FAQ

No, at no point. Application, conversation, casting, booking and the contract review before you sign are free. Nothing is taken from your fee either: no commission, no booking fee, no handling charge. We are paid by the production that books you. If an agency charges money to put you in a file, for mandatory photos with a particular photographer, or as “expenses” for the casting, then its business is the application, not the booking. In that case you pay nothing and you break off contact.

Nothing you have to go and get first. The form asks for name, date of birth, a way to reach you, region and the area that interests you. No CV, no prior experience, no professional photos. We ask for photos only once it looks like a fit in principle, and then current phone pictures in daylight are enough: once the face, once the whole person. Heavily edited studio shots help less than an honest photo, because a production wants to see how you actually look. Take two minutes for the free-text field and write what you imagine and what you do not. That later saves a whole round of conversation.

First a person reads it, not software. Within 48 hours you get a reply by email, either a rejection or a suggestion for a conversation, usually by phone or video. In that conversation we clarify expectations, availability, limits and your open questions; it rarely lasts longer than half an hour. If it fits for both sides, we send you the yes-no-maybe list and invite you to a casting. Only after that do any of your details go to a specific production, and even then only if you agree to that individual enquiry.

Within 48 hours, including if the answer is no. Leaving applications unanswered is disrespectful, especially for a step that many people find hard. If nothing has arrived after three days, it is almost always the spam folder or a typo in the email address. In that case, just write to us again. How long it then takes from the first reply to a concrete enquiry is a different question and depends on what is being cast.

This is the message we get most often, and almost always the same false assumption sits behind it: that there is a particular type being looked for. Productions cast very differently. Enquiries that sit outside the default idea — more weight, more years, visible tattoos, everyday faces — are regularly harder to fill and therefore more often open. Honesty still matters: nobody can promise you a yes in advance, and we do not pass every application on. Judging that is our job, not yours.

No. At the lower end, working together is possible from the age of 18, which is why the date of birth is a required field on the form and ID at the casting is not negotiable. There is no upper limit. Demand for performers over 35 is served worse by the industry than demand for people in their twenties, simply because fewer people in that age group apply.

Yes, and that is not a polite phrase. Most rejections do not mean “not suitable”. They mean “does not fit the enquiries that are open right now”. If something changes — your availability, your region, your area or your willingness to show your face — get in touch again. Three to six months is a sensible gap. In the new message, mention briefly that you have applied before; that saves us the search. Only if we have written expressly that we will not work together does that stay the case. We write that down that way too.

There is no honest standard answer. You hear back on the application within 48 hours; a conversation and a casting can usually be scheduled within a few weeks. How long it takes after that depends only on whether a production is looking for someone with your profile. That can be two weeks or several months. Do not plan around the money before a date is in writing, and do not give anything else up. Anyone who promises you a fixed number of shoots before you have even been cast is selling you something.

Yes, in all three cases. Honesty belongs here too: there are far fewer enquiries for men, and the fees sit in the lower part of the stated ranges, because that is how the market is built. Couples are sought relatively often, but each person has to agree independently and fill in their own limits list. We do not use one joint contract for two people. For trans and non-binary applications the same process applies as for everyone else. In the conversation we ask which term you want for yourself, and that is the term we pass on.

No. Productions take place in many places, with a focus on larger cities and around studios. Your region mainly decides how many enquiries you can reach without an overnight stay. Living in the countryside therefore does not mean a no. It means longer journeys and fewer last-minute enquiries. On the form, say how far you would travel and whether an overnight stay is fine for you. That matters more for matching than the postcode.

Yes. Photo productions are a separate area with their own fee, and many people start there. There is also event accompaniment, which takes place without sexual acts. Webcam works unlike everything else: there is no day rate, but a share of turnover, and the platforms' payout rates sit between 25 and 90 percent depending on the provider. In plain terms, your pay depends on your own reach and can be zero in a weak week. Anyone who promises you fixed amounts there is leaving something out.

No. A casting without sexual acts is not the exception with us. It is the rule, without exception. It consists of a conversation, a short film in which you introduce yourself and answer a few questions, and some stills. A production needs no more than that to judge how you come across on camera. If you are asked anywhere to show something at the casting, or to do something with someone, that is not a casting. It is an unpaid shoot. That is one of the most reliable signs of a dubious operator.

