Troy Studios – Open Day: Bus Details

From Limerick City Centre to Troy Studios
Route 304 (Raheen – City Centre – University of Limerick)
Journey Time: City Centre to UL approx. 20mins
Frequency approx. every 15mins

  • If travelling from Colbert Train Station, take the 304 (towards University of Limerick) bus from the bus stop located opposite the train station plaza beside Ladbrokes. If travelling from the City Centre take the 304 (towards University of Limerick) from the Sarsfield Street bus stop (outside Debenhams), just off O’Connell Street.
  • Once the bus goes through University of Limerick, it will then leave through the East Gate (after UL Sports Complex) and turn left, back on to Plassey Park Road.
  • Get off at the Plassey Park Road bus stop (ask to stop near Oaklawns) which is approx. 500m after leaving University of Limerick gate.
  • From the Oaklawns bus stop, walk for approx. 2-3mins (170m) keeping the road on your right-hand side, until you see a sign for the IDA and Troy Studios. Turn left at this sign.
  • Continue along this road and following the road around to the right you will see signs for Film Industry Open Day.
  • On arrival in the Troy Studios please follow the signs for Film Industry Open Day and make your way to the Registration area.

Other Bus services to University of Limerick:
Route 307, Route 308:

  • Routes 307 and 308 both operate from William Street, just off O’Connell Street (bus stop outside the Centra). Take this service to University of Limerick and get off at the University of Limerick bus stop.
  • From the main bus stop in University of Limerick, walk towards the UL Sports Complex and follow this road past the sports complex to the East Gate Entrance. (approx. 5 mins walk)
  • From this entrance turn left onto Plassey Park Road and walk for approx. 700m (8 mins walk), keeping the road on your right-hand side until you see a sign for IDA and Troy Studios. Turn left at this sign.
  • Continue along this road and following the road around to the right you will see signs for Film Industry Open Day.
  • On arrival in the Troy Studios please follow the signs for Film Industry Open Day and make your way to the Registration area. 

M7 Express

  • If travelling by any M7 Express Service (the Green Bus) from Dublin towards Limerick/Killarney/Tralee/Ennis and vice versa, get off at the University of Limerick stop. From City Centre (stop located opposite Arthur’s Quay Shopping Centre), take the Dublin bound service to the University of Limerick.
  • From the main bus stop in University of Limerick, walk towards the UL Sports Complex and follow this road past the sports complex to the East Gate Entrance. (approx. 5 mins walk)
  • From this entrance turn left onto Plassey Park Road and walk for approx. 700m (8 mins walk), keeping the road on your right-hand side until you see a sign for IDA and Troy Studios. Turn left at this sign.
  • Continue along this road and following the road around to the right you will see signs for Film Industry Open Day.
  • On arrival in the Troy Studios please follow the signs for Film Industry Open Day and make your way to the Registration area.

Travelling from Troy Studios
Route 304 (University of Limerick – City Centre – Raheen)
Journey Time: UL to City Centre approx. 20mins
Frequency approx. every 15mins

  • To travel back to the City Centre, take the 304 bus from the same stop you got off on Plassey Park Road (Oaklawns) to get to Troy Studios. This will bring you back to the City Centre.

Route 307, Route 308

  • From the main bus stop at University of Limerick, take the 307 and 308 back to the city centre.

M7 Express

  • To travel back to the city centre take the bus service bound for Limerick/Ennis/Tralee/Killarney from the University of Limerick bus stop. All Dublin bound services operate from here also.

Troy Studios – Open Day Schedule







Opening – Welcome: STI/IFB/Troy/Innovate Limerick


Opening Session:

The Young Offenders – Peter Foott (Director)

Julie Ryan (Producer)

Case Study of The Young Offenders; facilitated by Esther McCarthy


HOD Session 1

Production Manager – Noelette Buckley

Accounts – Rebecca Daly

Assistant Directing – Hannah Quinn

Locations – Mick Swan

Camera – Tim Fleming

Lighting – James McGuire

Sound – Dan Birch

Panel Session discussing various production and technical
departments, roles, and responsibilities.

