Belgrade, 2001. My very first shoot, on a camera that weighed more than my lunch. Maja walked in already decided and held the lens like the room belonged to her. A third guy leaned in the corner; she never once looked his way. Twenty-five years later, this is still the look I chase.
Full scene page on NicoGrey.com →
Belgrade, 2001: the first scene I ever shot. Everything on this page grew out of that afternoon: 25 trailers, behind-the-scenes angles, my phone POV and the full Mirko Tabasevic studio shoot.
Note: Adults only. Every woman in these trailers was 18 or older at the time of filming. This is my own studio work, explained by me, plus practical advice for anyone thinking about a first casting. It’s experience, not legal advice.
Updated: October 30, 2026 (Bangkok). New guide: the shoot step by step, 25 trailers from castings, backstage, side cameras and phone POV, and 1,152 photos.
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I’m Nico Grey. I’ve been filming women for twenty-five years, from a borrowed camera in Belgrade to my own studio, NicoGrey.com. People ask me two questions more than any other. Men want to know what really happens in a casting. Women thinking about their first one want to know something quieter: how do I know this is real? This page answers both. I wrote a shorter version, the safe adult casting guide, for new performers on my own site. Here on Scandal Planet I get to show you everything: the trailers from the girls’ first shoots, the second camera I set up backstage, the phone I film with, and the studio photos Mirko Tabasevic took of me.
The line I never bend: Every girl I filmed knew it was a collaboration and knew about every camera in the room. Every one of them was 18 or older, with her ID checked and kept in the 2257 records. Everything I have ever shot was always legal.
Nico Grey
Where It Started: Belgrade, 2001
The camera was heavy, the flat was small and I had no idea what I was doing. I’d found her through Striptiz Magazine. She didn’t come to be talked into anything; she came already decided, and she let me know it with one long look I still think about. Closed sets didn’t exist in Belgrade back then, so a third guy leaned against the wall the whole time. She never once glanced at him. Her attention was on me and on the lens, and the room got warmer every minute she held it.
That’s the feeling I’ve been chasing ever since: a woman who is sure before the camera rolls and wants you to know it. Everything I do now, the chair, the single light, the questions, the second camera, exists to get back to that afternoon. The full story and the archive scenes from those years are on the Belgrade 2001 scene page.
What a Legit Casting Looks Like
A real casting is boring in the best possible way, right up until it isn’t. Before you ever walk in, you should know who you’re meeting, the name of the company, the address, roughly how long it takes and what kind of scene is on the table. A producer who’s worth your time explains the plan and then lets you think about it. If you want a day, you take a day. Nothing should feel rushed, and nobody should be annoyed by questions.
When you arrive, it starts with talking, not undressing. In my castings it’s a chair, a light and a conversation about what you like, what’s off the table and what happens to the footage afterwards. You can tell a friend where you are, share your location and agree a time to check in. A studio with nothing to hide won’t blink.
Before any camera turns on, you should know:
- Who the producer is, and which company name goes on the paperwork.
- Exactly what will be filmed, including everything you’ve said no to.
- What you’ll sign, with time to read it. Keeping a copy is a normal request.
- Where the scene will be published, and under which name: your real one or a stage name.
- How and when you’re paid, if you’re paid, in writing.
Step One: The Conversation on Camera (First Castings)
Every casting I shoot opens the same way. One chair, one light, my lens close on her face, and me asking what brought her here. Where she’s from. Whether she’s done this before. How far she wants to go today. Then I shut up and let the silence work. She crosses her legs, uncrosses them, smiles at something I haven’t said yet. I keep every second of that talk in the final cut, because the best part of the scene is the moment she leans in and says yes. These are trailers from the girls’ first shoots with me, in the order I’d tell you to watch them.
The shy redhead from Brazil
One Brazilian redhead sat down and told me straight away that she was shy. Copper hair, eyes on the floor, hands busy in her lap. Fine, I said: a few questions, a few photos, and we’d see. Before we started she watched me put a second camera on a tripod by the window, looked at it, looked at the phone in my hand, and said yes to both with a small smile that told me exactly how shy she wasn’t. Every answer after that came a little slower and from a little closer. Shy lasted about ninety seconds. By the time she reached for my hand, the whole room was holding its breath.
Jhocy, the shy Brazilian redhead (0:30)
She sat down and told me she was shy. Copper hair, eyes on the floor, hands busy in her lap. Then she watched me set the second camera by the window, looked at my phone, and said yes to both with a small smile. Shy lasted about ninety seconds.
