Working on film and TV sets in Ireland is different from stage work. The pace, structure and expectations can be confusing if you’ve only done theatre or have no experience at all. Understanding how productions work, what’s expected of you, and how to conduct yourself professionally will help you make the most of every opportunity.
This guide covers the basics of film and TV production in Ireland from an actor’s perspective: how sets operate, what different crew roles do, on-set etiquette, and how to prepare for your first days of shooting.
The Irish film and TV landscape for actors
Ireland has a growing film and TV industry, supported by tax incentives that attract both Irish productions and international shoots. Actors in Ireland may work on:
- Irish feature films: Independent and larger-budget films made by Irish production companies
- International productions shooting in Ireland: Hollywood and UK productions using Irish locations and studios
- Irish TV dramas and series: RTÉ, TG4, Virgin Media and streaming platform productions
- International TV productions: Series from UK, US and European broadcasters filming in Ireland
- Short films and web series: Lower-budget projects, often good entry points for newer actors
Most film and TV work in Ireland is centered around Dublin, with studio facilities at Ardmore Studios, Ashford Studios and Troy Studios (Limerick). Location shooting happens throughout the country.
For an overview of the acting industry in Ireland, see actors in Ireland: how the Irish acting industry works.
How you get cast in film and TV work
Through agents
Most professional, paid film and TV roles are cast through agents. Casting directors send breakdowns to agencies, who submit their clients. If you have representation, your agent handles most of this process.
Direct submission for smaller projects
Some low-budget films, short films and web series accept direct actor submissions. These are often advertised on casting platforms, social media or through actor networks.
Open casting calls
Occasionally, larger productions hold open calls for specific roles (community casting, roles requiring specific looks or skills, background artists).
Background and supporting artist work
Background work (extras, supporting artists) provides on-set experience and some income. It’s often available through specialist background casting agencies. While background work doesn’t lead directly to principal roles, it does help you understand how sets work.
For more on working with agents, see acting agents and agencies in Ireland.
Preparing for your first shoot
Once you’re cast, you’ll receive information from the production team:
Call sheet
The call sheet is sent the day before (or sometimes the morning of) your shoot. It includes:
- Your call time: When you must arrive on set
- Location and parking information
- Scene numbers you’re shooting that day
- Cast and crew contact details
- Weather, meal times and other logistics
Read the call sheet carefully. Know your call time and location. Arrive early.
Costume and hair/makeup
The production will tell you what to bring (if you’re providing your own costume) or what to expect from the wardrobe department. Follow their instructions exactly.
For hair and makeup, come to set clean and ready. Don’t wear heavy makeup or style your hair unless specifically asked.
Script and sides
You’ll receive a script (or sides — excerpts of scenes you’re in). Learn your lines thoroughly. Know your character’s journey through the day’s scenes.
Contracts and paperwork
Before you start, you’ll sign a contract outlining your fee (or confirming it’s unpaid), shoot dates, usage rights, and other terms. Read everything before signing. If you have an agent, they’ll handle negotiations. If not, don’t be afraid to ask questions.
On-set hierarchy and crew roles
Film and TV sets have clear hierarchies. Understanding who does what helps you navigate the environment professionally:
Director
The director is in charge of the creative vision. They work with actors on performance, blocking and interpretation. Always listen to the director’s notes and take direction well.
First Assistant Director (1st AD)
The 1st AD runs the set, manages the schedule, and keeps things on time. They call for quiet, announce takes, and coordinate logistics. Respect their authority and follow their instructions immediately.
Director of Photography (DOP/Cinematographer)
The DOP is responsible for camera, lighting and the visual look of the film. You’ll hear them discussing shots with the director.
Script supervisor
The script supervisor tracks continuity (making sure performances, props and actions match from take to take). They may give you notes about eyelines, movements or timing to ensure continuity.
Sound department
The sound recordist and boom operator capture audio. Stay quiet when cameras roll, and don’t touch your microphone (if you’re wearing one) unless asked.
Hair, makeup and wardrobe
These departments prepare you for camera. Build good relationships with them — they can make you look great, and they’re often on set all day with you.
Production assistants (PAs)
PAs handle logistics, fetch items, coordinate actors and generally keep things moving. Treat them with respect.
Producer
Producers oversee the entire production (budget, schedule, logistics). You may not interact with them much on set, but they’re ultimately responsible for the project.
On-set etiquette and expectations
Film and TV sets have unwritten rules. Following them marks you as professional:
Be on time (early, actually)
Arrive at your call time or earlier. Never be late. If you’re delayed, call the production immediately.
Know your lines cold
You’re expected to arrive fully prepared. There’s no time on a busy set for actors who don’t know their lines.
Hit your marks
When blocking a scene, you’ll be given marks (tape on the floor, or visual references) where you need to stand for lighting and camera focus. Hit them consistently every take.
Stay quiet between takes
When cameras aren’t rolling, keep your voice down. Crew need to focus, and sound needs to be clear when recording starts.
Don’t wander off
Stay close to set unless told you have a break. If you need to leave (to use the toilet, get food), tell the 1st AD or a PA so they know where you are.
