Casting guide
The most important words you’ll come across as an extra, featured extra or actor in a small speaking role — in plain language.
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"Action" means the recording starts and you start performing; "cut" means it stops. Keep acting between those two moments, even if you think you are not in shot.
A preselection in which you show what you can do, sometimes with text. Often not needed for extra work; usual for small speaking roles.
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The days on which you can work. Agencies often ask for this in advance, so they only approach you for dates you have free.
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A personal link you can share with a casting agency, on which they see which days you are available, booked or unavailable — without productions, titles or locations, and without anyone having to message you.
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Extra footage alongside the main recordings, used to add atmosphere or create transitions in editing.
Looks after the extras on the day itself: gathers the group, passes on instructions from the director and keeps track of who needs to stand where.
The meeting point close to the set, with dressing rooms, catering and a waiting area. Usually the address where you report in the morning.
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A day you mark as unavailable in your agenda, for example because of holiday or other work. On your availability link that day then shows as unavailable.
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Setting out who moves where, and when, within a scene. As an extra you receive instructions for this: where you start, where you walk, and at what moment.
Replaces an actor on screen for shots in which the face is not visible, for example of hands, back or legs.
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The final confirmation that you are taking part on a certain day. From that moment the agreement is fixed, on both sides.
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The date on which the production is broadcast. This is often months after the shoot day and is not always known in advance. Casting Agenda looks it up for you where possible.
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The right to show the recording on television, streaming or other channels. This can affect the level of your fee.
The channel or platform on which the production is shown. Useful to record, so you can later find where you appeared.
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A lump sum for the use of your image, on top of the day fee. It mainly occurs with commercials, where the footage is used for a longer period and on several channels.
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The time you are expected on set or at the location. It is better to arrive early than late.
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The day schedule for the shoot day: where you need to be, what time, and often who is working that day and which scenes are shot.
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A payment if a booked day is cancelled at short notice. Not every agency has one, and the period in which it applies differs.
The agency that recruits extras, featured extras and actors for small speaking roles and places them in productions. You register with the agency, not with the production itself.
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A call for a specific role or production, describing the profile sought, the dates and usually the fee.
The person responsible for selecting actors and extras for a production, including small speaking roles.
A flat-coloured (usually green) background that is removed in editing and replaced with another environment.
The board with the scene and take number that is snapped shut just before a recording. It helps editing to synchronise picture and sound.
A shot in which someone or something is filmed from close by. If you are in one, small details — your look, your hands — count extra.
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An overview card with your photos and basic details — height, clothing size, hair colour, age indication — that casting agencies use to present you.
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Making sure details — clothing, hair, the position of objects — match between takes and scenes that are not shot in chronological order.
The catering on set: coffee, tea, snacks and often a hot meal during a long shoot day.
The people who work behind the camera: direction, camera, sound, lighting, styling. Not to be confused with the actors and extras in front of the camera.
The fee you receive for a full shoot day, usually regardless of the exact number of hours worked. Often including travel costs, unless stated otherwise.
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The creative lead of the production, who decides how each scene is staged and played. Not to be confused with the casting director, who only handles casting.
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Plays a background role without lines and without the character being highlighted, for example someone walking past in the background. Also called a background actor.
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An extra with a slightly larger, recognisable role within a scene, sometimes with a small action, but still without spoken lines.
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The payment you receive for your work. For background work this is usually a fixed daily amount; for roles with lines it is more often agreed individually.
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The message from the casting agency telling you whether or not you have been booked. Sometimes it takes a long time; it is fine to ask, especially when the shoot day is close.
First assistant director: plans the schedule on set and makes sure everyone is in the right place at the right time.
If you work as a self-employed person, you send an invoice to the casting agency or production for your fee yourself, instead of being paid through a payslip.
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A recent, neutral photo without filters or heavy make-up, in which you look as you would on set. Often requested as a portrait and as a full-length photo.
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A personal agenda link with which your shoot days appear automatically in Apple Calendar, Google Calendar or Outlook, and update when things change.
A valid identity document you must be able to show on the shoot day, often checked when you arrive on set.
A short close-up of a detail — for example hands, an object or a look — recorded separately and later edited between the main scene.