Full scene page on NicoGrey.com →
More first castings
Different countries, different nerves, the same chair. Rebecca and Angie from Venezuela, Mell in Medellin, Linda in Brazil, Dolly, Rika from the Czech Republic, Atlanta from the UK, Raissa on casting day, and Jhocy again, who didn’t let the interview finish. Watch the eyes in the first five seconds of each trailer: that’s where you see a woman decide.
Rebecca Johnson, first casting (0:31)
Rebecca’s first casting, and you can hear it in her laugh before you see it in her eyes. I ask the same questions I always ask: where she’s from, whether she’s done this before, how far she wants to go. She answers each one a little closer to the lens.
Full scene page on NicoGrey.com →
Angie Fonseca, first casting (0:30)
Angie came to her first casting in a tiny top and a big grin, and the interview barely survived her sense of humour. Skinny, quick, Venezuelan, and totally in charge of the pace. I let the chair, the light and the questions do their work, and then she did hers.
Full scene page on NicoGrey.com →
Mell Blanco, first casting in Medellin (0:24)
Medellin, a sunny flat and Mell’s first time in front of my lens. She took the questions slowly, like she was tasting each one, and gave me answers I could not have scripted. By the time I asked how far she wanted to go, she was already leaning in.
Full scene page on NicoGrey.com →
Linda Venom, first casting (0:43)
Linda’s first casting in Brazil. She knew exactly what she was there for and told me so on camera, with a look that made the questions feel unnecessary. The interview is still in the cut because it’s the best part: a woman deciding, out loud, that tonight is hers.
Full scene page on NicoGrey.com →
Dolly Orchid, first casting POV (0:30)
Dolly’s first casting, shot POV from my side of the chair. Small, polite, a little formal for the first minute, then she started asking me questions back. That’s my favourite moment in any casting: when she stops answering and starts directing. Dolly got there fast.
Full scene page on NicoGrey.com →
Rika Fane, first casting (vertical) (0:30)
Rika’s first casting call, filmed vertical on my phone so you sit exactly where I sat. Petite, blonde, Czech, eighteen at the time of filming and very sure of herself. She checked the phone, checked me, and decided the rest of the afternoon in one smile.
Full scene page on NicoGrey.com →
Atlanta Moreno, casting (0:27)
Atlanta flew in from the UK for this casting and turned the warm-up into a flexibility test I did not plan for. Redhead, dancer’s body, zero hesitation. I asked one question about limits; she answered by putting a leg over my shoulder. The talk stayed in the cut.
Full scene page on NicoGrey.com →
Raissa Cortez, casting day (1:05)
Casting day with Raissa in Brazil. The cameras were supposed to stop after the interview. She looked at the crew, looked at me, and asked if we could keep going. We did. This is the longest trailer on the page because the build-up is the whole point.
Full scene page on NicoGrey.com →
Jhocy, backstage casting (0:26)
Jhocy again, and this time the interview never made it to the last question. Backstage, chair still warm, second camera rolling by the wall and both of us knowing it. She leaned over mid-sentence and the clipboard ended up on the floor. Some castings run short.
Full scene page on NicoGrey.com →
Step Two: ID, the Release and the 2257 Records
Then comes the boring part, and it matters just as much as the heat. Before anything is filmed, I check her passport or national ID, she signs a release, and both are kept with the records described on my 2257 page. Scandal Planet has its own 2257 compliance statement too. The magic happens on camera. The paperwork doesn’t need any.
If you’re the one walking into a casting: any legitimate studio will ask for your ID before filming. Never agree to a fake, borrowed or “adjusted” one, and never trust a producer who says ID doesn’t matter “this time”. If a studio can’t point you to a 2257 statement, ask why.
Every girl I filmed knew it was a collaboration and knew about every camera in the room. Every one of them was 18 or older, with her ID checked and kept in the 2257 records. Everything I have ever shot was always legal.
Nico Grey
Step Three: Setting Up the Second Camera
My front lens is POV: you see what I see. But I almost always set up a second camera too, on a tripod by the window or the wall, wide enough to catch the whole room. I put it up in front of her, I show her the frame, and she decides where she wants it. Some girls ask me to move it closer. Some check the red light every few minutes because knowing it’s on is half the fun. Nobody is ever surprised by it, because she watched me set it up.
A few of my scene titles play with the idea of a camera she “forgot” about. That’s roleplay, a story we tell together for the viewer. In the room, every camera was hers to see.
Marciza Rouz, the second camera (0:30)
Marciza signed the release, I set the second camera on the tripod by the bed, and she watched me do it with her chin on her knee. The front lens is mine; the second one sees everything else. She liked knowing there were two angles on her, and it shows.
