Create and manage a successful video game company thanks to this program, where you will learn the best business management methods used in this exciting industry” 

Of the many industries that make up the audiovisual field, the most successful today is video games. This sector has become on a par with others such as cinema or music, thanks to technological improvements that have enabled the development of games with highly advanced mechanics, narratives and graphics, and to the popularization of multiplayer modes on the Internet. Thus, video games are a leisure experience shared by millions of people.

That is why this industry has so much potential: its numerous users, spread across different niches, allow companies to develop games that can reach different gamer profiles. Having the best knowledge and skills in business management applied to this field can propel professionals toward success. And that is the objective of this program, with which the entrepreneur can delve into issues such as eSports management, business management or video game design and development processes. 

This Advanced master’s degree is also imparted through an online learning system designed so professionals can decide how, when and where to study, without rigid schedules or uncomfortable commutes. Furthermore, they will have the best teaching staff and the most advanced educational resources, to which there will be access 24 hours a day from any electronic device with an Internet connection. 

The video game industry is booming. Seize the moment and specialize in Senior Management of Video Game Companies thanks to this Advanced master’s degree, which will provide you with everything you need to succeed in this field” 

This Advanced master’s degree in Senior Management of Video Game Companies contains the most complete and up-to-date educational program on the market. Its most notable features are: 

• Practical cases presented by experts in video game companies
• The graphic, schematic, and practical contents with which they are created, provide scientific and practical information on the disciplines that are essential for professional development
• Practical exercises where self-assessment can be used to improve learning
• Special emphasis on innovative methodologies in the management of video game companies
• Theoretical lessons, questions to the expert, debate forums on controversial topics, and individual reflection assignments
• Content that is accessible from any fixed or portable device with an Internet connection 

The 100% online methodology used to develop the program will allow you to continue performing your professional work without interruption” 

The teaching staff includes professionals belonging to the video games industry, who pour into this program the experience of their work, in addition to recognized specialists of reference societies and prestigious universities. 

The multimedia content, developed with the latest educational technology, will provide professionals with situated and contextual learning, i.e., a simulated environment that will deliver an immersive learning experience, programmed to train in real situations. 

This program is designed around Problem-Based Learning, whereby the student must try to solve the different professional practice situations that arise throughout the program. For this purpose, the professional will be assisted by an innovative interactive video system created by renowned and experienced experts.

The most prestigious teaching staff will support you through the entire learning process to ensure you obtain the best tools in business management”

You will have the best didactic resources at your fingertips to expand your knowledge of video game company management: videos, readings, interactive summaries, and master classes”

This Advanced master’s degree in Senior Management of Video Game Companies is structured in 20 specialized modules and will allow professionals to learn about the latest developments in issues such as digital marketing and digital transformation in video games, video game engines, new online distribution models, the life cycle of video game projects or business models in video game innovation, among many others. 

You won't find a more complete program than this one to learn the best entrepreneurial and management methods employed by video game companies”  

Module 1. Graphic and Artistic Expression

1.1.  Drawing and Perspective

1.1.1.  The Freehand Drawing or Sketch. The Importance of Sketching
1.1.2.  Perspective and Methods of Spatial Representation
1.1.3.  Proportions and Fitting Methods: The Human Figure
1.1.4.  Proportions and Fitting Methods: The Animal Figure

1.2.  Lights and Color

1.2.1.  Chiaroscuro: Light and Shade
1.2.2.  Color Theory and Painting: How Is Color Perceived?
1.2.3.  Plastic Tools for the Creation of Contrasts
1.2.4.  Color Harmony. Types of Color Harmony

1.3.  Textures and Movement

1.3.1.  Textures and Material Rendering Methods
1.3.2.  Textured Artwork Analysis
1.3.3.  Representation of Actions and Movement
1.3.4.  Moving Artwork Analysis

1.4.  Composition

1.4.1.  Structural Aspects of the Image: The Point, the Line and the Plane
1.4.2. Gestalt Laws
1.4.3.  Formal Operations: Development of Shape from Concepts
1.4.4. Rhythm, Structure, Scale, Symmetry, Balance, Tension, Attraction, and Clustering
1.4.5.  Patterns

1.5.  Approach to the Digital Iconographic Environment

1.5.1.  Introduction
1.5.2.  Verification of the Generative Scope of the Digital Iconography
1.5.3.  Adoption of New Digital Iconographic Archetypes
1.5.4.  Aesthetics and Function as Concepts Derived from the Use of the Machine

1.6.  Analysis of Digital Graphic Resources. Synthesis Image  

1.6.1.  Digital Iconographic Typologies: Recycled and Synthetic Images  
1.6.2.  Digital Graphic File Formats  
1.6.3.  Two-Dimensional Shapes. Analysis of Software for Image Creation and Retouching  
1.6.4.  Three-Dimensional Shapes. Analysis of Software for the Creation of Volumetric Structures  
1.6.5.  3D Graphic Structures. Introduction. Wire Structures  
1.6.6.  Devices for Visualization and Interaction with Multimedia Applications  
1.6.7.  Terminology Assigned to the Sector where the Digital Image is Framed  

1.7.  Digital Artistic Expression: Graphics in Adobe Photoshop  

1.7.1.  Installation and Introduction to Adobe Photoshop
1.7.2.  Basic Adobe Photoshop Tools
1.7.3.  Analyzing and Learning Adobe Photoshop  
1.7.4.  Use of the Digital Tool in Graphic Works for the Creation of Video Games  

1.8.  Scenarios and Atmosphere for Video Games  

1.8.1.  Cartoon Scenarios and Atmosphere
1.8.2.  Compositional Analysis  
1.8.3.  Realistic Scenarios and Atmosphere  
1.8.4.  Compositional Analysis  

1.9.  Characters for Video Games  

1.9.1.  Cartoon Characters  
1.9.2.  Compositional Analysis  
1.9.3.  Realistic Characters  
1.9.4.  Compositional Analysis  

1.10.  Presenting a Professional Portfolio  

1.10.1.  Approach  
1.10.2.  Methodology  
1.10.3.  Document Creation Software  
1.10.4.  Analytical Study of Professional Portfolios

Module 2. 2D Animation

2.1.  What is Animation?

2.1.1.  History of Animation
2.1.2.  Animation Pioneers
2.1.3.  2D and 3D Animation
2.1.4.  Is it Necessary to Know How to Draw?

