Dublin Airport Advertising: Screens, Costs and Booking

Advertising is available across Dublin Airport (DUB/EIDW), with daa operating the airport and selling its terminal media directly. The strongest newly verified products are TaraScreen at the approach to Terminal 1 passport control, MorScreen in Terminal 1 Arrivals and the 19-screen LirScreens journey in Terminal 2 Arrivals. Current prices are quote-based: no official public rate card was found. Automated buying is not confirmed at product level in the official material reviewed.

This independent guide helps buyers choose the right terminal, passenger stage and reach-versus-impact role before requesting availability and commercial terms.

Dublin Airport Advertising: Screens, Costs and Booking sits at Dublin Airport, Collinstown, Fingal, County Dublin, Ireland, Europe. The map opens tilted so you can read the surrounding building massing and approach sightlines; switch the lighting to night to see the environment as the screens are actually seen.

The core buyer facts are stable enough to plan from, but not enough to price a campaign. Treat airport passenger movement as context and request product-level delivery assumptions before calculating reach, CPM or cost per play.

Choose the terminal by airline, route and direction. Dublin Airport's directory places Ryanair and many European carriers in T1. T2 includes Aer Lingus, American Airlines, British Airways, Delta, Emirates, JetBlue and United. Check assignments against the live flight plan.

The official interactive map helps with check-in, security, gates, shops, bus stops and car parks. Accessed 10 August 2026, it had no static publication date and was not proof of media inventory.

Three named products clear the verification threshold. Evidence comes from 2026 daa Media Sales announcements and directly involved partners, cross-checked against the official sales route. AerPods and Skyscreen appear in historic material, but current evidence did not establish that they remain bookable in August 2026.

Dublin Airport handled 36,402,926 commercial passenger movements in 2025 according to CSO: 18,192,182 arrivals and 18,210,744 departures. The airport separately reported 36.43 million passengers, including 1.7 million transfers, and 215 days above 100,000 passengers.

The five largest 2025 destinations were London Heathrow, Amsterdam, Manchester, London Stansted and London Gatwick. T2's airside US Preclearance facility processed over two million passengers and is busiest from 05:00-12:00. Dublin Airport's mindset study is dated: in more than 800 interviews in 2018, 81% felt happy, 76% relaxed and 47% more engaged. Use it as historic context, not a current attention guarantee.

• Arriving tourists: arrivals, baggage and exits with a simple next action.
• Departing residents: post-security retail and gates, selected by route mix.
• US-bound passengers: confirmed T2 sites around the airside Preclearance journey.
• B2B: T2 long-haul and premium environments, supported by route evidence.
• Launch or experiential: pair a hero site with reach and allow longer lead time.

Dublin Airport advertising prices are quote required: no current official public rate card was found for TaraScreen, MorScreen, LirScreens or the wider estate. A useful quote should separate media, production, installation, creative adaptation, taxes, agency fees and any measurement charge.

Direct booking with daa is safest when a specific product or launch date matters. An OOH agency suits a wider Dublin or Ireland plan if it preserves daa's exact screen list and terms. Any automated route should be used only after daa confirms eligible screens, reserved delivery and reporting; non-guaranteed delivery is a poor fit for a launch-critical hero site.

Billboard Guide uses share of voice = spot seconds x plays per hour / 3,600; where one play occurs per complete loop, plays per hour = 3,600 / loop seconds. Theoretical delivery is not contracted delivery, and airport traffic is not impressions.

• Current product prices or minimum spends are not publicly confirmed.
• Dimensions, resolutions, accepted file formats and spot lengths are not public for the named products.
• Loop length, share of voice, guaranteed plays per hour and operating hours should be in the written proposal.
• Motion rules for MorScreen and LirScreens should be confirmed product by product.
• Product-level impressions, methodology, automated supply path, proof-of-play format, outage and make-good policy should be requested together.

daa terms require a completed booking form, payment of fees including VAT, and artwork approval before printing. daa may reject inappropriate or conflicting material and inspect production quality. The terms require legal and advertising-code compliance and recommend provisional standards approval at least 21 days before launch. Alcohol campaigns need Central Copy Clearance Ireland approval.

Short-term bookings require three weeks written termination notice; long-term and qualifying renewals require three months. Operational termination triggers a refund of unused apportioned cost; an alternative site is not guaranteed. Match creative to the sightline: TaraScreen needs a static, high-contrast idea, LirScreens should be planned as sequential frames only after verifying capability, and MorScreen needs one legible brand idea. Activations also require security, staffing, power, insurance, installation and passenger-flow approval.

• Reporting priority: plays or proof of play by screen.
• Then campaign impressions or reach with product-level methodology.
• Then total airport delivery, kept separate from product delivery.
• Then brand, search, site, QR or footfall outcomes where feasible.
• Posting photographs prove installation, not delivery.

Airport media is strongest at a defined travel moment. Add nearby OOH when the campaign must continue beyond the terminal or reach people who never fly. Expect separate owners, availability, creative specifications, contracts and reporting. A combined plan should assign a role to each layer: airport for travel context, transport for journey continuation and city OOH for destination reach.

• Airport roads, M1/M50 and parking approaches extend frequency before terminal entry, but each site owner, direction, visibility and traffic method needs separate verification.
• Buses and coaches are useful for the airport-to-city journey and regional dispersal; Dublin Bus identifies Global Media & Entertainment for fleet advertising and Clear Channel Ireland for shelter advertising, separate from daa inventory.
• City centre, hotels and business districts reinforce tourism, events and B2B messages after arrival. Match the layer to real destinations rather than generic city reach.

Provide campaign dates, approximate budget and currency, objective, target routes or passenger stage, preferred terminal or zone, creative status, name, company, work email and optional phone number. You should receive current suitable inventory and commercial terms based on the information supplied. All options, specifications, terms and availability remain subject to confirmation by the relevant media seller.

1. Define the campaign objective and real passenger group.
2. Set dates, budget and creative format.
3. Choose terminal, passenger stage and reach-versus-hero role.
4. Request current availability, screen list, specifications and an itemised quote.
5. Validate delivery, share of voice or plays per hour, audience methodology, buying route and terms.
6. Approve and test creative, then verify launch.
7. Collect plays, impressions/reach and campaign reporting.

Researched 10 August 2026 using official airport, government and directly involved sources first, then current commercial pages for discovery and gap checking. Product claims were published only where location, passenger stage, direction, status and source were verified. Calculations use contracted spot, loop and play inputs only; none were public here. Billboard Guide is independent, and inventory and commercial terms can change.

1. Define the campaign objective and real passenger group.
2. Set dates, budget and creative format.
3. Choose terminal, passenger stage and reach-versus-hero role.
4. Request current availability, screen list, specifications and an itemised quote.
5. Validate delivery, share of voice or plays per hour, audience methodology, buying route and terms.
6. Approve and test creative, then verify launch.
7. Collect plays, impressions/reach and campaign reporting.