Full scene page on NicoGrey.com →
Jhocy, the second camera “still recording” (0:29)
The title says she didn’t know the second camera was still recording. That’s the story we play. In the room, Jhocy watched me frame it, checked the red light, and asked me to move it closer. The roleplay is the tease; the wide angle is the reward.
Full scene page on NicoGrey.com →
The side camera: me, my phone and Amira
This is the angle people ask me for most: the backstage camera that shows me working. Backstage with Amira Daher, a Brazilian fitness model, the side camera caught me holding the phone, framing her, and Amira looking past it straight at me. Watch it first, then watch her Sao Paulo POV, and you’ll know exactly where I stand when I film.
Amira Daher, side camera (BTS) (0:23)
This is the side camera from my backstage shoot with Amira, a Brazilian fitness model. From here you see what the POV can’t: me holding the phone, framing her, and Amira looking past it straight at me. It’s the cleanest look on this page at how I actually film.
Full scene page on NicoGrey.com →
Amira Daher, my phone POV (0:45)
Amira Daher again, this time in Sao Paulo and from my phone. Brazilian heat, a Brazilian MILF with a slow smile, and nothing between you and her but the screen. Watch it right after the side camera clip and you’ll know exactly where I stand when I film POV.
Full scene page on NicoGrey.com →
Step Four: Filming With My Phone (Vertical POV)
For a lot of scenes my main camera is just my phone. It’s small, it’s close, and it doesn’t feel like a film set, which is exactly why the girls relax and play to it. Vertical is how you hold your own phone, so it’s how these scenes feel most personal: you see her from exactly where I see her. Half the time she takes the phone off me to show me what she wants, and I let her.
Helen Star, “put the camera down” (vertical) (0:27)
Helen grabbed my phone halfway through and told me to put the camera down. I didn’t, and she didn’t really want me to. Shot vertical, close and loud, the way phones film best. Her line is the title, and she said it straight into the lens.
Full scene page on NicoGrey.com →
Yoya Grey & Veronica Leal, neon POV (vertical) (0:27)
Neon light, a hotel room and two girls, Yoya and Veronica, taking turns with my phone and with me. Shot vertical, POV, rough when they asked for rough. Half the framing in this one is theirs; they kept grabbing the phone to show me what they wanted.
Full scene page on NicoGrey.com →
Rebecca Johnson, riding POV (vertical) (0:26)
Rebecca on top, my phone in one hand and her hips in the other. Vertical, tight and very personal: you see what I see, from exactly where I see it. She plays to the lens like she’s been doing it for years, rubbing herself while she rides.
Full scene page on NicoGrey.com →
Yoya Grey, hotel POV (vertical) (0:30)
On holiday with Yoya. She climbed on me in the hotel before I’d even found the light switch, and the phone was the only camera in reach. No tripod, no crew, no second angle, just a vertical POV that feels like you walked in on a holiday you weren’t invited to.
Full scene page on NicoGrey.com →
Jhocy, posing turns into POV (vertical) (0:29)
I thought Jhocy was just posing for photos. Then she pulled her thong aside and looked at the phone like it owed her money. Vertical, handheld and close. A photo session turning into a scene is the oldest story in my studio, and still my favourite one.
Full scene page on NicoGrey.com →
Step Five: Backstage After the Photo Shoot
Some of my favourite scenes were never planned as scenes. A lingerie shoot ends, the stills photographer packs up, and she stays. Backstage, in the set’s lingerie, under the lights that are still warm, she asks for the scene she’s been thinking about all day. I always keep a camera charged after a photo session for exactly this reason.
Helen Star, backstage after lingerie shoot (0:26)
Helen’s lingerie photo shoot ended, the photographer packed up, and she stayed. Backstage, still in the set’s lingerie, she asked for the scene she’d been thinking about all day. I filmed it POV and left the lights from the shoot exactly where they were.
Full scene page on NicoGrey.com →
Rebecca Johnson, backstage lingerie shoot (0:26)
Backstage after Rebecca’s lingerie shoot. Same set, same lace, a much warmer mood once the stills camera was gone. My POV, her rules, and a finish that soaked the sheets. It’s the reason I always keep a camera charged after a photo session.
Full scene page on NicoGrey.com →
Luciana Bonilla, BTS in Argentina (0:28)
Behind the scenes in Argentina with Luciana: a petite Latina, a perfect ass and a playful sugar-daddy roleplay we set up together before the camera rolled. The BTS angle shows the room, the light and the laughs between takes. Then it shows a lot more.
Full scene page on NicoGrey.com →
Dolly Orchid, backstage (0:28)
Backstage with Dolly Orchid after her shoot, when the official cameras were done and mine was still on. Small, cheeky and in no hurry to get dressed. The backstage scenes are where my girls stop performing for a set and start performing for themselves.