2.2.  The Animator and Its Role in the Production

2.2.1.  Positions in the Department: Junior, Mid, Senior
2.2.2.  Animator Lead, Supervisor and Director
2.2.3.  Supervisory Steps in a Production
2.2.4.  Quality Criteria  

2.3.  Physical Laws  

2.3.1.  Push  
2.3.2.  Friction  
2.3.3.  Severity  
2.3.4.  Inertia  

2.4.  Animation Tools  

2.4.1.  Timeline
2.4.2.  Dope Sheet
2.4.3.  Curve Editor
2.4.4.  Use of Rigs

2.5.  Animation Methodology  

2.5.1. Graph Editor: Curves and Types  
2.5.2.  Timing and Spacing  
2.5.3.  Overshoots  
2.5.4.  Stepped and Spline  
2.5.5.  Parents and Constraints  
2.5.6.  Charts and Inbetweens  
2.5.7.  Extreme Poses and Breakdowns  

2.6.  The 12 Principles of Animation  

2.6.1.  Timing  
2.6.2.  Squash and Stretch  
2.6.3.  Slow In and Slow Out  
2.6.4.  Anticipation  
2.6.5.  Overlap  
2.6.6.  Arcs  
2.6.7.  Pose to Pose and Straight Ahead  
2.6.8.  Pose  
2.6.9.  Secondary Action  
2.6.10.  Staging  
2.6.11.  Exaggeration  
2.6.12.  Appeal  

2.7.  Anatomical Knowledge and its Function  

2.7.1.  Human Anatomy  
2.7.2.  Animal Anatomy  
2.7.3.  Anatomy of Cartoon Characters
2.7.4.  Breaking the Rules  

2.8.  Posing and Silhouettes  

2.8.1.  Importance of Location
2.8.2.  Importance of the Pose
2.8.3.  Importance of the Silhouettes
2.8.4.  Final Result. Compositional Analysis

2.9.  Exercise: Ball

2.9.1.  Shape
2.9.2.  Timing
2.9.3.  Spacing
2.9.4.  Weight

2.10.  Exercise: Basic Cycles and Body Dynamics  

2.10.1.  Walking Cycle  
2.10.2.  Walking Cycle with Personality  
2.10.3.  Running Cycle  
2.10.4.  Parkour  
2.10.5.  Pantomime

Module 3. Motion Graphics

3.1.  Introduction to After Effects  

3.1.1.  What After Effects Are and Their Use: Illustrative Examples  
3.1.2.  Project and Interface Settings  
3.1.3.  Composition Settings, Brushes and Windows  
3.1.4.  Definition of Workflow: Creating Basic Projects  
3.1.5.  Preliminary Video Issues  
3.1.6.  Color Depth, Display Formats, Audio and Video Compression  

3.2.  After Effects Basics  

3.2.1.  Import  
3.2.2.  Basic Tools: Layer Types and Options  
3.2.3.  Transformation Properties and Origin of Coordinates  
3.2.4.  H.264 Basic Export  

3.3.  Brushes and 3D Space  

3.3.1.  Brush Panels and Paint Effect  
3.3.2.  Eraser, Cloning Brush, Rotoscoping Brush  
3.3.3.  Activate 3D Space: Views for 3D Working  
3.3.4.  Material and Processing Properties  
3.3.5.  Lights and Cameras: Camera Control  
3.3.6.  Unified Camera Tool: Customized View
3.3.7.  3D Text: Text Extrusion: Raytracing  
3.3.8.  Vanishing Point and Camera Projection  

3.4.  Text and Transparencies  

3.4.1.  Text Tool  
3.4.2.  Layer Styles  
3.4.3.  Animators, Ranges and Selectors  
3.4.4.  Text Animation Presets  
3.4.5.  Alpha Channel: Alpha Mates and Transparency Preservation  
3.4.6.  Transfer Control Panel: Track Mate, Blending Modes, Preserve Underlying Transparency  
3.4.7.  Luminance Inlays  

3.5.  Masks and Shape Layers  

3.5.1.  Masks Creation and Edition Tools  
3.5.2.  Shape Layers  
3.5.3.  Convert Text and Graphics to Shape Layers or Masks  
3.5.4.  Masks as Trajectories  
3.5.5.  Effects that Work with Masks: Streaks and Doodles  

3.6.  Animation  

3.6.1.  Keyframes: Types  
3.6.2.  Trajectories  
3.6.3.  Curve Graph  
3.6.4.  Convert Audio to Keyframes  
3.6.5.  Parenting and Pre-Comps  
3.6.6.  Alternative Animation Techniques: Loops, Layer Sequencing, Free Transform Tool, Motion Sketch, Slider  
3.6.7.  Time Remapping  

3.7.  Effects and Chroma Key  

3.7.1.  Effects Application  
3.7.2.  Examples of Effects  
3.7.3.  Color Correction  
3.7.4.  Chroma Key: Keylight  

3.8.  Stabilization  

3.8.1.  Classic Stabilizer  
3.8.2.  Deformation Stabilizer  
3.8.3.  Tracking Options  
3.8.4.  Position, Rotation and Scale Stabilization  

3.9.  Tracking and Expressions  

3.9.1.  Position and Rotation Tracking: Perspectives  
3.9.2.  Tracing with Solids, Adjustment Layers and Null Objects  
3.9.3.  Track 3D: Embedding Logos, Text or Images in 3D Spaces  
3.9.4.  Mocha AE   
3.9.5.  Expressions: Time
3.9.6.  Expressions: Loop out
3.9.7.  Expressions: Wiggle