In a studio or a location booked for it, never in a private home and never in a hotel room. At least three people are present; you are never alone with one person. You get the address in writing beforehand, together with the names of the people who will be there. You may bring a companion without announcing them and without explaining why. If an address is named only at the last minute, or turns out to be a flat, you do not go — whoever invited you.

National ID card or passport. Nothing else is accepted, including a driving licence or a photo of the document on a phone, because age has to be documented in a verifiable way for every production. Without a valid document the casting does not take place, without exception and without discussion on site. You also bring the completed yes-no-maybe list that we send you beforehand. Everything else is comfort: something to drink, a charging cable, a second top. You do not need props, costumes or equipment, and you should not buy them.

What you would wear anyway, clean and without a costume. Clothes that go on and off quickly and leave no deep marks make sense, because tight cuffs and bra straps show on shots taken shortly afterwards. Bring a second top in another colour rather than a full outfit. Heavy makeup is more of a hindrance, because the production wants to see how you look without it; makeup happens later on set. New shoes or freshly dyed hair the day before are not a good idea.

You usually come to the casting at your own cost, and we would rather say that beforehand than afterwards. At that point there is no booking behind it from which a reimbursement could be derived. But tell us if the journey is long. Then we set dates so the trip is worth it, or we clarify more first in a video call, so you do not travel across the country for a first introduction. Travel costs for an actual shoot day are a different matter and are discussed before you accept.

Count on one to two hours, waiting time included. Most of that is conversation: expectations, limits list, contract questions, dates. The actual filming rarely lasts longer than twenty minutes. Still, do not plan the day tight, because appointments can shift and a casting under time pressure tells both sides little. If you have a fixed return, say so at the start and we will do the filming first.

Neither, and there is a reason. The material goes to the productions whose enquiries might fit you, and the decision is made there. We get in touch as soon as there is a reply, and we write to you even if none comes. A yes on the spot would be a promise we could not keep, because we are not the ones who book. What you do get directly are honest notes: whether your limits list is consistent in itself, what helps in front of the camera, and which area realistically fits you.

Yes, at the casting and on set. There are productions that work without recognisable face shots, with a mask, a crop or camera work. Honesty about this: those productions pay less because they are harder to exploit, and there are fewer of them. For the casting itself we still need a picture of your face, otherwise no production can judge whether a role fits. That picture stays with us and is passed on only with your consent. Full anonymity and the highest fee are not available at the same time. Which matters more is your decision.

Yes, at any time and without a reason. You say you want to leave, and you leave. There is no contractual penalty, no bill and no disadvantage for later applications. We would rather you stop than accept something you regret the next day: a no before you sign costs nothing, a withdrawal after publication costs a great deal. If something bothers you, say so at once instead of politely later. In a serious process, that is the end of it, and nobody talks you into staying.

Fewer than most people expect. On smaller productions, camera, lights and sound are often one person, plus direction and someone for organisation. Four to six people including the performers is a usual figure; large sets with twenty people are rare in Germany. Who is in the room is listed in the schedule beforehand, and you may ask who does what. Spectators with no function have no place on set. If people are suddenly present whom nobody can introduce, that is a reason to ask.

Usually eight to ten hours, of which the smaller part is in front of the camera. The rest is arriving, paperwork, makeup, resets, lighting changes, repeats and waiting. Almost every beginner underestimates that waiting; it is more tiring than the shoot itself. So bring something that fills the time without wearing you out, and keep the evening free. If a production regularly overruns by a long way, that is not a law of nature. It is bad planning. Tell us; we hear that kind of feedback and act on it.

Yes, and neither is a favour. There are breaks between set-ups, and you may ask for an extra one at any time without explaining. Water belongs on every set; on full shoot days, food as well. Tell us beforehand if there is something you do not eat or cannot eat, and it goes into the schedule. Honesty still: the quality of the food varies a lot between productions. Sandwiches are common, catering is the exception. A set with no water and no breaks, on the other hand, is a warning sign.