Full scene page on NicoGrey.com →
Bela Sampaio & Rangel Carlos, backstage (0:31)
Backstage with two busty Brazilians, Bela and Rangel, and one very small room. They’d finished their photos and decided they weren’t finished with me. Shot handheld, between the light stands, with every elbow in frame. Organised chaos is still a style.
Full scene page on NicoGrey.com →
Red Flags and Fake Recruiters
Not every man with a camera is a producer. Most bad situations share the same warning signs, so walk away if someone:
- Wants you to pay a fee to be “considered”, to join an agency list or to build a “portfolio”.
- Offers a modelling job and only mentions adult content once you’re in the room.
- Won’t give you a full name, a company or an address, or only talks through a throwaway account.
- Asks for explicit photos before you’ve met or before any paperwork exists.
- Pushes you to drink or take anything before filming.
- Wants to hold your passport or your phone.
- Says a written release isn’t needed this time.
- Gets angry, or goes very quiet, when you ask where the footage will be published.
Fake recruiters love borrowing the names of real studios, and a name like mine is no exception. If someone says they’re casting for Nico Grey, check it through the contact details on NicoGrey.com, never through the account that messaged you.
Your Right to Stop
Saying yes to a scene isn’t saying yes to every moment of it. You can say no to any part, or stop completely, even halfway through. A professional talks through limits before the camera rolls, checks in during the scene, and treats “stop” as the end of the conversation, not the start of a negotiation. Nobody should pressure you to restart, guilt you or threaten your pay. Watch how a producer reacts the first time you say no to something small; that tells you how he’ll behave when it matters.
Where Your Scene Ends Up
New performers ask about this least and should ask about it most. A great scene doesn’t stay in the room it was shot in; once it’s published, copies travel. Before you agree, find out exactly where it will appear, whether short previews will be free to watch, and which platform carries the full version.
For my own work, here’s the honest map. NicoGrey.com shows trailers and stills, in English, Português, Español, Italiano and Deutsch, just enough heat to leave you wanting the rest. Most of my scenes also get a cut of ten minutes or more on Pornhub. The full-length scenes stay on my OnlyFans only, because most of the women I film prefer it that way. The trailers on this page are the same previews you’d see on my site.
The Studio Shoot by Mirko Tabasevic (All 1,152 Photos)
Mirko Tabasevic shot me in a dark studio on 15 August 2026: just me, a few models, black and white, one hard light. I’d spent twenty-five years on the other side of the lens and wanted to know how it feels when someone else decides the frame. Every photo from that day is here, uncropped, in the order Mirko shot them. Open a chapter to load it.
Chapter 1: Alone with the light (178 photos, frames 50012–50206)
Chapter 2: The white shirt (178 photos, frames 50207–50402)
Chapter 3: She walks in (178 photos, frames 50403–50614)
Chapter 4: Close enough to feel it (178 photos, frames 50615–50813)
Chapter 5: Nothing left to hide (178 photos, frames 50814–51007)
Chapter 6: The last frames (178 photos, frames 51008–51197)
About Nico Grey
I’m the founder of Scandal Planet and the man behind the camera at NicoGrey.com, filming POV castings, backstage scenes and collaborations since 2001 with women from Brazil, Colombia, Venezuela, Argentina, Serbia, the Czech Republic and beyond. Read my story on Who is Nico Grey, browse my posts on my author page, or start with the short safe adult casting guide if you’re a performer weighing up your first shoot.
FAQ
Did every girl know she was being filmed?
Yes. Every girl I filmed knew it was a collaboration and knew about every camera in the room, including the second camera and my phone. Titles that say she “didn’t know” are roleplay.
Were all the women 18 or older?
Yes. Every one of them was 18 or older at the time of filming, her ID was checked before the shoot, and the records are kept as described on the 2257 page.
Do I need ID for an adult casting?
Yes. A legitimate studio checks your passport or national ID before filming and keeps a record that you’re an adult. If someone says ID doesn’t matter, or offers to use someone else’s, walk away.
Should I ever pay to get a casting?
No. A real producer never charges you to audition, to join a list or to build a portfolio. Upfront fees are one of the most common signs of a scam.
Can I stop a scene once it has started?
Yes. You can say no to any part of a scene or stop completely at any moment, and a professional producer respects that immediately.
Why does Nico Grey use a second camera?
The second camera on a tripod gives the wide, behind-the-scenes angle that POV can’t show. It’s set up in front of her and she decides where it goes.
Where can I watch the full scenes?
The trailers and stills are on NicoGrey.com, longer cuts of most scenes are on Pornhub, and the full-length scenes are on Nico Grey’s OnlyFans only.