3.10.  Export

3.10.1.  Export Settings: Most Common Formats and Codecs for Editing and Viewing I  
3.10.2.  Export Settings: Most Common Formats and Codecs for Editing and Viewing II  
3.10.3.  Export Settings: Most Common Formats and Codecs for Editing and Viewing III  
3.10.4.  Saving Complete Projects: Collect Files and Backups

Module 4. 3D Art

4.1.  Advanced Art

4.1.1.  From Concept Art to 3D 
4.1.2.  3D Model Principles 
4.1.3.  Types of Modeling: Organic / Inorganic

4.2.  3D Max Interface

4.2.1.  3D Max Software 
4.2.2.  Basic Interface 
4.2.3.  Scene Organization

4.3.  Inorganic Modeling

4.3.1.  Modeling with Primitives and Deformers 
4.3.2.  Editable Polygon Modeling 
4.3.3.  Modeling with Graphite

4.4.  Organic Model

4.4.1.  Character Modeling I 
4.4.2.  Character Modeling II 
4.4.3.  Character Modeling III

4.5.  Creation of UVs

4.5.1.  Basic Materials and Maps 
4.5.2.  Unwrapping and Texture Projections 
4.5.3.  Retopology

4.6.  Advanced 3D

4.6.1.  Creation of Texture Atlas 
4.6.2.  Hierarchies and Bone Creation 
4.6.3.  Application of a Skeleton

4.7.  Animation Systems

4.7.1.  Biped 
4.7.2.  CAT 
4.7.3.  Own Rigging

4.8.  Facial Rigging

4.8.1.  Expressions 
4.8.2.  Restrictions 
4.8.3.  Controllers

4.9.  Principles of Animation

4.9.1.  Cycles 
4.9.2.  Libraries and Use of MoCap Motion Capture Files 
4.9.3.  Motion Mixer

4.10.  Export to Engines

4.10.1.  Export to Unity Engine 
4.10.2.  Models Export 
4.10.3.  Animation Export

Module 5. 3D Design

5.1.  3D in Video Games, Why is it Important?  

5.1.1.  History of Computer 3D  
5.1.2.  Implementation of 3D in Video Games  
5.1.3.  Techniques for 3D Optimization in Video Games  
5.1.4.  Interaction between Graphics Software and Game Engines  

5.2.  3D Modeling: Maya  

5.2.1.  Maya's Philosophy  
5.2.2.  Maya's Capabilities  
5.2.3.  Projects Carried out with Autodesk Maya  
5.2.4.  Introduction to Modeling Tools, Rigging, Texturing, etc.  

5.3.  3D Modeling: Blender  

5.3.1.  Blender's Philosophy  
5.3.2.  Past, Present and Future  
5.3.3.  Projects Made with Blender  
5.3.4.  Blender Cloud  
5.3.5.  Introduction to Modeling Tools, Rigging, Texturing, etc.  

5.4.  3D Modeling: ZBrush  

5.4.1.  Zbrush Philosophy  
5.4.2.  Integrating ZBrush into Production Pipelines  
5.4.3.  Advantages and Disadvantages Compared to Blender  
5.4.4.  Analysis of Designs Made in ZBrush  

5.5.  3D Texturing: Substance Designer  

5.5.1.  Introduction to Substance Designer  
5.5.2.  Substance Designer Philosophy  
5.5.3.  Substance Designer in Video Game Production  
5.5.4.  Substance Designer and Substance Painter Interaction  

5.6.  3D Texturing: Substance Painter  

5.6.1.  What Is Substance Painter Used For?  
5.6.2.  Substance Painter and its Standardization  
5.6.3.  Substance Painter in Stylized Texturing  
5.6.4.  Substance Painter in Realistic Texturing  
5.6.5.  Analysis of Textured Models  

5.7.  3D Texturing: Substance Alchemist  

5.7.1.  What is Substance Alchemist?  
5.7.2.  Substance Alchemist Workflow  
5.7.3.  Alternatives to Substance Alchemist  
5.7.4.  Examples of Projects  

5.8.  Rendering: Texture Mapping and Baking  

5.8.1.  Introduction to Texture Mapping  
5.8.2.  UVs Mapping  
5.8.3.  Optimization of UVs  
5.8.4.  UDIMs  
5.8.5.  Integration with Texturing Software  

5.9.  Rendering: Advanced Lighting  

5.9.1.  Lighting Techniques  
5.9.2.  Contrast Balance  
5.9.3.  Color Balance  
5.9.4.  Lighting in Video Games  
5.9.5.  Resource Optimization  
5.9.6.  Pre-Rendered Lighting vs. Real-Time Lighting  

5.10.  Rendering: Scenes, Render Layers and Passes  

5.10.1.  Use of Scenes  
5.10.2.  Render Layers Utility  
5.10.3.  Passes Utility  
5.10.4.  Integrating Passes into Photoshop

Module 6. Computer Graphics

6.1.  Computer Graphics Overview  

6.1.1.  Computer Graphics Applications and Uses  
6.1.2.  Computer Graphics History  
6.1.3.  Basic Algorithms for 2D Graphics  
6.1.4.  3D Transformations: Projections and Perspectives  

6.2.  Mathematical and Physical Basis for Simulations and Textures  

6.2.1.  Light Rays  
6.2.2.  Absorption and Scattering  
6.2.3.  Specular and Diffuse Reflection  
6.2.4.  Color  
6.2.5.  Bidirectional Reflectance Distribution Function (BRDF) Color  
6.2.6.  Energy Conservation and Fresnel F0 Effect  
6.2.7.  Key Features of Physically Based Rendering (PBR)  

6.3.  Image Representation: Nature and Format  

6.3.1.  Presentation: Theoretical Basis  
6.3.2.  Digital Image Size: Resolution and Color  
6.3.3.  Uncompressed Image Formats  
6.3.4.  Compressed Image Formats  
6.3.5.  Color Spaces  
6.3.6.  Levels and Curves  

