Working with location referrals FAQs

simplefilmlocations.com (SFL) is a small website run by abbywinters.com BV that positions itself as a “clearing house” for filming-location-owners and filming-location-seekers.

The site is designed to help Shoot Producers find local shoot locations for abbywinters.com shoots. The website is translated to languages used in the cities our Shoot Producers live in.

Prospective Location Owners see location-seeking marketing on- and off-line, and review the info on simplefilmlocations.com. If the proposition seems interesting to them, they make a submission of their home as a shooting location, selecting the country and city they are from.

Each Shoot Producer is “tagged” with the country they make shoots in, and the new shoot location enquiry comes as an email from SFL to the relevant Shoot Producer. For example;

Shoot Producer Pablo lives in Madrid.

Location Owner Dante also lives in Madrid and saw one of Pablo’s posters looking for filming locations. Dante visits the SFL site, and chooses to submit his location, selecting “Spain” as the country and “Madrid” as the city.

Dante’s new location submission email is sent to Pablo, as Pablo is registered in our system as “representing” Spain.

Shoot Producer Pablo emails Location Owner Dante to discuss his submission, and perhaps organise an inspection – and a shoot!

New location submissions are also sent to the company, but the company will not act on them – that’s up to the Shoot Producer. Shoot Producers are expected to follow up with new location submissions promptly – within three days, ideally.

Shoot Producers engage new submittors, informing them of what they want to use the location for, and asking if they would like to organise a face-to-face meeting.

We accept that some people will not be interested in their location being used for adult film production.

Shoot Producers work to find prospective Location Owners in their Shoot Cities, using one of several possible means.

AW BV provides a design and reimburses Shoot Producers a modest amount of collateral printing (cards, posters, flyers).

Shoot Producers distribute the collateral at their own effort and expense.

Letterboxing

Shoot Producers identify suitable neighbourhoods (that is, neighbourhoods that are quiet; have gardens; are convenient for the Shoot Producer and models to travel to; have parking nearby (if necessary); seem to have good natural light.

We recommend selecting streets that are not close to main roads, and do not have any obvious signs of public or private construction work going on (as the sound of that will likely be an issue when shooting video), and are not near schools.

Shoot Producers organise the printing of B5-sized flyers the company provides, and walk down streets and place one flyer in each letterbox of suitable-seeming homes. High-rise buildings are an efficient way to distribute many flyers.

Shoot Producers keep a log of dates and streets they have “letterboxed” to ensure we do not irritate homeowners by “spamming” them multiple times (once per year is acceptable).

Posters

Shoot Producers identify suitable places that accept A3 posters, where suitable Location Owners would see it. Women aged 18 to 30 are more likely to have suitable homes for shoots (already “set dressed”), so places where such women congregate are likely to be more successful. Consider Universities and pole dancing studios, and similar.

Online

Shoot Producers can place ads on services like Facebook, Instagram, LinkedIn who all allow targeting of specific “types” of people (by age, gender, geographic region, income). Ads are charged as pay-per-click (so, we only pay for people who are interested in the service the ad is offering).

We recommend setting a budget of €50 a week, and making a simple ad with an image from SFL.

Ad performance can be tracked easily from the dashboard of the advertising service, and we can compare the number of ad clicks, with the number of applications received from the SFL site to assess the performance. For example, if we got two enquiries from the one-week run of the €50 ad spend, we can say our “cost per acquisition” of a new Location Owner enquiry is €25.

Referral cards

Business-card-sized cards are used to help Location Owners we already work with in referring their family, friends, and colleagues.

It is intended that SPs give 5 referral cards to each Location Owner they work at.

Referral cards acknowledge the locations are used for porn production, assuming the referring Location Owner has already mentioned that part of our pitch.

When a new location submission comes through, it’s best to respond promptly, to “strike while the iron is hot” (while the Location Owner is still interested in the idea).

On the SFL site, Location Owners are told that film producers may contact them for a range of genres of film production – TV commercials, student films, private projects, internet videos, fashion shoots, and even adult videos! 🤯They have the option to accept or reject offers for the use of their location.

Of course, we only want the location for porn production! By advertising indirectly for shoot locations, we can place our ads in more places, offending less people, and having a higher chance of presenting our needs in the best light (rather than people making assumptions as soon as they read a “porn filming locations wanted!” ad).

On the first contact, the Location Owner will not assume our enquiry is related to making porn, and may not even be aware it’s a Thing with SFL (we do mention it on the SFL website, but the submitter may not have read that part. The info is not hidden, but we know that some people are in a rush and may not read everything before submitting).