For getting there, whatever you like. Anything that appears in the scene is usually supplied by the production and written into the schedule beforehand. If you are asked to bring your own things, that is listed there too, including colour and style. Do not buy anything on your own account unless cost cover has been agreed first. Loose clothes for the journey and open shoes are practical, because tight cuffs leave marks that stay visible on camera for hours. Jewellery that is hard to take off is better left at home.

This happens, including to experienced people, and it is not a reason to turn you away. Erection problems, no arousal, a body that will not play along under observation: that belongs to this work and is planned for. Professional crews do not make a moment of it. They take a break, shoot something else first, or postpone. Nobody comments, and the agreed day rate is unaffected as long as you are there and working. Anyone who turns it into pressure, mockery or a pay cut is not working professionally. Tell us if that happens.

Then filming stops. You tell the director or your contact, the camera stops, there is a break. Whether it continues after that is your decision and nobody else's. Footage already shot is still governed by the contract — which is why you should take time before you sign. If you stop because your limits were ignored, you keep the day rate. Stopping because you simply do not feel like it any more can affect how that day is paid. That belongs in an honest answer too.

Yes. Who you work with is fixed before you accept, and you can decline without explaining and without a disadvantage for later enquiries. If a cast is swapped at short notice, the basis of your yes has changed: you may decide again, including on the shoot day. The other way round, you can name people you do not want to work with at all. We do not ask why and we do not pass the reason on. Saying yes to a production is not saying yes to every person who might appear there.

No, and you leave a set where alcohol or other substances are offered to help you relax. What looks like a glass of champagne in a scene is a prop. The reason is not morals. It is consent: someone who is not clear cannot consent effectively, and consent is the basis of every shot that is taken. Medication that supports an erection is a medical question, not one answered on set. If someone offers you something at the location, tell us.

As often as you get enquiries and accept them. There is no minimum number with us, and no obligation to a particular frequency either. For most people the realistic picture is not a full calendar, but individual days spread over the month; this work is only partly plannable. Physically there are limits you have to set yourself, because several intense shoot days in a row are too much for many people, and nobody on set will notice if you say nothing. Gaps between dates that involve intercourse also make sense because of the test windows.

Photo productions sit at 250 to 600 euros per shoot day, video productions at 400 to 1,200 euros, event accompaniment without sexual acts at 200 to 500 euros per day. The range comes from the role, the length of the day, the scope of the usage rights and the effort of the production — not from bargaining skill alone. Beginners usually sit in the lower third; that is the honest placing. Before every booking you get a concrete figure for that day, not a range and not a revenue share instead. Webcam works differently: there is no day rate, but a share of turnover.

Within 14 days of the shoot day, by bank transfer, together with a statement that shows the day, the work and the amount. We do not offer cash. That is inconvenient, but it protects you: without a receipt you have nothing in a dispute, neither with the production nor with the tax office. If the money does not arrive, you contact us, not the production. That is what an agency is for. Until then: do not count on the amount being in your account the day after the shoot.

No. No commission, no booking fee, no later deductions and no share of later revenue. What was agreed arrives with you in full, because the production pays us. If you are offered a booking elsewhere, ask first who pays the agency. If there is no clear answer, or if the answer is “a share of your fee”, then your pay depends on the size of the deductions — and you are not the one who decides those.

Within limits, yes. What is usually negotiable is the scope of the usage rights, the length of the day, extras such as photos alongside the video, and whether travel the day before with a hotel is paid. The base amount is less negotiable, because productions calculate with fixed budgets. What does not work is renegotiating on the shoot day: anyone who demands more only once they are on site puts a whole day's plan in trouble and is rarely booked again. So say before you accept what is missing for you. We will tell you honestly whether there is room.

This is not fixed across the board, so it belongs before you say yes. It is common for the production to cover travel and a hotel if the location is so far that a same-day return would be unreasonable. On short journeys the travel is usually included in the day rate. Waiting time is the most frequent point of dispute: clarify beforehand what happens if half a day turns into a full one. Only one thing matters: what was promised verbally has to be in the written agreement, or later it does not exist.