6.4.  Image Representation: Texture

6.4.1.  Procedural Textures  
6.4.2.  Quixel Megascans: Texture Scanning  
6.4.3.  Texture Baking  
6.4.4.  Normal Mapping and Displacement  
6.4.5.  Albedo, Metallic and Roughness Maps  

6.5.  Scene Rendering: Visualization and Lighting  

6.5.1.  Light Direction  
6.5.2.  Contrast  
6.5.3.  Saturation  
6.5.4.  Color  
6.5.5.  Direct and Indirect Light  
6.5.6.  Hard and Soft Light  
6.5.7.  Importance of Shadows: Basic Rules and Types  

6.6.  Rendering Hardware Evolution and Performance  

6.6.1.  The 1970s: 3D Modeling and Rendering Software First Arrives on the Scene  
6.6.2.  Architectural Orientation  
6.6.3.  The 1990s: Current 3D Software Development  
6.6.4.  3D Printing  
6.6.5.  VR Equipment for 3D Visualization  

6.7.  2D Graphics Software Analysis  

6.7.1.  Adobe Photoshop  
6.7.2.  Gimp  
6.7.3.  Krita  
6.7.4.  Inkscape  
6.7.5.  Pyxel Edit  

6.8.  3D Modeling Software Analysis  

6.8.1.  Autodesk Maya  
6.8.2.  Cinema 4D  
6.8.3.  Blender  
6.8.4.  ZBrush  
6.8.5.  SketchUp  
6.8.6.  Computer-Aided Design (CAD) Software  

6.9.  3D Texturing Software Analysis  

6.9.1.  Procedural Texturing in Maya  
6.9.2.  Procedural Texturing in Blender  
6.9.3.  Baking  
6.9.4.  Substance Painter and Substance Designer  
6.9.5.  ArmorPaint  

6.10.  3D Texturing Software Analysis  

6.10.1.  Arnold  
6.10.2.  Cycles  
6.10.3.  Vray  
6.10.4.  IRay  
6.10.5.  Real-Time Rendering: Marmoset Toolbag

Module 7. Video Game Engines

7.1.  Video Games and Information Communication Technology (ICT)  

7.1.1.  Introduction  
7.1.2.  Opportunities  
7.1.3.  Challenges  
7.1.4.  Conclusions  

7.2.  History of Video Game Engines  

7.2.1.  Introduction  
7.2.2.  Atari  
7.2.3.  The 80s  
7.2.4.  First Engines: The 90s  
7.2.5.  Current Engines  

7.3.  Video Game Engines  

7.3.1.  Types of Engines  
7.3.2.  Video Game Engine Parts  
7.3.3.  Current Engines  
7.3.4.  Selecting an Engine  

7.4.  Motor Game Maker  

7.4.1.  Introduction  
7.4.2.  Scenario Design  
7.4.3.  Sprites and Animations  
7.4.4.  Collisions  
7.4.5.  Scripting in Game Maker Languages (GML)  

7.5.  Unreal Engine 4: Introduction  

7.5.1.  What Is Unreal Engine 4? What Is Its Philosophy?  
7.5.2.  Materials  
7.5.3.  UI  
7.5.4.  Animations  
7.5.5.  Particle Systems  
7.5.6.  Artificial Intelligence  
7.5.7.  Frames Per Second (FPS)  

7.6.  Unreal Engine 4: Visual Scripting  

7.6.1.  Blueprints and Visual Scripting Philosophy  
7.6.2.  Debugging  
7.6.3.  Types of Variables  
7.6.4.  Basic Flow Control    

7.7.  Unity 5 Engine  

7.7.1.  C# y Visual Studio Programming  
7.7.2.  Creating Prefabs  
7.7.3.  Using Gizmos to Control Video Games  
7.7.4.  Adaptive Engine: 2D and 3D  

7.8.  Godot Engine  

7.8.1.  Godot Design Philosophy  
7.8.2.  Object-Oriented Design and Composition  
7.8.3.  All in One Package  
7.8.4.  Open and Community-Driven Software    

7.9.  RPG Maker Engine  

7.9.1.  RPG Maker Philosophy  
7.9.2.  Taking as a Reference  
7.9.3.  Creating a Game with Personality  
7.9.4.  Commercially Successful Games  

7.10.  Source 2 Engine  

7.10.1.  Source 2 Philosophy  
7.10.2.  Source and Source 2: Evolution  
7.10.3.  Community Use: Audiovisual Content and Video Games  
7.10.4.  Future of Source 2 Engine  
7.10.5. Successful Mods and Games

Module 8. Character Design and Animation

8.1.  Why is Aesthetics and Character Design so Important in Video Games?  

8.1.1.  Design with Personality  
8.1.2.  Sources of Inspiration. Referencing is not Plagiarism  
8.1.3.  Filtering Reality  
8.1.4.  Adopt your Own Style  

8.2.  2D Phase: Alternative Use of Software or Hand Drawing  

8.2.1.  Quick Sketch  
8.2.2.  Cleanup
8.2.3.  Color  
8.2.4.  Introduction  

8.3.  2D Phase: Part I  

8.3.1.  Archetypes  
8.3.2.  Personality  
8.3.3.  Style  
8.3.4.  Basic Geometry  
8.3.5.  Proportions and Anatomy  
8.3.6.  Teamwork  

8.4.  2D Phase: Part II  

8.4.1.  Color Palettes  
8.4.2.  Illumination and Contrast  
8.4.3.  Level of Detail  
8.4.4.  Adaptation to 2D Pipeline  

8.5.  3D Modeling Phase: Concepts and 3D Pipelines  

8.5.1.  Modeling Adapted to Production  
8.5.2.  Modeling for an Audiovisual Project  
8.5.3.  Modeling for an Interactive Project  
8.5.4.  3D Pipeline: Phases  

8.6.  3D Modeling Phase: Introduction to Blender  

8.6.1.  Navigation  
8.6.2.  Outliner and Viewport: Workbench Render  
8.6.3.  Concept of Vertex, Edge and Face  
8.6.4.  Concept of Normal  
8.6.5.  Loops  