When responding to a Location Owner submission, we recommend using the email template below, making the appropriate personalisations and customisations.

Hey [fname],

Thanks for recently submitting your home in as a possible shooting location. I’m [name]. 👋

I am interested in using your location in the next few weeks or months, but I want to share how I’d be using it now, because I know some people find it a bit strange!

I produce commercial erotic videos – that is, videos of naked people doing sexy stuff. It’s pretty tame and vanilla, often a single female model who gets nude, talks about her life, and does yoga.

Some shoots show more “explicit” posing (for example, masturbation). I sometimes make shoots of two women together, and sometimes even real-life girlfriend-boyfriend couples.

The company I work with calls it “human friendly porn”, and I work with them because they have extremely high ethical standards, are very body-positive, and are inclusive too.

When I make shoots, I am always respectful of the locations I work in – I never leave any mess (I take our rubbish with me), I am fully insured, I cover any surfaces models will touch when nude (for example, sofas and beds). I ensure models act responsibly and professionally, and we have a strict no-drugs and no-alcohol policy on shoots. I am happy to share references with you (that is, other locations I have worked with recently).

I hope you consider my request. You can learn more about me and my work at and . You probably have some questions, and we have a FAQ ready for you – please check it out at www.simplefilmlocations.com/itsporn.

Looking forward to hearing back soon – happy to answer any questions you have on a voice or video call. If this is not for you, I understand. I’d appreciate a short note letting me know that – and if you care to share why, that’d be really helpful as well!.

Best regards,

[sig]

 

Of course, not all Location Owners will respond. One followup a week later is appropriate, forwarding them the original message with a followup message like,

Hey Bert, wondering if you had a chance to look at this yet?

Regardless of how a Location Owner responds (positive, neutral, negative), always forward their response to the Creative Director, so he can refine how we present ourselves on SFL and in the email draft.

If the response is positive, move ahead with meeting the Location Owner – at the very least a voice call, but a video call or in-person is better (so they can get the sense that you’re a “normal” sooner in the relationship).

We encourage you to be open and honest with Location Owners. Some will decide this is not something they want to be involved in, but others will appreciate the honesty – and that way there are no awkward surprises!

We strongly encourage using the Location Agreement we created (1-page PDF), for each shooting day at each Location (even if the Location Owner is a friend). Such an agreement is required for the company to pay the associated Location Allowance anyway.

The Agreement sets out the basic tenets of a Shoot Producer paying someone for using their Location, and is designed to remove many potential problems (for example, it’s clear we’re using the location to make porn, that we’ll pay a certain amount, etc). This protects the Shoot Producer from a Location Owner claiming they “never knew we were making porn”, or claiming higher-than-agreed fee.

Similarly, the Agreement puts requirements on the Shoot Producer, for example, the SP must clean the home to be as clean as it was before they arrived, to respect the Location Owner’s privacy, have insurance, and pay the Location Owner promptly (all things we know new Location Owners are concerned about).

If a Shoot Producer has ideas for improving the Agreement, propose them to the Creative Director – making a better Agreement is in everyone’s interests.

The Location Agreement is explicitly between the Location Owner and the Shoot Producer – abbywinters.com BV is not involved – the same as if the Shoot Producer rents a car or equipment.

Location Owners referring their friends can create a network effect – they refer their friends, and over time the network of Location Owners in a city grows.

Location Owners should only be asked to refer their friends after they have been paid for at least one shoot at their location, and preferably two or three shoots. This allows for the relationship between the SP and Location owner to be better-established, and the SP has demonstrated a pattern of respecting their home.

Location Owners will only refer their friends if they feel respected, so the condition the home is left in at the end of a shoot day is critical to the success of this effect (but really, all interactions with Location Owners should be considered with this in mind).

Following up location referrals

Referral requests must be followed up a week or two later, and possibly again after that if the Location Owner has a positive reaction to the initial idea. We acknowledge that everyone is busy, and referring their friends to us is probably not a high priority in their lives.

Following up by SMS is appropriate if the initial contact about referrals was by face-to-face or email. An example followup SMS message is;

Hey Tony, wondering if you had any luck discussing your friends’ homes being possible locations for me to work at – did anyone seem interested or take the cards I left for you?

Often, Location Owners will not have taken action yet, but are ok to be politely followed up. If they indicate they have not gotten around to it yet, consider a response like;

No worries, perhaps I can check in again with you in a few weeks, is that ok?

Set a reminder for a followup message two weeks later.

Location referral fee

The company reimburses Shoot Producers €50 for a location referral, due after the new location is used the first time.

