellent WR20 April film installment, cause it is the one freshest in mind.

The April film is divided in two halves, the first part is some amazing nature shots with Alex, Alfie, Amir and Sebastian in Epping Forrest. The second the same 4, plus newcomer twins Thomas and Lewis in this year`s Spanish villa. As I mentioned further up, both locations were excellent choices for filming, and Damian managed some brilliantly bright, sharp and well framed footage of both models, nature and villa location. He also managed to tell a little bit of the story behind the scenes of a shoot. Among other things we saw Lucas as a make up artist, and one of the photographers busy spray-painting an oar purple.

So great establishing shots - so far no problem.

But why include a face close up of Alfie when all he does is to tell us something we already know? He doesn`t have to tell us he is there to shoot the calendar, cause we are watching him on a behind the scenes clip for that very shoot. So unless a viewer has got severe Alzheimer, we all already know. Why not instead use the time for him to tell us something we don`t already know, so we either learned something new, or something more about him? He could even have told us his favorite joke, or been asked a kiss, marry, kill question. It doesn`t so much matter what he is being asked or says, as long as it is new to viewer, and therefore maintains the viewer`s interest, or surprises the viewer - either way it keeps the viewer`s attention, and makes the viewer enjoy watching.

There also was a clip where Sebastian told why he thought the WR project was important. Fine enough, but since he basically said the same in some 2019 clips, why not only have his face close up for the first few seconds of the frame, and the rest of his statement as voice-over on other clips, depicting what he actually talked about, where we saw him pose and more, and that way underlined what WR was by showing it, instead of just hearing it from his mouth? Cause there might be a first time viewer out there, who would have gotten a better understanding of what Seastian was referring to if seeing footage at the same time as hearing Sebastian speak.

The first half in Epping Forrest mostly, after a little establishing, showed the four models in a group shot face forward, holding their hands up in the air, behind their heads or covering their privates with large leaves. After that the shoot continued with Sebastian solo, before his brother and Alfie joined in. For every time a new model was added, he was filmed in a quick glimpse from the side taking off his trunks, and then walking over to get in frame. But when Alfie`s turn came, there was a strange jump from him walking towards the spot, to all of a sudden taking a seat behind Sebastian and Alex. Some might see it as nitpicking, but in my opinion that frame would have been improved if it either had been cut sooner, or if Alfie had been seen walking all the way over to the two others. The fact the clip jumped from half a second of his bum walking out of frame, to him suddenly sitting himself down, told us there had been footage between we had missed, and therefore that shift was far from seamless. 

Alfie`s buns doesn`t really get screen-time before the villa in Spain. But even here I have my reservations. Because many of the frames shows the models below their heads or faces, or the shifts of the group shoots are so quick to shift to other frames you don`t notice which model is standing where before a new frame and motive is on the screen, knowing which butt belongs to which model wasn`t easy to keep track of. Especially not when there are two sets of twins among them.

I realize off course, Damian being on his own doing the shooting, it is not easy to capture everything that ideally could have been included, included on film. But if he has more than one camera (apart from the drone), on locations which are as private and secure as a private villa or the wilderness of the Epping Forrest, it should have been possible to set up a stationary camera shooting a continuous pan shoot of the full set, while Damian himself moved around for close ups and alternative angles. 

Don`t get me wrong! For being alone shooting, I am amazed about how many various angles to shots and the goings on behind them Damian has managed to catch on film. It is just, when he delivers so perfectly beautiful shots of both nature and models, and ditto bright and sharp footage from the shoot around the villa and the swimmingpool in Spain, I get a visual picture of how great the clip could have been, had the editing been just a little bit different. Like not shifting from a group shot until we had time to notice which model was where. When they are standing on a line with their backs turned to the camera - and two sets of them even are twins - that is not easy to determine. Or including them in the frame with heads, or stay in frame long enough until we could see the face. Or even edit the clips so it would be obvious who we had seen, or was about to see, from behind.
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Thank you for the very thorough report.  I like seeing true behind the scenes action like the guys getting ready, taking off their clothes, seeing each other naked for the first time, etc.  These moments are real, unscripted, intimate and ultimately, sexy.    I was a model for a number of years, and I can tell you getting undressed and seeing the other models for the first time was always the most interesting part of the photoshoot.  The rest was always a lot of work.  The setting up, adjusting the lighting and posing was often tedious.  I can really appreciate WR making it look easy and fun, when in reality the guys are working hard.  It's a testament to the photographer and editors that they make it look seamless and playful.  So much work behind the camera that we never see.  It's so much work!  I would say at 85% of the shoots I did, someone got an erection or a semi at some point during the shoot.  It would be fun to see this in WR and how the other guys and photographers react and handle it.  
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You have so far been the only person to offer a review..at lest that I have noted. I am sure you have made some interesting points, but i couldn't follow much of what you were getting at. It would be so helpful if you could summarise your thoughts. Unless I missed it, what I didn't see was any reference to activity. It sounds as if most of the 2020 are still around the work that goes into lining up each static shoot and then watching Angus taking the pics. If this is the case, I won't be subscribing. In previous years it is the interaction between the guys when they are NOT at a shoot, and the guys at play, cooking or enjoying themselves that I much prefer.
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Just wanted to let you know that the problems with the orders of the downloads in your account is something that will be fixed. We are in the process of building a brand new and improved webpage where this issue is one that will be fixed.
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I have been subscribing to the content from 2015-19 but I havent yet in 2020. My biggest concern was the nature of the repetitive content.  I personally had the impression that it was all about regular normal guys fighting homophobic prejudices. And regular guys doing fun activities like rowing, climbing trees, running on the beach, jumping into water etc etc...Last 2 years, it quickly turned into an art exposition about 2-3 guys with same old poses in front of trees, buildings, logs, in some interior or exterior setting gazing into the horizon or looking into each other eyes. I felt that the photographer wanted to explore art, which is fine, if done in balance with normal regular fun videos and pictures.