8.7.  3D Modeling Phase: Basic Notions of Modeling  

8.7.1.  Extrude Tool  
8.7.2.  Bevel Tool  
8.7.3.  Apply Transformations  
8.7.4.  Knife Tool  
8.7.5.  Other Useful Tools  

8.8.  3D Modeling Phase: Topology  

8.8.1.  Edge Loops  
8.8.2.  Face Loops  
8.8.3.  Low-Poly vs. High-Poly  
8.8.4.  Flow of Shapes  
8.8.5.  Quads vs. Tris

8.9.  3D Modeling Phase: Textures, Materials and UV Mapping  

8.9.1.  Introduction to Nodes in Blender  
8.9.2.  Basic Procedural Texture Creation  
8.9.3.  Application of Materials  
8.9.4.  UVs, What Are They?  
8.9.5.  Utility of UV Mapping  
8.9.6.  Avoid Stretching in UV Mapping and Optimization  

8.10.  3D Phase: Introduction to Animation  

8.10.1.  AutoKey  
8.10.2.  Insert Keys  
8.10.3.  Animation Curves: Graph Editor  
8.10.4.  Interpolation Modes

Module 9. Animation and Simulation

9.1.  Introduction: Physics and Mathematics Behind the Simulation  

9.1.1.  Concepts Applied to Simulation  
9.1.2.  Collisions, Volume Calculation  
9.1.3.  Computing Time  
9.1.4.  Prerendered vs. Real-Time Calculations  

9.2.  Methodology  

9.2.1.  Emitter  
9.2.2.  Collisions  
9.2.3.  Fields  
9.2.4.  Breakage  

9.3.  Rigid Body Dynamics  

9.3.1.  Basic Concepts of Movement  
9.3.2.  Force Management  
9.3.3.  Interaction Between Objects  
9.3.4.  Collisions  

9.4.  Non-Rigid Body Dynamics  

9.4.1.  Fluid Simulation  
9.4.2.  Smoke Simulation  
9.4.3.  Effective Volume  
9.4.4.  Real-Time Non-Rigid Body Simulation  

9.5.  Clothing Simulation  

9.5.1.  Marvelous Designer  
9.5.2.  Clothing Pattern References  
9.5.3.  Wrinkles: Sculpted Clothing to Save Resources  
9.5.4.  Blender: ClothBrush  

9.6.  Hair Simulation  

9.6.1.  Types of Particle SiSs  
9.6.2.  Technologies for Hair Simulation  
9.6.3.  Particles vs. Mesh  
9.6.4. Resource Consumption  

9.7.  Motion Capture  

9.7.1.  Motion Capture Technologies  
9.7.2.  Motion Capture Refinement  
9.7.3.  Application of Motion Capture to Audiovisual and Interactive Projects  
9.7.4.  Mixamo  

9.8.  Motion Capture Software  

9.8.1.  Kinect  
9.8.2.  Implementation of Kinect in Video Games  
9.8.3.  Refinement Technologies  
9.8.4.  Other Motion Capture Software  

9.9.  Facial Capture  

9.9.1.  FaceRig  
9.9.2.  MocapX  
9.9.3.  Advantages and Disadvantages of the Facial Capture  
9.9.4.  Facial Capture Refinement  

9.10.  Future Technologies: Artificial Intelligence  

9.10.1.  Artificial Intelligence in Animation: Cascadeur  
9.10.2.  Artificial Intelligence in Simulation  
9.10.3.  Future: Potential Alternatives  
9.10.4.  Current Case Studies

Module 10. Character Rigging  

10.1.  Rigger Functions: Rigger Knowledge Types of Rig  

10.1.1.  What Is a Rigger?  
10.1.2.  Rigger Functions  
10.1.3.  Rigger Knowledge  
10.1.4.  Types of Rig  
10.1.5.  Blender Rigging Facilities
10.1.6.  First Contact with Bones and Constraints  

10.2.  Bone Chains and Bone Parenting. FK and IK Differences and Restrictions  

10.2.1.  Bone Chains  
10.2.2.  Bone Parenting  
10.2.3.  FK and IK Chain  
10.2.4.  Differences between FK and IK  
10.2.5.  Use of Restrictions  

10.3.  Human Skeleton and Facial Rig: Shape Keys  

10.3.1.  Human Skeleton  
10.3.2.  Advanced Human Skeleton  
10.3.3.  Facial Rig  
10.3.4.  Shape Keys  

10.4.  Vertex Weighing. Complete Weighing of a Character and Creation of a Pose  

10.4.1.  Weighing System  
10.4.2.  Character Weighting: Face  
10.4.3.  Character Weighting: Body  
10.4.4.  Use of Pose Mode  

10.5.  Character Rig: IK-FK Column System  

10.5.1.  Bone Location and Parenting  
10.5.2.  FK Systems  
10.5.3.  IK Systems  
10.5.4.  Other Options  
10.5.5.  Controls  

10.6.  Character Rig: IK-FK Arm System  

10.6.1.  Bone Location and Parenting  
10.6.2.  FK Systems  
10.6.3.  IK Systems  
10.6.4.  Other Options  
10.6.5.  Controls  

10.7.  Character Rig: IK-FK Hand System  

10.7.1.  Bone Location and Parenting  
10.7.2.  FK Systems  
10.7.3.  IK Systems  
10.7.4.  Other Options  
10.7.5.  Controls  

10.8.  Character Rig: IK-FK Leg System  

10.8.1.  Bone Location and Parenting  
10.8.2.  FK Systems  
10.8.3.  IK Systems  
10.8.4.  Other Options  
10.8.5.  Controls  

10.9.  Facial  

10.9.1.  Facial Settings  
10.9.2.  Use of Shape Keys  
10.9.3.  Use of Buttons  
10.9.4.  Eye Configuration  
10.9.5.  Squash and Head Stretch  

10.10.  Corrections of Facial Shape and Setup  

10.10.1.  Shape Corrections  
10.10.2.  Pose Mode  
10.10.3.  Easy Weighing  
10.10.4.  Getting the Rig Ready for Production