Facilitated by Esther McCarthy




HOD Session 2

Art Department – Conor Dennison

Costume – Eimer Ni Mhaoldomnaigh

Make-Up – Liz Byrne

Hair – Sandra Kelly

Set Craft/Construction – Martin Hayes

Props/ Dressing – Cos Egan

Continuity – Dave Moran

Panel Session discussing various design and craft departments, roles, and responsibilities.

Facilitated by Esther McCarthy


Closing Session:

Blindboy Boatclub,

Blindboy of Rubberbandits
discusses his work as a Limerick-based artist and filmmaker.


Lunch & Networking




13.30 onwards

Costume Construction – Gillian Carew

Tailoring, Pattern-cutting

Costume Design – Aisling Wallace Byrne

Costume Design, Distressing and Ageing

Prosthetics/Make-Up – Bowsie

Wounds, prosthetics, make-up

Modelmaking – Karl Connelly/Fab Lab

Moulds, 3D printing, laser-cutting

Irish Film Board/Screen Training Ireland/LCETB

Industry, Training, Skills

Camera/Lighting/Grip – ETB Tralee

Equipment demo

AR/VR – Simvirtua/Paula Kehoe

Virtual Reality and 360 filmmaking

Post Production/VFX – Richard Gavin/John Phillipson

Visual Effects and post-production processes






Troy Studios – Open Day Map

Thank you for visiting Troy Studios in Limerick.

Parking can be found at the rear of the building.

When you arrive, please go to A Stage to register and get your armband.


Film Industry Open Day – Floor Plan of B-Stage Demo Area


Hollywood comes to Wicklow

LEO Wicklow launch South Eastern Creative Corridor with Oscar winning stars.

All eyes were on Wicklow as Hollywood movie stars and Oscar winning directors and producers came together to help launch the ‘South Eastern Creative Corridor’. The launch, which took place on the set of new movie I KILL GIANTS in Clermont, Wicklow County Campus, marked the first step in the programme which aims to create a vibrant, viable, and growing creative Audio Visual industry cluster in the region.

The Local Enterprise Office (LEO) in Wicklow, in collaboration with Kilkenny, Carlow, Wexford and Tipperary Local Enterprise Offices succeeded in winning funding under the LEO Competitive Fund to implement the ‘South Eastern Creative Corridor’ programme. The overall objective of the programme is to encourage and support entrepreneurs and established SMEs who can sell services or products to the film industry or are operating in the film sector, to grow their businesses, internationalise and create new jobs in the region. The participating companies will be supported through an extensive networking, mentoring and training programme including opportunities to access finance for their business plans.

The programme was launched by Oscar winning director Anders Walter and double Oscar winning producer Kim Magnusson along with young Hollywood superstars, Madison Wolfe, Rory Jackson and Sydney Wade. Other special guests on the day included Bryan Doyle Chief Executive of Wicklow County Council, Michael Brougham from Enterprise Ireland, Sheelagh Daly LEO Wicklow, Breege Cosgrave LEO Wexford, Ita Horan LEO Tipperary, Fiona Deegan LEO Kilkenny, Anna Byrne LEO Carlow, Vibeke Delahunt, Wicklow Film Commission and Lorraine Bowen from The Entrepreneurs Academy who is operating the programme on behalf of the LEOs.

Lending her Department’s support to the South Eastern Creative Corridor programme, the Minister for Jobs, Enterprise and Innovation, Minister, Mary Mitchell O’Connor said: “All of the regions in Ireland have core individual attributes that position them to be key contributors to Ireland’s economic growth and employment creation. Our focus for the regions is to harness the huge potential and particular opportunities through a collaborative approach to innovative projects that will result in more jobs. With the help of the 5 LEOs in the region, the South Eastern Creative Corridor programme will build on the unique strengths of the film industry in this region.”

The vision for the programme encompasses a broad range of activities categorised as ‘Creative Industry’ that are related to audio visual production. Expressions of interest are being invited via the creative corridor website from enterprises / start-ups that wish to participate in the programme. One of the most exciting elements of the programme is the opportunity for applicants to avail of the €100,000 investment fund.