Yes. Income from shoots is taxable, no matter how often you shoot. We do not withhold tax for you and we do not treat you as an employee. What we supply is a clean statement for each day that a tax adviser can work with. We deliberately do not name concrete thresholds, rates and deadlines, because they depend on the case and we are not allowed to advise you. From the start, put aside part of every payment; an extra bill often arrives only in the following year. This answer puts things in context. It is not tax advice.

You should learn it, but it is not a barrier at the start. You work as a self-employed person, so every paid day needs a receipt. We send you a statement you can use as a model, and we tell you if a required line is missing from your invoice. What we are not allowed to do is give tax advice, and that is the law, not convenience. For the start, one conversation with a tax adviser is usually enough.

Then you are in good company, and it is not a reason to turn you away. In practice you need three things: to register the activity with the competent authority, an account that does not mix business and private money, and an orderly place for receipts. Whether you need a trade registration, and which rules apply, depends on your case and belongs in a conversation with a tax adviser, not in an FAQ. We go through the substance of your contract with you; we do not handle registration or bookkeeping. This answer puts things in context. It is not advice.

You can work under a stage name; you cannot be paid anonymously. Your legal name goes on the contract and the invoice, because a payment has to be tied to a real person and age has to be documented. The stage name is the name used in publication, and the only one that is public. Using both is completely normal and the rule in this industry. Anyone who promises you will be paid with no legal name at all is working sloppily or paying cash under the table — and with undeclared pay, the risk sits with you, not the client.

Who is involved, what is being shot, when and where, what you get and when it is paid. The most important part is a different one: which rights you transfer. Added to that are your limits list as an annex, rules on stopping and cancellation, and the details for age documentation. A contract that handles usage rights in a single sentence with the words “comprehensive and unrestricted” is not a good contract, even if it is pleasantly short. We go through every contract with you before you sign and tell you which points we consider a problem.

The contract covers this, and it does so in concrete terms: who holds the rights, for how long, in which countries and through which channels the material may be used. The models range from a time-limited use on a single platform to worldwide use with no end date. What you need to know: usage rights, once transferred, can usually not be taken back. That is the point at which you should take time and, if in doubt, get legal advice. We will not stop you, and we will not push you to sign the same day.

A buyout is a one-off payment with which a production settles all agreed usage rights, no matter how often or how long the material later runs. In this industry that is the norm, not the exception. A share of later revenue almost never exists, and where it is promised it is barely checkable. The practical consequence is uncomfortable: a very successful video pays you nothing extra afterwards. That is why the scope of the rights is, in case of doubt, more important than the size of the day rate — and that is something you can talk about beforehand.

As a rule, no, and anything else would be a promise nobody can keep. Once you have effectively transferred usage rights, you cannot take them back on your own, and published material is copied and passed on without the production being able to stop it. Something else is possible: some contracts provide for a time limit or a recall under certain conditions — then that has to be in there beforehand. Material that was created or spread without your consent is a different situation; that is a case for a lawyer. This answer puts things in context. It is not legal advice.

No. You can work in parallel for other agencies and directly for productions, run your own formats and stop at any time. There is no term with us, no minimum number of shoots and no contractual penalty for cancellations. Exclusivity, in a given case, is a matter for a production, not for the agency. If a production requires it, that is in the relevant contract, it refers to a defined period or a defined format, and it should be paid extra. An agency that wants to lock in all your future work in one sweep is mainly securing its own turnover.

Before you sign, at any time and without a reason. After you sign, what was agreed applies, and the closer to the shoot day, the more expensive a cancellation becomes for the production, because the location, the crew and other people are booked. So cancel as early as you can. Last-minute cancellations without a good reason can affect payment and travel in a small industry. Illness is a good reason and is treated as one. After publication, withdrawing usage rights is practically impossible.

No. We go through it with you before you sign, paragraph by paragraph, and that costs you nothing. You may also take it with you, show it to someone and have a lawyer check it. Anyone who pushes for an immediate signature has a reason, and it is rarely you. Take at least one night. Questions that always pay off: how long do the rights last, for which territory, for which channels, what happens on a resale, and what applies if I stop on the shoot day.

Yes. There is no notice period, no minimum term and no reason you have to give. An email is enough; after that you get no more enquiries, and if you want we delete your data within seven days. What you cannot undo is material already published, because the usage rights have been transferred. That is why the decision before the first shoot is the more important one. A pause is not an exit, by the way: many people come back after months, and that is completely normal.