Module 11. Strategy in Digital and Video Game Companies

11.1.  Digital and Video Games Businesses

11.1.1.  Components of Strategy
11.1.2.  Digital Ecosystem and Video Games
11.1.3.  Strategic Positioning

11.2.  The Strategic Process

11.2.1.  Strategic Analysis
11.2.2.  Selection of Alternative Strategies
11.2.3.  Strategy Implementation

11.3.  Strategic Analysis

11.3.1.  Internal
11.3.2.  External
11.3.3.  SWOT and CAME Matrix

11.4.  Sectorial Analysis of Videogames

11.4.1.  Porter’s 5 Forces Model
11.4.2.  PESTEL Analysis
11.4.3.  Sectorial Segmentation

11.5.  Competitive Position Analysis

11.5.1.  Create and Monetize a Strategic Value
11.5.2.  Niche Search vs. Market Segmentation
11.5.3.  Sustainability of Competitive Positioning

11.6.  Economic Environment Analysis

11.6.1.  Globalization and Internationalization
11.6.2.  Investment and Savings
11.6.3.  Production, Productivity and Employment Indicators

11.7.  Strategic Management

11.7.1.  A Framework for Strategy Analysis
11.7.2.  Analysis of the Sectoral Environment, Resources and Capabilities
11.7.3.  Putting the Strategy into Practice

11.8.  Strategy Formulation

11.8.1.  Corporate Strategies
11.8.2.  Generic Strategies
11.8.3.  Client Strategies

11.9.  Strategy Implementation

11.9.1.  Strategic Planning
11.9.2.  Communication and Organizational Participation Scheme
11.9.3.  Change Management

11.10.  New Strategic Businesses

11.10.1.  Blue Oceans
11.10.2.  Exhaustion of the Incremental Improvement in the Value Curve
11.10.3.  Zero Marginal Cost Businesses

Module 12. Video Game Company Management

12.1.  Industry and Value Chain

12.1.1.  Value in the Training Sector
12.1.2.  Elements of the Value Chain
12.1.3.  Relationship between Each of the Elements in the Value Chain

12.2.  Video Game Developers

12.2.1.  Conceptual Proposals
12.2.2.  Creative Design and Video Game Storylines
12.2.3.  Technology Applied to Video Game Development

12.3.  Console Manufacturing

12.3.1.  Components.
12.3.2.  Types and Manufacturers
12.3.3.  Console Generation

12.4.  Publishers

12.4.1.  Selection
12.4.2.  Development Management
12.4.3.  Product and Service Creation

12.5.  Distributors

12.5.1.  Agreements With Distributors
12.5.2.  Distribution Models
12.5.3.  Distribution Logistics

12.6.  Retailers

12.6.1.  Retailers
12.6.2.  Orientation and Link With the Consumer
12.6.3.  Assessment Services

12.7.  Accessories Manufacturers

12.7.1.  Gaming Accessories
12.7.2.  Market
12.7.3.  Tendencies

12.8.  Middleware Developers

12.8.1.  Middleware in the Video Game Industry
12.8.2.  Middleware Development
12.8.3.  Middleware Typology

12.9.  Professional Profiles in the Video Game Industry

12.9.1.  Game Designers and Programmers
12.9.2.  Modelers and Texturizers
12.9.3.  Animators and Illustrators

12.10.  Professional eSports Clubs

12.10.1.  Administrative Department
12.10.2.  Sports Department
12.10.3.  Communication Department

Module 13. Digital Marketing and Digital Transformation of Video Games

13.1.  Digital Marketing Strategy

13.1.1.  Customer Centric
13.1.2.  Customer Journey and Marketing Funnel
13.1.3.  Design and Creation of a Digital Marketing Plan

13.2.  Digital Assets

13.2.1.  Architecture and Web Design
13.2.2.  User Experience- CX
13.2.3.  Mobile Marketing

13.3.  Digital Media

13.3.1.  Strategy and Planning Media
13.3.2.  Display and Advertising Graphics
13.3.3.  Digital TV

13.4.  Search

13.4.1.  Development and Application of a Search Strategy
13.4.2.  SEO
13.4.3.  SEM

13.5.  Social Media

13.5.1.  Design, Planning and Analytics in a Social Media Strategy
13.5.2.  Marketing Techniques on Horizontal Social Media
13.5.3.  Marketing Techniques on Vertical Social Media

13.6.  Inbound Marketing

13.6.1.  Inbound Marketing Funnels
13.6.2.  Content Marketing Generation
13.6.3.  Leads Acquisition and Management

13.7.  Account Based Marketing

13.7.1.  B2B Marketing Strategy
13.7.2.  Decision Makers and Contact Maps
13.7.3.  Account Based Marketing Plan

13.8.  E-mail Marketing and Landing Pages

13.8.1.  Characteristics of Email Marketing
13.8.2.  Creativity and Landing Pages
13.8.3.  Email Marketing Campaigns and Actions

13.9.  Automization of Marketing

13.9.1.  Marketing Automation
13.9.2.  Big Data and AI Applied to Marketing
13.9.3.  Main Solutions in Marketing Automation

13.10.  Metrics, KPIs and ROI

13.10.1.  Principle Metrics and KPIs in Digital Marketing
13.10.2.  Solutions and Measuring Tools
13.10.3.  ROI Calculation and Tracking

Module 14. Video Game Company Formation

14.1.  Entrepreneurship

14.1.1.  Entrepreneurial Strategy
14.1.2.  Entrepreneurship Projects
14.1.3.  Agile Methodologies in Entrepreneurship

14.2.  Technological Innovations in Video Games

14.2.1.  Innovations in Consoles and Related Peripherals
14.2.2.  Innovation in Motion Capture and Live Dealer
14.2.3.  Innovation in Graphics and Software

14.3.  The Business Plan

14.3.1.  Segments and Value Proposition
14.3.2.  Processes, Resources and Key Alliances
14.3.3.  Customer Relations and Interaction Channels