Thunder Road: Breakdown of a Journey to Sundance at Kerry Film Festival

Screen Training Ireland are delighted to support a masterclass with Jim Cummings on Saturday the 22nd of October at Kerry Film Festival. Jim  is an internationally recognised producer, actor and writer. He won the Grand Jury Prize at the 2016 Sundance Film Festival for a short film that he wrote, directed, edited, sound mixed, and starred in called THUNDER ROAD. Thunder Road is one long shot of a police officer eulogising his mother at her funeral. Gradually, over the course of the eulogy, the officer starts to lose his composure, eventually breaking out in a rendition of Bruce Springsteen’s song.

He has served as a producer on two of the most audacious and distinctive films at SXSW with Trey Edward SHULTS, KRISHA and Patrick Wang’s THE GRIEF OF OTHERS as well as the music videos of American rapper Lil Dicky, and countless short films, commercials, and features.

The masterclass is aimed at actors, writers, producers, directors and cinematographers. Experienced and emerging film makers alike would benefit from the expertise of these facilitators.

Using the short film, THUNDER ROAD as a case study, Jim will examine the key stages in the production of the film.

  • Developing the story
  • Writing and editing the script
  • Deciding on a style
  • the single shot film
  • He will discuss the reasoning behind shooting the entire film in one single shot and what effect that has for the audience
  • Exploring the use of other art forms in film to tell the story, in this case music and short story.
  • Jim Cummins will discuss how the short story art form influenced the script
  • Performing a twenty minute monologue as an actor
  • Jim Cummins will share his experience in preparation, rehearsing and filming the short film
  • Detailing the steps involved in music royalties and negotiating with Bruce Springsteen to use his lyrics
  • How to apply for Sundance and breakdown the costs involved in taking a short film to a high profile festival
  • Winning at Sundance and international success. He will discuss the recognition of this short film on an international level and the lessons he has learned along the way.

The masterclass will be a relaxed format with Jim breaking down the short film journey. There will be time for screening the film, discussion and a Q&A afterwards.

The fee to attend the masterclass is 25 (+ 2.19 booking fee).

For further information and to make a booking please visit www.kerryfilmfestival or book through the following Eventbrite link.

The Business of Documentary Making: An Irish & Nordic Perspective

Screen Training Ireland are delighted to support Galway City of Film upcoming seminar ‘The Business of Documentary Making: An Irish & Nordic Perspective’ in association with the Galway Film Centre and the Broadcasting Authority of Ireland.

This one day seminar will take place on Wednesday 12th October in the Harbour Hotel in Galway City and will look at different aspects of the business-side of documentary making. It will examine both Irish and Nordic experiences; though many miles apart, both areas face similar challenges. The day will be an insight into how both regions do the business of documentary and what we can learn from each-other.

The first session of the day from 10am to 11.30am will be Producing People, Swedish Style. This panel will discuss Producing People, a new initiative from Film i Skåne, where four emerging producers from the Skåne region (South Sweden) will be mentored and supported for one year to springboard to the next level. The four producers will talk about how they navigate the career pathway of a producer in their country and in Europe in general. There will also be a presentation of the Nordic Film Fund and the work of Film i Skåne. as a regional film fund and some insight into funding structures for creative documentaries in the Nordic countries. Lisa Nyed from Film i Skåne will talk with Ann Lundberg, Caroline Drab and Sofie Palage, three young Swedish Producers from the Producing People Scheme. The session will be chaired by Irish filmmaker Niamh Heery.

The second session The Irish Funding Model will run from 11.45am to 1pm. This panel will briefly look at the Irish funding opportunities for documentary makers with representatives from the Irish Film Board, TG4, RTÉ and the Broadcasting Authority of Ireland. The panel will feature James Hickey from the IFB, Ciarán Kissane from the BAI and Proinsias Ní Ghráinne from TG4 and the session will be chaired by Paddy Hayes of Magamedia.

A Networking Lunch will take place from 1pm to 2pm and the cost is included in the ticket price of the event.