No. What you rule out beforehand is not asked for — not on set, not in a break, and not for a surcharge. Your yes-no-maybe list is part of the contract, not a non-binding wish list. If it is touched, you stop, and the agreed day rate stays with you. This is the point at which serious productions differ from dubious ones, which is why we insist on the written list instead of only asking about limits verbally. What was agreed verbally does not exist in a dispute.

You go through a list of acts and situations and mark each one yes, no or maybe. Yes means you agree. No means it does not happen and will not be asked. Maybe means only after an explicit agreement in that case, never spontaneously on set. The list goes into the contract and to everyone who is responsible on the day. Fill it in alone, not with a partner and not in a rush: what you do not write down, nobody can later add for you.

You can strike things at any time, including on the shoot day and without a reason. Adding things is only possible beforehand and in writing, never spontaneously during a scene. That imbalance is deliberate: a no should work at once, a yes should never be created under pressure in the moment. If someone on set asks whether something extra might still be possible, a simple no is the right answer, and the right reaction from the crew is to carry on without discussion. If something else happens, tell us. That production then gets no further bookings.

Yes, and it is not a gimmick. Before the shoot, a word or a signal is agreed that stops filming at once, whatever is happening. For scenes in which speaking is not possible, a visible sign is set, for example knocking twice. What matters is that the signal works immediately and is not interpreted. On productions with bondage, role play or a power imbalance in the scene, a traffic-light code is common — separate signs for “slower” and for “stop”. If nobody talks about this beforehand, you bring it up.

For vaginal and anal intercourse: always, without exception, and regardless of any tests on file. This is not negotiable and is not waived for a surcharge; we do not book a production that asks for that. Tests and condoms are not an either-or. They are two separate layers of protection: a test describes a moment in the past, the condom works at the moment of filming. For other acts you agree protection individually and write it into your limits list, so it is binding.

First to the contact on set, who is named to you before the shoot; on small productions that is the director or the production manager. If that does not help, or if that person is part of the problem, you call us, including in the middle of the shoot day. You do not have to hold out until the day is over. In cases of violence or a threat, the police are responsible, not the agency. Report incidents to us even if you have already resolved them yourself. We then decide who we continue to work with.

We listen, we write down what you describe, and we ask you what you want, not the other way round. Without your consent we pass nothing on, including to the production. On our own authority we decide only about further work with that production, and your account is enough for that. A report does not count against you in future bookings. The idea that you will then be seen as difficult is exactly the mechanism that makes abuse possible. In cases that may be criminal, we name counselling services and recommend a lawyer.

For productions that involve intercourse, yes. What is required is an STI panel that, depending on the production, may be no older than 14 to 30 days on the shoot day — for everyone involved, not only for you. Without a valid result there is no shoot, and that is why most last-minute cancellations happen. For photo productions without intercourse and for event accompaniment, a test is usually not needed. Ask beforehand which values are actually required; the panels differ.

The production. Test costs are production costs, and an agency that puts them on you is shifting its risk onto you. You may still have to pay upfront in some cases, because billing runs through the clinic or the lab. Keep the receipt and submit it. Public health offices sometimes offer cheap or anonymous tests, though not always to the extent a production requires. Tell us beforehand, and we will work out which place near you is an option.

Then the shoot day is postponed, without argument and without you having to justify yourself. A reactive result is not a ban from the work: much of it is treatable, then you test again and carry on. Only as much is passed on as is needed to cancel the date. The diagnosis itself is none of the production's business. What to do next belongs with a doctor, not on a set. Anyone who pressures you in this situation, or tries to talk you into shooting anyway, disqualifies themselves.

This is an everyday situation, not a reason for embarrassment. There are three routes: move the date, which is simplest on shoots that can be planned; shoot with aids such as a sponge, which is common in the industry; or switch to formats that do not involve penetration. Say so as soon as you can see it coming, not on the morning of the shoot — then things can be rearranged without losing a whole day. If the pain is bad, the same rule applies as with any other illness: you cancel.