14.4.  Investments

14.4.1.  Investments in the Video Game Industry
14.4.2.  Critical Aspects to Capture Investments
14.4.3.  Financing Startups

14.5.  Finances

14.5.1.  Revenues and Efficiencies
14.5.2.  Operative Costs and Capital
14.5.3.  Income Statement and Balance Sheet

14.6.  Video Game Production

14.6.1.  Production Simulation Tools
14.6.2.  Planned Production Management
14.6.3.  Production Control Management

14.7.  Operations Management

14.7.1.  Design, Localization and Maintenance
14.7.2.  Quality Management
14.7.3.  Inventory and Supply Chain Management

14.8.  New Online Distribution Models

14.8.1.  Online Logistics Models
14.8.2.  Direct Online Delivery and SaaS
14.8.3.  Dropshipping

14.9.  Sustainability

14.9.1.  Creating Sustainable Value
14.9.2.  ESG (Environmental, Social and Governance)
14.9.3.  Sustainability in Strategy

14.10.  Legal Aspects

14.10.1.  Intellectual Property
14.10.2.  Industrial Property
14.10.3.  RGDP

Module 15. Project Management

15.1.  Video Game Project Life Cycle

15.1.1.  Conceptual and Preproduction Phase
15.1.2.  Production Phase and Final Phases
15.1.3.  Post-production Phase

15.2.  Video Game Projects

15.2.1.  Genre
15.2.2.  Serious Games
15.2.3.  Subgenre and New Genres

15.3.  Video Game Project Architecture

15.3.1.  Internal Architecture
15.3.2.  Relationship Between Elements
15.3.3.  Holistic Vision of Video Games

15.4.  Video Games

15.4.1.  Recreational Aspects in Video Games
15.4.2.  Video Game Design
15.4.3.  Gamification

15.5.  Video Game Technology

15.5.1.  Internal Elements
15.5.2.  Video Game Engines
15.5.3.  Influence of Technology and Marketing on Design

15.6.  Project Conception, Launch and Execution

15.6.1.  Early Development
15.6.2.  Phases of Video Game Development
15.6.3.  Involvement of the Consumer in the Development

15.7.  Video Game Project Management

15.7.1.  Development Teams and Publishers
15.7.2.  Operations Teams
15.7.3.  Sales and Marketing Teams

15.8.  Manual for the Development of Video Games

15.8.1.  Design and Technology Manual of Video Games
15.8.2.  Video Games Development Manual
15.8.3.  Requirements Manual and Technical Specifications

15.9.  Video Game Publishing and Marketing

15.9.1.  Preparing Video Game Kick Off
15.9.2.  Digital Communication Channels
15.9.3.  Delivery, Progress and Success Monitoring

15.10.  Agile Methodologies Applicable to Video Game Projects

15.10.1.  Design and Visual Thinking
15.10.2.  Lean Startups
15.10.3.  Scrum Development and Sales

Module 16. Innovation

16.1.  Innovation and Strategy

16.1.1.  Innovation in Video Games
16.1.2.  Innovation Management in Video Games
16.1.3.  Innovation Models

16.2.  Innovative Talent

16.2.1.  Implementing an Innovation Culture in Organizations
16.2.2.  Talent
16.2.3.  Innovation Culture Map

16.3.  Talent Management in Digital Economy

16.3.1.  Talent Life Cycle
16.3.2.  Recruitment: Generational Constraints
16.3.3.  Retention: Engagement, Loyalty, Evangelists

16.4.  Business Models in Video Game Innovation

16.4.1.  Innovation in Business Models
16.4.2.  Innovation Tools in Business
16.4.3.  Business Model Navigator

16.5.  Innovation Project Management

16.5.1.  Customers and Innovation Processes
16.5.2.  Value Proposition Design
16.5.3.  Exponential Organizations

16.6.  Agile Methodologies in Innovation

16.6.1.  Design Thinking and Lean Startup Methodologies
16.6.2.  Agile Project Management Models: Kanban and Scrum
16.6.3.  Lean Canvas

16.7.  Innovation Validation Management

16.7.1.  Prototyping (PMV)
16.7.2.  Customer Validation
16.7.3.  Pivot or Persevere

16.8.  Innovation in Processes

16.8.1.  Process Innovation Opportunities
16.8.2.  Time-to-Market, Reduction Non-Value Tasks and Defect Elimination
16.8.3.  Methodological Tools for Process Innovation

16.9.  Disruptive Technologies

16.9.1.  Hybrid Physical-Digital Technologies 
16.9.2.  Technologies in Communication and Data Handling
16.9.3.  Application Technologies in Management

16.10.  Return on Investment in Innovation

16.10.1.  Data Monetization Strategies and Innovation Assets
16.10.2.  The ROI of Innovation General Focus
16.10.3.  Funnels

Module 17. Financial Management

17.1.  Accounting

17.1.1.  Accounting
17.1.2.  Annual Accounts and Other Reports
17.1.3.  Tangible Fixed Assets, Real Estate Investments and Intangible Assets

17.2.  Financial Management

17.2.1.  Financial Instruments
17.2.2.  Corporate Finance and Financial Management
17.2.3.  Finance for Entrepreneurs

17.3.  Financial Statement Analysis

17.3.1.  Financial Statements Analysis
17.3.2.  Liquidity and Solvency Analysis
17.3.3.  Treasury Management

17.4.  Financial Transactions

17.4.1.  Financial Transactions
17.4.2.  Investment Management
17.4.3.  Investment Selection Criteria

17.5.  Financial System

17.5.1.  Financial System
17.5.2.  Structure and Functioning of the Financial System
17.5.3.  Value Market

17.6.  Management Control

17.6.1.  Management Control
17.6.2.  Responsibility Centers
17.6.3.  Cost Systems

17.7.  Budget Control

17.7.1.  Budget Process
17.7.2.  Budget Management and Organization
17.7.3.  Budget Control

17.8.  Treasury Management

17.8.1.  Cash Management and Treasury Budget
17.8.2.  Collecting Trade Receivables
17.8.3.  Commercial Transaction Payments