The final session of the day from 2pm to 3.30pm will feature Atlantic: A Case Study of an Irish/Norwegian/Canadian Co-Production. This panel will examine how the award winning documentary, Atlantic, was co-produced and Risteard Ó Domhnaill Producer/Director of both ATLANTIC and THE PIPE will be in conversation with Karl Emil Rikardsen, Co-producer, ATLANTIC. The panel will be chaired by Irish filmmaker Ross Whitaker.

For more information on the speakers and details of the day please see:

Tickets for the full-day event are priced at €30 (waged) and €25 (unwaged/members of Galway Film Centre).

TO BOOK: please email or call 091 770748.

Screen Training Ireland and Animation Skillnet launch the VFX and Animation Graduate Traineeship Programme with one day Symposium in Dublin.

Screen Training Ireland, and Animation Skillnet launch the VFX and Animation Graduate Traineeship 2016/17.  To coincide with the launch of the VFX and Animation Graduate Traineeship Programme for the Irish Animation and VFX sectors there will be a day long symposium packed full of exciting talks on the latest technological advances in the area of VFX, animation, games and VR which will take place in Dublin on Saturday 22nd October at the Morrison Hotel.

Presentations from top Irish and international animation and VFX practitioners will include Sharon Calahan, Cinematographer, Pixar Animation Studios (A BUGS LIFE, TOY STORY 2, FINDING NEMO, RATATOUILLE, CARS 2,THE GOOD DINOSAUR); Richard Baneham, VFX/Animation Supervisor, Weta (AVATAR, LORD OF THE RINGS: THE TWO TOWERS, THE RETURN OF THE KING, THE IRON GIANT); Troy Saliba, Animation Supervisor, Sony Pictures Imageworks, (ALICE THROUGH THE LOOKING GLASS, OZ THE GREAT AND POWERFUL, THE SMURFS 3D, G-FORCE 3D, MONSTER HOUSE 3D, THE HAUNTED MANSION); Chris Landreth, award winning Film Director and Animator (RYAN,THE END, BINGO, THE SPINE, SUBCONSCIOUS PASSWORD); Simon Kay, Motion Capture Supervisor, Double Negative (WONDER WOMAN, FANTASTIC BEASTS AND WHERE TO FIND THEM, ANT MAN, AVENGERS: AGE OF ULTRON); Mary Pike, 3D Modeller and Modelmaker, The Workhouse (ALICE: THROUGH THE LOOKING GLASS, AVATAR, MAD MAX: FURY ROAD, THE HOBBIT TRILOGY, ELYSIUM, THE AMAZING SPIDERMAN); and Wouter Tulp, Character Designer (TRIPLE TROUBLE, THE SEVENTH DWARF).

Following the event, The Visual Effects Society London Section will host a special Dublin screening of 20th Century Fox’s MISS PEREGRINE’S HOME FOR PECULIAR CHILDREN, followed by a Q&A with VFX Supervisor Frazer Churchill (THE WORLD’S END; SCOTT PILGRIM VS. THE WORLD; CHILDREN OF MEN).

The Graduate Traineeship Programme will run over a six month period and is targeted at developing skills and talent in the Irish VFX and animation sector.  The programme will involve a mix of on-the-job training/mentoring as well as additional specialist training/mentoring delivered through Animation Skillnet and Screen Training Ireland.  The participating trainees will receive tailored training as well as specialist skills development in their assigned host studios.  Participating studios for the 2015 traineeship included Cartoon Saloon, Brown Bag Films, Boulder Media, JAM Media, Screen Scene VFX and Windmill Lane VFX.

Sorcha Loughnane, Training Executive, Screen Training Ireland, said:  “We are delighted to partner with industry to offer these graduate traineeships in a sector that is growing at such a rapid pace.  Irish animation studios are recognised as world leaders, and our award-winning VFX studios are steadily growing in international reputation.  The traineeship addresses critical skills needs, while the launch event gives the sector access to the absolute cutting edge of Irish and global talent.”