It is the Shoot Producer’s responsibility to pay this to the Location Owner at the correct time.

Leaving referral cards

We recommend leaving five Location Referral cards with the Location Owner, so they have something physical to hand over to possible Location Owners. With a pleasant design, these are intended to go on someone’s fridge, perhaps a conversation starter when visitors come around.

They can be handed out to interested parties, and contain the key info required.

[image of location referral cards, tbc]

Asking for referrals face-to-face

Asking Location Owners for friend referrals face-to-face is best – you make a good impression in person, you can answer their questions directly, and explain some of the benefits.

If they indicate they will try, mention that you will follow up with them in a few weeks.

Asking for referrals by text message

Consider using this template;

Hey Jess, thanks for letting me use you home again last Thursday – the shoot turned out well! You should have received payment by now, but let me know if not.

In the meantime, I am looking for new locations and I wonder if any of your friends might be interested. I left some referral cards on the kitchen counter to help with this, that you can give to people. I pay a small referral fee of €50 for each place you refer that I shoot at. What do you reckon?

Maybe they respond something like;

Oh, I had not thought of that – I think some of my friends would freak out, but two couples I know would be fine with it I reckon. We’re catching up next week, so I’ll ask them, and let you know!

An appropriate response is;

Awesome, thanks Jess – please do give them one of my cards, and I’ll follow up with you in a few weeks on this!

By letting the Location Owner know you will be following up, we don’t feel bad messaging them again in a few weeks!

Always set a calendar reminder so the followup is not forgotten!

Asking for referrals by email

Email is a little more “long form” than text messages, so we can have some more information and context.

Consider using this email template;

SUBJ: Referring your friends

Hey Jess,

Thanks for letting me use you home again last Thursday – the shoot turned out well! I attached a pic from the shoot (no nudity!). You should have received payment by now, but let me know if not.

If you’re open to it, I may need to book your home for another shoot later this month, but I’ll let you know about that next week I hope (still working out the details).

In other news, I am looking for new locations and I wonder if any of your friends might be interested. I left some referral cards on the kitchen counter to help with this, that you can give to people you know who might be interested.

I pay a small referral fee of €50 for each place you refer that I shoot at (paid after the first shoot day there).

Do you know some people who might be suitable and interested?

Best regards,

Alanis

As always, set a calendar reminder to follow up with the Location Owner in a week or two.

Shoot Producers are required to have two types of insurance, Public Liability and Equipment and Property. Premiums are typically paid each year, at the cost to the Shoot Producer (that is, the company does not reimburse the SP for this expense).

Proof of both types of insurance should be made available to Location Owners proactively (for example, by emailing them a PDF).

Note that AWBV are not insurance experts, and encourages Shoot Producers to engage with an insurance broker to find the best policy for them.

The information in this FAQ is general in nature, and is not intended as insurance advice.

Public Liability insurance

Public Liability insurance protects the Shoot Producer if someone is injured at the Location (including the Location Owner and Shoot Producer themselves). For example;

A model is walking down the stairs at the location, after visiting the bathroom. She’s returning to the shoot setting on the lower level.

She falls down the stairs and breaks her leg. She cannot work for three months.

This insurance would probably pay their injured person’s ambulance ride, missed salary and any associated medical fees.

Public Liability insurance always works on the principle that people in charge (ie, the Shoot Producer) were behaving responsibly, that reasonable steps were taken to protect people’s safety, and the issue was an accident. For example;

The Shoot Producer asked the model to ride a skateboard down the stairs, for the video component of the shoot!

The model fell and broke her leg.

It’s negligent of the Shoot Producer to direct such a dangerous activity, and insurance may not cover associated expenses (meaning the Shoot Producer themselves will need to pay it).

Public Liability insurance can also protect the Shoot Producer from the costs of a lawsuit. For example, say the model who fell down the stairs (as she was just walking down them) sued the Shoot Producer for the “pain and suffering” associated with the injury (separate to the medical and lost-income costs). Public Liability insurance may also cover the expenses of the lawsuit.

Shoot Producers are strongly encouraged to take minimal risks with humans and their safety on shoots! Individual insurance policies differ, and must be read carefully to understand what is and is not covered.

Equipment and Property

Equipment and Property insurance protects the Shoot Producer’s own equipment, but also the places they use it. For example, if the Shoot Producer drops their camera and the lens breaks off, this insurance probably covers buying a replacement camera and lens.

But, this also covers property damage – say the camera dropped and broke a vase – the cost of the replacement vase is probably covered by this insurance.