17.9.  Business Financing

17.9.1.  Advantages, Disadvantages and Implications of Debt
17.9.2.  Choosing a Company Capital Structure
17.9.3.  Changes to Capital Structure

17.10.  Valuation of Companies

17.10.1.  Accounting Methods and Business Value
17.10.2.  Assets and Debt
17.10.3.  Business Valuation Diagnosis and Investor Presentation

Modules 18. Commercial Management

18.1.  Commercial Organization Models

18.1.1.  Commercial Departments
18.1.2.  Commercial Department Tools
18.1.3.  Sales Force

18.2.  Commercial Objectives

18.2.1.  Commercial planning
18.2.2.  Forecasts and Budgets
18.2.3.  Commercial Budgets

18.3.  Commercial Forecasts

18.3.1.  Commercial Department Cost Effectiveness
18.3.2.  Sales Projections
18.3.3.  Controlling Commercial Activity

18.4.  New Relationship Models

18.4.1.  Commercialization in New Business Models
18.4.2.  Personalization as the Main Driver of Customer Relations
18.4.3.  Developing Customer Experiences

18.5.  Consultative Selling

18.5.1.  Sales Psychology
18.5.2.  Persuasive Communication
18.5.3.  Sales Methods Introduction and Evolution

18.6.  Sales Methods

18.6.1.  Retail or B2C Sales
18.6.2.  B2B External Sales
18.6.3.  Online Sales

18.7.  Digital Social Selling

18.7.1.  Social selling
18.7.2.  Social Attitude: Create a Network of Contacts
18.7.3.  Attracting New Customers on Social Media

18.8.  Digital Sales Methodologies

18.8.1.  Main Agile Methodologies in Digital Sales
18.8.2.  Scrum Sales, Neat Selling, Snap Selling, Spin Selling
18.8.3.  Inbound Sales B2B and Account Based Marketing

18.9.  Marketing Support in Commercial Departments

18.9.1.  Marketing Management
18.9.2.  The Value of Digital Marketing (B2C/B2B)
18.9.3.  Marketing Mix Management in Commercial Departments

18.10.  Organization and Planning of the Salesperson's Work

18.10.1.  Sales Zones and Routes
18.10.2.  Time Management and Management Meetings
18.10.3.  Analysis and Decision Making

Module 19. eSports Management

19.1.   eSports Industry

19.1.1.  eSports
19.1.2.  eSports Industry Players
19.1.3.  The eSports Business Model and Marketplace

19.2.  eSports Clubs Management

19.2.1.  Importance of eSports Clubs
19.2.2.  Creation of Clubs
19.2.3.   eSports Club Management and Administration

19.3.  eGamers Relationship

19.3.1.  The Role of the Player
19.3.2.  Player’s Skills and Competencies
19.3.3.  Players as Ambassadors of the Brand

19.4.  Competitions and Events

19.4.1.  Delivery in eSports: Competitions and Events
19.4.2.  Event and Championship Management
19.4.3.  Main Local, Regional, National and Global Championships

19.5.  Sponsorship Management in eSports

19.5.1.  Sponsorship Management in eSports
19.5.2.  Types of Sponsorships in eSports
19.5.3.  Sponsorship Agreements in eSports

19.6.  Advertising Management in eSports

19.6.1.  Advergaming: A New Advertising Format
19.6.2.  Branded Content in eSports
19.6.3.  eSports as a Communicative Strategy

19.7.  Marketing in eSports Management

19.7.1.  Owned Media Management
19.7.2.  Paid Media Management
19.7.3.  Special Focus on Social Media

19.8.  Influencer Marketing

19.8.1.  Marketing Influencer
19.8.2.  Audience Management and Its Impact on eSports
19.8.3.  Business Models in Influencer Marketing

19.9.  Merchant

19.9.1.  Sale of Services and Associated Products
19.9.2.  Merchandizing
19.9.3.  e-Commerce and Market Places

19.10.  eSports Metrics and KPIs

19.10.1.  Metrics
19.10.2.  Progress and Success KPIs
19.10.3.  Strategic Map for Objectives and Indicators

Module 20. Leadership and Talent Management

20.1.  Business, Organisation and Human Resources

20.1.1.  Organization and Organizational Structure
20.1.2.  Strategic Management
20.1.3.  Work Analysis and Organization

20.2.  Comapny Human Resources Management

20.2.1.  Organisation in Human Resources
20.2.2.  Recruitment Channels
20.2.3.  Professional Profiles in the Video Game Industry

20.3.  Personal and Professional Leadership

20.3.1.  Leaders and Leadership Processes
20.3.2.  The Authority of Communication
20.3.3.  Negotiation With Success and Failure

20.4.  Knowledge and Talent Management

20.4.1.  Strategic Talent Management
20.4.2.  Technology Applied to Human Resources Management
20.4.3.  Innovation Models in Human Resources

20.5.  Knowledge Management as Crucial to Business Growth

20.5.1.  General Objectives in Knowledge Management
20.5.2.  Structure of Knowledge Management Systems and Flows
20.5.3.  Processes in Knowledge Management

20.6.  Coaching and Mentoring

20.6.1.  PNL
20.6.2.  Coaching and Mentoring
20.6.3.  Processes

20.7.  New Leadership Styles in VUCA Environments

20.7.1.  Individual Change Management
20.7.2.  Organizational Change Management
20.7.3.  Tools

20.8.  Diversity Management

20.8.1.  Incorporating New Generations into Leadership Roles
20.8.2.  Female Leadership
20.8.3.  Multicultural Management

20.9.  Coach Leader

20.9.1.  Coach Leadership Skills
20.9.2.  Feedback and Feedforward
20.9.3.  Recognition

20.10.  Adapting to New Technologies

20.10.1.  Attitudes
20.10.2.  Knowledge
20.20.3.  Security/Safety

Not only will you learn how video game companies operate, but you will also acquire the best leadership skills to lead your company to success”