If you are interested in attending the event, please register at Animation Skillnet here by Friday the 14th of October at 5pm.  Tickets are €50 (waged)/€25 unwaged.  The VES screening and Q&A is free of charge, if you wish to attend details on how to register will be available on the website shortly. For further information contact Sorcha Loughnane at or Gareth Lee at 

The VFX and Animation Symposium is supported by Screen Training Ireland, Animation Skillnet, the Irish Film Board, the Industrial Development Authority, Enterprise Ireland and the Visual Effects Society.


For further information or to arrange an interview please contact Criona Sexton, Communications Executive, and Screen Training Ireland. e: m: +353 86 9891018

Notes to Editor 

Screen Training Ireland is part of Bord Scannán na hÉireann/the Irish Film Board and provides on-going training for the screen sectors through the delivery of world class training initiatives.

Animation Skillnet is an industry led training network for the animation, games and VFX sectors in Ireland.  It is funded by member companies and the Training Networks Programme, an initiative of Skillnets Ltd. funded from the National Training Fund through the Department of Education and Skills.

The Visual Effects Society (VES) is a global professional honorary society and the entertainment industry’s only organization representing the full breadth of visual effects practitioners including artists, technologists, model makers, educators, studio executives, supervisors, PR/marketing specialists and producers. Headquartered in Los Angeles, the VES has member Sections in Australia, Bay Area (CA), London, Los Angeles, Montreal, New York, New Zealand, Toronto and Vancouver.



Masterclass with Richard Brown of Anonymous Content

Screen Training Ireland in association with Big Stories on the Small Screen and Trinity Long Room Hub Arts and Humanities Research Institute are delighted to announce a masterclass with executive producer Richard Brown of Anonymous Content.

Richard is the producer of TRUE DETECTIVE, the upcoming adaptation of CATCH 22 and a number of other acclaimed serial dramas and films.

As part of the masterclass Richard will discuss creating quality screen narrative amid the uncertainties of the new digital market.

Big Stories on the Small Screen is funded by the Broadcasting Authority of Ireland, The Irish Film Board and Screen Training Ireland. The initiative is supported by Irish broadcasters TV3 and TG4, as well as by professional industry bodies Screen Producers Ireland, the Screen Directors’ Guild of Ireland and The Irish Playwrights’ and Screenwriters’ Guild.

If you’re interested in attending this event, please click here   For further details contact Grainne Bennett,; Ph: (01) 6798040.

Deadline for registration:  Friday 7th October 2016.

Virtual Reality Filmmaking Workshop Helsinki

Conor Dowling received a bursary to attend a Virtual Reality workshop in Helsinki in Finland.  Read more about Conor’s experience.

“After much interest and research into Virtual Reality Filmmaking and 360 video, I came across a practical VR filmmaking workshop in Helsinki, Finland.  I applied for the course and was accepted. Fortunately Screen Training Ireland were able to assist me financially with a bursary that covered my course fee, accommodation and flights.

The workshop, run by NISI MASA and Euphoria Borealis, was held over eight days in the Aalto Media Lab in Helsinki. Forty international participants from all over the world and different professional backgrounds were accepted onto the course. Participants were made up of writers, directors, producers, editors, cinematographers, sound designers, programmers, game developers, graphic designers and motion graphics experts.

On the first day we were orientated with the facility the workshop would take place in; Aalto Media Lab, much like Dublin’s Filmbase. The media lab would supply the VR equipment, all filmmaking equipment and post production equipment we needed to make our films during the week. Here we met the other participants and the organisers of the course, made up of VR filmmakers each with a different speciality in VR filmmaking workflow. After our meet and greet we were taught the basic principles of 360 video and acquainted with the gear we would be using. The rest of our first day was spent using the cameras to shoot exercises designed to utilise the camera’s 360 degree field of view, after which we would stitch the footage together on editing software.

The rest of the week was structured as follows; on the second day all directors were to pitch ideas for VR films they wanted to make, crews would then form around those ideas, the films would be shot and edited over the next two days and screened publicly in a cinema in the city centre on the fourth day of the course.

