The Sedcard is the sheet a production has in front of it when it decides on a cast. It is not an application document and not a portfolio, but a working tool: stage name, hard facts, three to five pictures, contact through the agency. As an erotic model you do not need a Sedcard to start with us — the application runs without one. You need it at the moment we propose you to productions. What belongs in it, what must not belong in it and when it has to be renewed stands here.
Sedcard and application photos are two different things
The application photos are for us. Three phone shots in daylight, unedited, so we can judge whether we invite you. They go to nobody else, they are not published, and they may quietly be unspectacular. Which ones we need and where they fail in practice is in the article on application photos that work.
The Sedcard goes outward. It goes to a concrete production, for a concrete enquiry, after you have agreed. Its purpose is not an assessment of you as a person, but a casting decision: does this performer fit the role, the date, the budget?
From that it follows: application photos do not become a Sedcard, and the Sedcard is not a condition for the application. Anyone who throws both into one pot either sends too much too early or too little too late.
What belongs on the Sedcard
- Stage name. Only that. It stands at the top and is the name under which everything runs.
- Body data. Height, clothing size, measurements, shoe size. These facts decide on costume and wardrobe, so they have to be true and not flattering.
- Hair colour and hair length, eye colour. Casts often run over such features, because a scene already has roles filled.
- Languages with a level. Important wherever there is speech. “English fluent” is a fact, “English” is not.
- Region and willingness to travel. Home region, radius, whether overnight stays are possible. Beside the date this is the most common reason an enquiry does not come about.
- Distinctive features. Tattoos, piercings, scars — with a note whether they can be covered. Productions need that for picture continuity, not for a judgement.
- Skills that belong to the work. Dance, sport, driving licence, experience in front of a camera. Only what is actually there, because it will be called up on the shoot day.
- Contact through the agency. One address, ours. Nothing else stands on it.
- Three to five pictures. More on that below.
The arrangement is not arbitrary. At the top stand the stage name and the strongest picture, below that the facts that decide on an enquiry: region, availability, measurements. A Sedcard is scanned in ten seconds and not read — what stands at the bottom is often not seen at all.
What does not belong on it
The Sedcard is forwarded, sent on in mails and occasionally printed. Everything that stands on it leaves your control. That is why these stay out: private address, civil name, phone number and private mail address, private profiles on social networks.
Also not on it: prices. A figure on the card is an offer against which you have to be measured, and it cuts off every negotiation before it starts. Fees are discussed per enquiry.
And no explicit shots. A Sedcard has to be showable in every context — on the screen in a production office, in a mail attachment, as a printout on a table. Explicit material here fulfils no purpose that a good lingerie picture does not also fulfil, and it restricts whom the card can be shown to. Your legal age is in any case not proved through the card, but through the identity document.
The picture selection
Three to five pictures, no more. Every extra picture waters down the selection, and nobody looks at fifteen. What the pictures should cover:
- A clear portrait. Good light, look into the camera, hair out of the face. That is the picture the decision usually hangs on.
- A full-body shot. Dressed or in underwear, proportions recognisable, whole figure in the picture.
- An everyday picture. Street clothes, natural expression. It shows how you come across outside a staging, and productions need that more often than people think.
- A staged picture. Lingerie, boudoir, low-key. Here it may be designed.
- Optionally a picture with a different expression. Laughing, serious, movement. It shows range.
For all of them: recognisably the same person, current pictures, usable resolution, no filter and no heavy retouch. A production that books an edited picture and gets a different person discusses that on the shoot day — and you lead that discussion, not the retoucher.
Why currency is worth more than perfection
A Sedcard with pictures two years old does more harm than good. It creates an expectation that is not met on set, and the annoyance about that lands with you and with us. Next time this production asks someone else.
Perfection is in any case the wrong goal here. A Sedcard is not meant to impress, but to make a decision possible. A picture that shows you differently from how you look on the shoot day prevents exactly that decision — it only shifts it to the moment when everyone is already there.
Phone shots from last week in good window light are better for this purpose than a studio shoot from the day before yesterday. From that it also follows: you do not have to put money into a shoot before you have been booked. Anyone who sells you a paid “professional Sedcard creation” as a condition is selling you nothing at all — this pattern sits right at the top among unreliable offers.
When you renew it
There are four occasions on which the card is immediately out of date: hair colour or hair length clearly changed, new tattoos or piercings, a clear change in weight, a move or changed willingness to travel. On top come new languages and skills you can actually use.
Independently of that: once a year a new set of pictures, even if nothing has changed. Faces change in small things, and a year is the line from which it shows.
Who gets to see it
Technically the card is a file and not a printed product: a PDF in a size that fits through every mail attachment, plus the individual pictures in full resolution in case a production needs them. Nobody asks for more, and anyone who wants to sell you a design package for that is selling a problem that does not exist.
We send the Sedcard to a production when there is a concrete enquiry and you have agreed. Not to mailing lists, not to databases, not to other agencies. A mail from you is enough to change or withdraw it — what already sits in a mailbox nobody fetches back, though, and that is the real reason for the list further up. Which types of production there are and what they each ask for is under productions. The terms around Sedcard and casting are explained in the industry lexicon.
Questions about this?
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