There are lots of calendars that are in the artistic exploration area. The purpose of those are either make you appreciate the art form of naked modelling and maybe there are people who use it to ogle at pictures. I thought warwick rowers was more about making people smile and feel warm. I was hoping for more fun content - guys playing sports, putting each other on their shoulders, running, splashing with water, doing chicken fights in pool, climbing trees etc...content that made you smile - that made you think that normal men are liberated enough to pursue normal activites without thinking if someone ends up having an opinion about them. I miss the videos were the rowers are playing with water or jumping into the canal or posing on shoulders with oars...

I gave this feedback middle of last year in an email but never heard back. not even acknowledged. thats why i have decided to skip this year all together.
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I agree 100% with everything you say Sam. I wish I could have put it as eloquently. I have also been saying that I was unhappy with the repetitive content of the 2019 videos. I know that Sam and I are not the only ones to make these comments. I have also, so far, only subscribed to the calendar. I have been waiting to hear whether the 2020 film content is any different. So far no-one who has seen them has answered this. 
I feel very sad about this. I miss Lucas and the other guys. They are doing a fantastic job. I really would like to support the cause more, but not if this project has become all about art.
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Angus WR
Hi, Sam and Lefkippus

We believe you will both be very happy with the direction WR is taking as a project.  

Our primary goal has always been to celebrate how men can be together when they are liberated from a set of rules around masculinity that have negatively impacted us all (regardless of gender or sexuality).  

It is our mission to shine a light on these often invisible rules, and to show the world in a fun, engaging way how they can be changed.  Nobody knows this better than the rowers and other athletes who have taken part - they love the spontaneity and freedom they experience on our shoots, particularly around the water and in larger groups, and the different perspective on life that seems to be the takeaway for most if not all of them.  The personal growth that our participants have experienced is at the heart of our evolution into the Worldwide Roar.

Without wanting to go into history that I've already mentioned elsewhere on this forum, I think some supporters will be aware that the last 2-3 years have been challenging for us as a project.  Since a new Vice Chancellor was appointed to head up Warwick University in early 2016, the university and its associates have been hostile and obstructive towards WR.

While an admirable number of student participants have maintained their commitment to the project, this institutional hostility towards the project has sadly impacted on our shoots.  We have been denied permission to shoot at the boathouse with the boats and rowing equipment which had previously played a key role in maintaining our focus on sport, and rowers at Warwick have apparently been discouraged from participating in the project.  

But with a group of incredibly motivated participants and backdrops that have varied from grand English country houses to a remarkable garden in Spain to the unrivalled glamour of Italy's Amalfi coast, we have always sought to create satisfying content within the limited resources we have had. I am proud of the content that we have created over the last three years.

Most importantly, we have been able to reach a very positive outcome: a much-needed move beyond Warwick towards becoming a broader-based, more inclusive project open to sportsmen everywhere.

Most relevant to this discussion, our continuing evolution into the Worldwide Roar has enabled us to focus on a return to sport, and wider participation.  We now have a large database of athletes who have expressed an interest in doing shoots, and the support of various universities to return to shooting university athletes.  I am both proud and a little relieved to say that these universities have actively demonstrated their understanding of the wider social objectives of our project and of the clear benefits to students.

Of course, the current crisis has forced us to postpone a number of shoots in both Europe and North America, which is frustrating for all of us.  But we are using this time to work with universities, sporting bodies, sports teams and individual applicants to plan for the future.

Once lockdown ends, we will be returning to sports-based shoots with bigger numbers of participants, particularly from team sport.  In the meantime, we are creating spontaneous, fun-filled content with student athlete participants from Warwick (including new recruits!) and from further afield.  

This content is already appearing in our ROAR monthly download, which has now become ROAR Portfolio, not least thanks to feedback from our supporters.  ROAR Portfolio replaces our original magazine with a more flexible zip file format that allows us to include more video, more self-shot content, and to return to the hi-res single images of previous years.

And I'm very happy to say that one of your favourites, Lefkippus, has responded to the lockdown crisis by agreeing to return in front of the cameras! Look out for our May ROAR Portfolio!!
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Thanks for the response Angus and your support Lefkippus.

Angus - the primary goal that you stated (in the words you used) resonate with me and I am sure with lot of other people too. But I also think it validates my point. How does 2-3 guys making artistic modeling poses around trees or buildings defy the stereotypes of masculinity? Or for that matter feminity or any gender stereotype? Stereotypes come around when men or women are doing more normal activities like sports or being playful with each other or displaying some bonding. like its perfectly ok from women or man-woman to hold hands or give each other hugs but men doing that as a normal gesture or in a playful context hit stereotypes of masculinity!! And the early shoot outs of warwick rowers in 2015,16, 17 challenged that - you could see the rowers doing water fights, playing around with colour, putting each other on shoulders, laurence pushing matt in a cart..these were the scenarios where stereotypes get enforced and the fact that the rowers did these in a natural spontaneous manner challenged the stereotypes...

My point is its not the settings of the shoots so much but the picturisation of the shoots/pictures/films that have taken the differentiation off from the calendar.

However, I fully condemn the hostility of the university if what you are saying is true. Such calendars and participations are something that a university or any body should be proud of. I also welcome the participation of other sports people in it. But i do think you dont necessarily have to take the project to exotic locations to bring its spirit back. 
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