During the first filmmaking session, roughly 10 VR films were produced by the different groups. Due to my interest in the application of VR to narrative filmmaking, I wrote and directed a short sci fi romance film called Cosmic Legacy. Our team had the chance to try out the Samsung Gear VR while making our film. Unlike cumbersome go pro rigs that have all sorts of production challenges, the Samsung camera shoots two wide angles and produces a 360 video image quite simply. The camera works in tandem with Samsung Android phone that stitches the footage together, provides live playback and comes with it’s own headset which allows you to preview the viewer’s VR experience on set. Though the Samsung Gear VR operates very smoothly, the picture quality is not as good other VR camera rigs.

While we shot the film, I was interviewed by a Finnish TV channel about my experience with VR filmmaking and my thoughts on the challenges and potential of the medium. A journalist for a Finnish tech magazine also chose our film to follow from start to completion, interviewing me about the experience.  During the shoot we got the chance to trouble shoot the challenges of; where to hide the crew in a 360 video, how do you light the scene, how do you mic your actors for sound and how do you light a green screen within your shot?!

We spent the following day adding VFX to our film and exporting it in the nick of time for a public cinema screening in the city centre of Helsinki. The screening was like no other cinema screening I’ve been to. We were in a standard, large cinema screen and there was one Oculus Rift head-set, set up at the top of the room. Members of the public then volunteered to view our films individually through the head-set. Their head-set was then projected onto the big screen for the rest of the audience to view. The viewer was then essentially directing the film for the rest of the audience. After each viewing, the director was asked to say a few words about the film and the viewer would share their own experience of the film.

The screening was a success and it was fantastic to see what 10 directors did with the medium and each film was more different than the last. One film placed the viewer in the POV of a mole, one viewer was placed in the shoes of a gang member and another film was a BDSM like experiment in forced feminisation which left the viewer squirming in front of the entire cinema as a character in the film applied make up to his face.

That marked the halfway point of the course and the next day there was a new round of pitches made by the group. This time around I decided to challenge myself in the post production area of VR filmmaking, so I joined a team as editor and post production supervisor. For our next project, Synaesthesia, we used the Kodak Pix Pro camera and a 4K Go Pro rig. The Kodak camera was easily the most superior 360 camera we had the chance to use on the course. The footage looked the best and it was easiest to operate. With only two angles it meant only two stitch lines within the final video, this makes blocking easier on set as when actors cross stitch lines too close to the camera it can ruin the effect.

Go Pro rigs are great in theory, with six cameras shooting 4k images to spread out over your final spherical image, but in practice they can be a nightmare without the time, patience and hard drive space. A Go Pro rig points six Go Pros in every direction. This means, six batteries that need to be charged, six SD cards that need to be offloaded and marked correctly, six cameras means six stitch lines, each take has six clips each at 4K resolution and when you are filming, there is no monitor! Though this is an inventive approach to obtaining 360 video, it’s not feasible if you’re working with actors and under any time pressure.

Throughout the last few days of the course we had more guest lectures in unity, digital set design and how to make our VR films interactive through video game engines. We were also treated to a live demo of the new Nokia Ozo 360 camera. The Nokia Ozo is the €50,000 euro answer to high end 360 video production and it answers a lot of the problems of current VR video production.

We managed to get another round of 10 films together for our next and last public cinema screening. This batch of films had learned from the experience of the first group and made a variety of experimental and entertaining VR films.

Making the films in a short amount of time was a great opportunity to experiment with the technology and shooting methods used in VR filmmaking. Throughout the course there was a strong sense that we were at the beginning of a new era of filmmaking and that everything we did was breaking some sort of new ground for the filmmakers who would learn from our attempts within the medium. There was a lot of question throughout the course about whether or not VR films will take over but after making and watching VR films during the course, I believe that though VR films are going to be a big part of the future, they will never replace traditional cinema and will likely co-exist as individual cinematic experiences.

At times being on the course was a lot like being back in film school for eight days, I spent long days and late night working with groups of creative and experimental filmmakers and artists. Along with the wealth of knowledge I learned from the course itself, being surrounded by a diverse group of creators was where I gained the most new skills and ideas.

Cosmic Legacy and Synaesthesia, along with other films made on the course, will be screened this as part of the Annual Helsinki Film Festival Love & Anarchy.”