Shoot Producers decide when to use insurance to pay for a Thing, and when not to – there’s no obligation to involve the insurance company, and it’s always a lot of paperwork and hassle to do so. For example;

The broken vase was from Ikea and only cost €7.50 to replace. The Shoot Producer chooses to buy another vase online, delivered to the Location Owner, paying from their own pocket (as a tax deductible expense for their business).

The Shoot Producer keeps their “no claim bonus” with the insurance company, meaning their premiums will not go up next year.

But, consider another situation;

The HMI light the SP uses for video starts a fire.

The SP and Model escape with no injury, the fire brigade is called and puts out the fire before the whole apartment is burned out, but there’s water damage throughout, and two rooms are destroyed by fire.

The repairs – including the three months alternate accommodation the Location Owner needs – come to €150,000.

The Shoot Producer makes an insurance claim.

All equipment and property insurance comes with many options that a Shoot Producer can choose to pay for (or not). For example, “professional indemnity” insurance covers you if a client does not like the shoot you made. For AW BV, that’s probably not necessary, but if you make high-stakes shoots of people you just met, this might be necessary.

To help Location Owners feel comfortable letting Shoot Producers use their home, SFL makes commitments to Location Owners (and residents of the Location);

• Onboarding a Location Owner, the Shoot Producer will;
  • Meet face-to-face (in person preferred) with the Location Owner, before the first shoot day
  • Speak honestly about the nature of the shoots being made
  • Concisely answer questions from the Location Owner about the work and the use of their home
  • Show samples of their work (porn and otherwise)
  • Show representitive samples from abbywinters.com shoots, including explict sex acts. Of things that might be occurring in their home
• Booking a Location, the Shoot Producer will;
  • Organise a date and time for the shoot at least several days before the shoot is due to occur
  • Describe the specific nature of the shoot being planned on that date, if the Location Owner asks (Shoot Type, Posing Level, sex acts)
  • Set dates and times that suit the Location Owner
  • Arrange a way of accessing the Location with the Owner
  • Agree on a when-finished-for-the-day policy (key return)
  • Send a copy of the Location Agreement, if the Location Owner chooses
• On the shoot day, Shoot Producers (and by extension, models and SCOs) will;
  • The Shoot Producer will sign the Location Agreement with the Owner
  • Not breach the Location Owner’s privacy by going through their drawers, computer files, bathroom cabinet or similar places expected to be private
  • Hide personal photographs the Location Owner has displayed, if there is any chance they will appear in the shoot or Backstage images
  • Never wear or even touch the Location Owner’s clothes
  • Never consume Location Owner’s food or drinks (apart from salt, pepper, sugar)
  • Wash hands, before touching things like furniture or furnishings
• At the end of the shoot day, Shoot Producers will;
  • Report any breakages or messes that cannot be cleaned up to the Location Owner
  • Wash any dishes used
  • Wipe down surfaces (tables, kitchen benches, etc)
  • Sweep, vacuum or mop the floor of common areas
  • Take rubbish with them
  • Clean the toilet
  • Collect any cigarette butts
  • Leave the Location as clean as they found it
• After the Shoot day, the Shoot Producer will
  • Pay the Location Owner the agreed fee within three business days

 

Shoot Producers can choose to work with third party Location Referrers – people who scout for locations on our behalf. These are typcially socially well-connected people who are comfortable taking about with the work we do with their contacts.

To encourage Location Referrers, we pay higher referral fees for locations that are ideal for our needs. The scale works like this;

Name	Location Referrer fee	Example info	Invoice when?
🙂 Acceptable	€50	A small one-bedroom apartment, on-paradigm	After first shoot
😀 Ideal	€100	larger home, 3+ bedrooms, each room dressed and on-paradigm; or, has one unique feature that is valuable to us (eg, amazing natural light; particularly on-paradigm - eg, three female uni students live there)	After second shoot
🤩 Amazing	€150	more unique locations with features like a private outdoor area, or a pool, or a gym, a farm, or similar. Commercial places that canb be used for several shoots like a yoga studio, bookstore, or similar.	After second shoot

Location Referrers are paid by Shoot Producers, and Shoot Producers claim a reimbursement from the company on their invoice. We recommend Location Referrers only be paid once the requirements are met, as reimbursement can only be claimed then.

A Shoot Producer can only invoice the company for these expenses when the specified number of shoots has occurred (ie, once a value equal to the increased fee has been extracted).

To claim a Location Referral fee, email the Creative Director with a proposal, including;

• The MDB ID and PPCMS ID from the shoots that have occurred at this location
• The proposed Location Referral fee and any rationale

The Creative Director will discuss and approve the fees, and provide a PDB ID to be referenced on the invoice.