What do producers actually look for if I’m completely new?
A first-time performer cannot offer experience she does not have. That is not necessarily a problem.
For some productions the interesting question is whether the person fits the idea. Does the camera notice her? Does she communicate well? Can she move naturally? Is there chemistry with the concept, the producer or another performer? Does she look like somebody the audience would actually remember?
A huge portfolio is not required to answer those questions. A few current photos can establish appearance. A conversation can reveal whether somebody understands the project and is genuinely interested. A screen test can show far more about camera presence than twenty posed still images ever will.
Reliability matters too, and that part is not glamorous. Does the person answer clearly? Does she know where she is supposed to be? Can she talk about travel and dates without chaos? Can she say what she is open to without making everybody guess? Productions cost enough that being easy to plan around has real value.
Being new can even suit certain work better. A performer with years in conventional porn may be excellent technically but already have very learned ways of moving, posing and reacting to cameras. If the project wants awkwardness, realism or somebody who still feels like an ordinary person, a newcomer can bring something different.
That does not mean "new" is automatically attractive. Somebody still needs the look, presence or personality for the part. It just means lack of experience is not the same thing as lack of value.
Followers are a separate issue again. If a brand is hiring somebody because she brings a large audience, follower count matters. If I am casting somebody because I think she belongs in a film, it may matter almost not at all.
The thing I would not do as a newcomer is fake a professional history. If it is your first shoot, say it. If you have never been nude on camera, say that. A producer who genuinely wants first-timers is not scared by the word first.
My own casting often starts with the person rather than the CV. I am interested in whether there is something there that becomes more interesting once the camera is running.
There is another quality that is difficult to see in a portfolio: whether somebody can stop thinking about looking good. A lot of modelling teaches people to protect their best angles. Film sometimes needs the opposite. Confusion, ugly crying, laughter at the wrong moment, a face that is not posed. If somebody can let the character take over instead of constantly checking whether she still looks attractive, that can be much more valuable than perfect posing.