Don’t touch equipment
Cameras, lights, props and other equipment are expensive and carefully set up. Don’t touch anything unless it’s been given to you or you’ve been told to.
Take direction without arguing
If a director gives you a note, try it. Even if you disagree, do what’s asked first. You can discuss your interpretation later if needed, but on a busy set, arguing wastes time.
Be patient with repetition
Film and TV involve lots of waiting and lots of repetition. You may do many takes of the same scene for different angles, lighting setups or technical reasons. Stay focused and consistent.
Bring your own food, water and entertainment
Sets provide meals (usually lunch and sometimes breakfast or dinner), but bring snacks and water. Also bring something to do during downtime (a book, headphones, script work). Don’t rely on your phone constantly — battery life matters.
Don’t take photos or videos without permission
Many contracts forbid behind-the-scenes photos and videos. Always ask before posting anything on social media.
Be friendly but not intrusive
Film sets are workplaces. Be pleasant and professional, but don’t distract crew members or other actors when they’re working.
What a typical shoot day looks like
Film and TV shoot days are long (often 10–12 hours or more) and involve a lot of waiting. Here’s roughly how they work:
Morning call
- Arrive at your call time
- Check in with the production team
- Go to hair, makeup and wardrobe
- Wait in holding (a designated area for actors between scenes)
Shooting
- When your scene is ready, you’ll be called to set
- Rehearse blocking and movements with the director
- Do technical rehearsals for camera and lighting
- Shoot multiple takes of the scene from different angles (master shot, close-ups, over-the-shoulder shots)
- Repeat for each setup
Breaks
- You’ll have breaks for meals (usually 30 minutes to an hour for lunch)
- There may be shorter breaks between setups while crew relight or move camera
Wrap
- When your scenes are done, you’ll be released (“wrapped”)
- Return costume, props and microphones
- Check out with production
- Confirm your next call time if you’re shooting more days
Understanding the technical side (what you need to know)
You don’t need to be a camera expert, but understanding some basics helps:
Takes and setups
- A take is a single attempt at a shot (e.g., “Take 1, Take 2”)
- A setup is a particular camera angle or position
- You’ll usually do multiple takes of each setup until the director is happy
Eyelines
The eyeline is where you look when interacting with another character. The script supervisor or camera team may adjust your eyeline to ensure it’s correct for the camera angle.
Continuity
You need to repeat actions, gestures and line delivery consistently across multiple takes and setups, so the editor can cut the scene together seamlessly. The script supervisor will help you track this.
Screen direction
Pay attention to which direction you enter and exit frame, so the geography of the scene makes sense when edited together.
Hitting marks
Marks (usually tape on the floor) show where you need to stand for focus and framing. Practice hitting them naturally without looking down.
Common mistakes actors make on film and TV sets
Not knowing lines well enough
Film and TV schedules are tight. If you waste time because you don’t know your lines, you won’t be hired again.
Being too theatrical
Film and TV acting is usually more subtle than stage acting. The camera picks up everything. Adjust your performance accordingly.
Missing your marks
If you’re not where the camera expects you to be, you’ll be out of focus or badly framed. Practice until you can hit marks naturally.
Talking to crew when they’re working
Crew members are focused on technical work. Chatting to them while they’re trying to light a scene or set up a camera is distracting and unprofessional.
Complaining about waiting or long hours
Film sets involve waiting. Accept it. Bring things to keep yourself occupied, stay ready, and remain professional.
Being difficult with hair, makeup or wardrobe
These departments are there to make you look good. Collaborate with them, don’t fight them.
Checking your phone constantly
Stay present and ready. Don’t be the actor who misses their cue because they’re scrolling social media.
Getting paid and contracts
Understanding your fee
If you’re being paid, your contract will state your fee (day rate, weekly rate or total fee for the project). Make sure you understand:
- Payment terms: When and how you’ll be paid
- Usage rights: Where and how the production can use your performance
- Buyouts: Whether your fee includes unlimited usage or whether there are additional payments for different uses (e.g., TV broadcast, streaming, festivals)
Unpaid work
Many short films, student films and low-budget projects are unpaid. If you’re working for free, make sure:
- You’ll receive a copy of the finished film for your showreel
- The project is legitimate and not exploitative
- You’re clear on what you’re getting in exchange (footage, experience, credits)
Unions and professional rates
Equity, the Irish actors’ union, negotiates minimum rates for professional film and TV work. If you’re a union member or the production is a union contract, you’ll be paid according to these rates.
For more on unions, see unions, Equity and guilds for actors in Ireland.
Building your showreel from film and TV work
One of the main benefits of film and TV work is footage for your showreel. Always:
- Confirm you’ll receive a copy of the finished project
- Ask when it will be available
- Follow up if you don’t receive it
- Get permission before using clips in your showreel (most productions are fine with this, but always check)
For more on building strong materials, see headshots, showreels and CVs for actors in Ireland.
Final thoughts
Working on film and TV sets in Ireland is exciting, but it requires professionalism, patience and preparation. The more you understand how productions work, the more confident and effective you’ll be on set.
Show up on time, know your lines, take direction well, and treat everyone with respect. Do this consistently, and you’ll build a reputation as someone directors and casting directors want to work with — and that’s how you build a career.