You cancel as early as you can, and by phone rather than by message. Illness is a recognised reason. Nobody expects you to come to a set with a fever or a stomach bug, not least because you would infect everyone else. There is then usually no fee for that day, because the work was not done. That is the other side of being self-employed, and the reason a reserve makes sense. A replacement date can usually be found while the production is still running. Calling in sick does not affect later enquiries.

Honestly: with quite a bit. Soreness, muscle ache in unfamiliar places, small injuries to mucous membranes, exhaustion after long days. On set, enough lubricant helps, asking for breaks helps, and saying early that a position hurts helps — pain does not get better if you sit it out. After the shoot, most people need more rest than they planned. If the symptoms last, you see a doctor and you name the context. That is nothing to be ashamed of, and it matters for treatment.

This side is underestimated, including by people who have no trouble in front of a camera. What weighs on you is rarely the shoot itself. It is afterwards: who will see it, the double life with people around you, comments online. After intense shoot days, plan time when nothing is scheduled, and find at least one person you can talk to openly. If it stays with you, professional support is useful and not a sign of weakness. We do not counsel on this, but we can name places to go.

No. We do not send letters, paper contracts, advertising or statements by post. The standard route is email. You are called only if you give us a number and expressly want that, and we do not leave a message that reveals what it is about. Many people set up a separate email address for this area without their name on it; that is a good idea and costs nothing. Remember that a transfer on a bank statement shows the sender's name, especially on shared accounts.

At first, only we do. A production gets details only once you have agreed to a specific enquiry, and then only what is needed for that enquiry, not your full application. There is no file that third parties can look into, no access for productions to a database, and no passing on to other agencies, including in a swap. We do not answer requests from press, fans or private individuals. Internally, only the small circle that handles applications has access.

At any time, informally by email, without a reason and without follow-up questions. We delete within seven days and confirm it to you. If you do not get in touch for twelve months, we delete on our own, without you having to remember. Two limits belong to the truth: documents from a shoot that actually took place are subject to retention duties and do not vanish on request, and published material is not affected by a deletion with us — the contract with the production applies there. Everything that only sits with us is gone after deletion.

If you do not send the form, nothing is created with us. There is no interim saving of inputs and no recovery of abandoned forms. If you have already written and want to pull back, an email is enough; we then delete within seven days. An application that is followed by a rejection does not sit around permanently either. What we expressly do not do is keep addresses for later advertising, or put you on a list you did not ask for.

No. We do not put anyone in touch with performers — not for fans, not for press, not for productions without your consent, and not for people who claim to know you. We do not answer those requests, and we do not even confirm whether someone is registered with us at all. That works both ways: you do not get private contact details of other people on a shoot from us either. Anyone who wants to stay in touch after a shoot exchanges that themselves.

What is published, and what other people make of it. Usually that means your stage name, stills, video descriptions and listings on portals that pick up content automatically. Search engines find that via the stage name. It becomes linkable to your legal name only if that connection becomes public somewhere — through you, through a photo that exists elsewhere under your real name, or through someone who knows both. Image search works well now. Anyone who seriously wants anonymity keeps the two worlds apart from the start, not after the third shoot.

Anyone who searches for it on purpose can find it; almost nobody stumbles on it by accident. The realistic path is a different one: someone in your life recognises you and tells others. No technology prevents that — only the decision of how much you disclose yourself. Under employment law, a side activity is not automatically a problem; it depends on the contract, the job and the circumstances. If you work in the public service, in care or in education, you should have that checked professionally beforehand. We do not tell anyone to ignore the question, but we do not advise on it either.

Sometimes, and you have to ask, because it is rarely offered on its own. The term is geoblocking: use is limited by contract to certain territories, or blocked for individual countries, so access from there is refused. Two honest limits: not every production will do this, because it lowers the value of the rights and therefore the fee, and a block can be technically bypassed. It still helps against being found by accident in your own area; as absolute safety it does not hold.

Pick one that does not lead back to you: not a second given name, not a nickname from your circle of friends, not a name you already use as a username somewhere. Check beforehand whether it is free in search engines and on the usual platforms, or you will later share search results with someone else. It should be speakable and writeable, because it will be typed, and it should not get on your nerves, because you will hear it for ten hours on set. A change is possible later, but it wipes out whatever recognition you have built.