The place where filming takes place — this can be a studio, but also a house, street or business.
Arranges the shooting locations: permission, parking, barriers and agreements with neighbours or owners.
Takes care of make-up and hair. Extras sometimes also go to make-up, if only to remove shine under the lights.
A legally required permit from the municipality for children who take part in a production, with rules on maximum working hours and mandatory rest.
A shoot day that takes place in the evening or at night. Often with a separate fee, and it usually takes a day to recover.
Not turning up on a shoot day without cancelling. This costs the production money straight away, and most agencies will not offer you work again soon.
A document in which you promise not to share anything about the production, its storyline or its location until it has been broadcast.
A production holds you for a certain date, without it being final yet. You are expected to keep that day free until you hear whether it goes ahead.
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Hours beyond the agreed shoot day. Whether and how these are paid differs per agency and per production — ask in advance.
Clothing you bring yourself because the production does not provide a costume. You are often asked for several options in neutral colours, without logos or bold prints.
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The time between your shoot day and the moment the fee is in your account. This differs a lot per casting agency: from about two weeks to ten to thirteen weeks. Agencies usually wait until the production has paid them; those that pay sooner are paying you in advance.
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Payment through a payroll administration, with a payslip and withheld tax. The alternative is to invoice yourself as a freelancer.
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Responsible for the organisation and budget of a production — makes sure everything the director needs is actually possible.
A statement in which you waive your rights to the recordings in which you appear. In Casting Agenda you can upload your quitclaims per option (PDF, JPG, PNG or WebP), so you can always find them again.
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A second round after the first audition or selection, in which a smaller group is looked at again. Also called a callback.
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A payment receipt or settlement statement from an agency. Keep it for your records.
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A consent form in which you agree that recordings of you may be used in the production.
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A production assistant who does all kinds of practical jobs on and around the set: collecting people, fetching things, guiding groups. Often your first point of contact.
The raw, unedited footage of a shoot day, which the director and editing team often watch the same evening.
One coherent part of the story, in one place and at one moment. It is often recorded in several takes and from several angles.
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The production's script: all scenes, actions and dialogue on paper. Extras usually do not get to see this.
A recording you make yourself at home and send in, instead of auditioning live. Usually a short scene and a brief introduction.
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A photo taken on set of clothing, hair or position, so that the same look can be recreated exactly on a later shoot day.
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One day on which filming actually takes place. A production can consist of several shoot days, sometimes spread over weeks.
The plan for all shoot days of a production. It can shift until shortly before filming, for example because of weather or overruns.
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The call that tells everyone to be quiet and stand still because recording is about to start. It also applies to phones and rustling jackets.
A small part with a few lines of dialogue, often cast on the basis of experience or a specific look or talent.
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Someone who takes the place of the lead actor while the camera and lighting are being set up, so the actor can rest or prepare.
The Dutch and Flemish word for an extra. You may come across it with Belgian productions.
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Where an option stands at the moment: from applied and on option to booked, shot and paid. Every status has its own colour in your agenda, and you can change them yourself.
An audience that sits in the hall during a television recording. Sometimes unpaid and on your own initiative, sometimes recruited and paid as background work.
Replaces an actor for dangerous actions. Different from a stand-in, who only takes the place for lighting and camera.
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One recording of a scene. A scene is often shot several times — take 1, take 2, and so on — until the director is satisfied.
A separate allowance for the trip to and from the location, on top of the day fee.
Being cast based on your look or presence — for example repeatedly as a police officer, doctor or neighbour. Useful for recurring work, limiting if you want something different.
The whole group of people working together on location on a production, including crew, cast and extras.
How visible you were in a production: not on screen, background, midground or foreground. You fill it in after the broadcast; only you can see it.
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The time between arrival and the actual filming. On a background shoot day this is often most of the day — bring something to read.
Trying on clothing for a role, often on a different day from the shoot itself.
A reserve day in case an outdoor recording cannot go ahead because of the weather. You are then asked to keep that day free too.
A wide shot that shows the whole surroundings. Often the moment when background work is most clearly visible.
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The moment the shoot day (or the whole production) officially ends. "It's a wrap" means: done for today.