TECH presents the best 100% Online program to specialize in Animation Production through an educational experience that will give you the keys to succeed in this field”

It has been more than a century since the first animated film in history was made public. From that moment until today, this audiovisual technique of character representation has experienced an exponential growth, thanks to the development of technology and the use of increasingly sophisticated tools in its production. In this way, representations such as Humorous Phases of Funny Faces, which shows the simple movement of a character painted with chalk, now totally obsolete, but considered at the time the most avant-garde, evolved to what is known today with international projects such as Soul, Coco or the live action Lion King. 

But the growth of this field has not only been reflected in films, since the video game industry has also been greatly benefited, allowing the creation of hyper-realistic products with a graphic quality that was unthinkable a few years ago. For this reason, TECH and its team of experts have considered it necessary to create a program that covers all this information, allowing the graduate to manage a variety of projects at an international level. Based on that, this Professional Master's Degree in Animation Production was created, a 100% online program that will give you the keys to specialize in this field and therefore make a quantitative and qualitative leap in your career.  

Through a thorough knowledge of the profession, the syllabus delves into the programs and management tools in production, with special emphasis on the specifications of Traditional Animation, Stopmotion, 3D and transmedia. In addition, it delves into the issues of financing small and large-scale projects and the requirements of co-production, focusing also on the current legislation in this industry and the aspects to be taken into account when performing distribution tasks.  

It is, therefore, a unique opportunity to access to a highly capacitating program that will raise your knowledge to a degree of specialization that will make you stand out in the Animation sector. In addition, thanks to its convenient format, you will be able to access the Virtual Classroom 24 hours a day, where you can find dozens of hours of additional high-quality material to gain in-depth knowledge of the most interesting concepts according to your interests. Therefore, in less than 12 months, you will have reached your most ambitious professional goals and will be able to take charge of the international Animation productions you want from that moment on.

A qualification that will allow you to develop the necessary skills to succeed in the production of Stopmotion, 3D, traditional and transmedia projects”  

This Professional Master's Degree in Animation Production contains the most complete and up-to-date program on the market. The most important features include: 

• The development of case studies presented by experts in audiovisual production and animation
• The graphic, schematic and practical content with which it is conceived gathers current and dynamic information on those disciplines that are essential for professional practice
• Practical exercises where the self-assessment process can be carried out to improve learning
• Its special emphasis on innovative methodologies
• 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

Becoming a producer specialized in Animation in less than 12 months and through a fully customized academic calendar is now possible thanks to this Professional Master's Degree”  

The program’s teaching staff includes professionals from the sector who contribute their work experience to this educational program, as well as renowned specialists from leading societies and prestigious universities.  

The multimedia content, developed with the latest educational technology, will provide the professional with situated and contextual learning, i.e., a simulated environment that will provide immersive education programmed to learn in real situations.  

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

You will be able to delve into the key aspects of financing an Animation Project, so that your financial results are always positive"

You will learn in detail the keys to a good distribution of the product, including merchandising management and the agreement with brands"

The design of both the structure and the content of this Professional Master's Degree has been carried out by the teaching team. That is why the graduate who accesses this 100% online program will find in it the most modern and dynamic theoretical and practical program on Animation Production, developed based on the innovative teaching methodology of Relearning. In addition, you will have dozens of hours of additional material in different formats, which, along with the syllabus, can be downloaded to any device with an Internet connection and from the beginning of the program, so you can customize your schedule and balance it with any other academic or professional activity. 

The teaching team has selected simulations of real situations within the Animation industry, so you can put into practice your skills and develop, from the beginning of the program, a successful strategy” 

Module 1. The Animation Producer

1.1. Functions

1.1.1. Production
1.1.2. Specialized Terminology
1.1.3. Data

1.2. Types of Companies

1.2.1. Types
1.2.2. Specialized Companies
1.2.3. Project Formats

1.3. Types of Entrepreneurs and Companies

1.3.1. Companies
1.3.2. Freelancers and Self-Employed
1.3.3. Other Legal Formulas

1.4. Media Development 

1.4.1. The Cinema
1.4.2. Television

1.5. Multimedia Development

1.5.1. Web
1.5.2. Video Games
1.5.3. Applications

1.6. The Animation Industry

1.6.1. Industries
1.6.2. Current Status
1.6.3. Specificity

1.7. Future of Animation

1.7.1. Technologies
1.7.2. Future Positions
1.7.3. Challenges

1.8. Animation and Other Media

1.8.1. Social Media
1.8.2. YouTube
1.8.3. Twitch

1.9. Production Differentiation

1.9.1. End
1.9.2. Interlude
1.9.3. Start

1.10. Feature and Short Films

1.10.1. Feature Film
1.10.2. Short Film
1.10.3. Other Formulas

Module 2. Programs and Management

2.1. Resources

2.1.1. Time
2.1.2. Communication
2.1.3. Other Resources

2.2. Schedules

2.2.1. Monetization
2.2.2. Optimization
2.2.3. Contracts

2.3. Workflow

2.3.1. Pipeline
2.3.2. Superposition
2.3.3. Tasks

2.4. Tasks with Different Teams

2.4.1. Communication
2.4.2. Locations
2.4.3. Management in Different Locations

2.5. Hierarchies

2.5.1. Producer
2.5.2. Relation with Other Departments
2.5.3. Delegation

2.6. Programs

2.6.1. Programs
2.6.2. Updates
2.6.3. Interaction

2.7. The Production Bible

2.7.1. Contents
2.7.2. Requirements
2.7.3. Uses

2.8. Postmortem

2.8.1. Uses
2.8.2. Postmortems
2.8.3. Future Projects

2.9. Projects

2.9.1. Possibilities
2.9.2. Developments
2.9.3. Objective Failure

2.10. Project Publication

2.10.1. Schedules
2.10.2. Publications
2.10.3. Dissemination

Module 3. Traditional Animation Project Producer

3.1. Objectives of a Traditional Animation Project

3.1.1. Start
3.1.2. Reaching the Project
3.1.3. Achieving Objectives

3.2. Project Phases

3.2.1. Distinctions
3.2.2. Phases
3.2.3. Duration

3.3. Development Phase

3.3.1. Departments
3.3.2. Roles
3.3.3. Tasks

3.4. Pre-Production Phase

3.4.1. Departments
3.4.2. Roles
3.4.3. Tasks

3.5. Production Phase

3.5.1. Departments
3.5.2. Roles
3.5.3. Tasks

3.6. Post-Production Phase

3.6.1. Departments
3.6.2. Roles
3.6.3. Tasks

3.7. Necessary Equipment

3.7.1. Software
3.7.2. Hardware
3.7.3. Others

3.8. Feature Film

3.8.1. Schedules
3.8.2. Staff Management
3.8.3. Resources Management

3.9. Short Film

3.9.1. Schedules
3.9.2. Staff Management
3.9.3. Resources Management

3.10. Series

3.10.1. Schedules
3.10.2. Staff Management
3.10.3. Resources Management

Module 4. Stopmotion Animation Projects

4.1. Objectives of a Stopmotion Project

4.1.1. Project Start
4.1.2. Interlude
4.1.3. Reaching the Project

4.2. Project Phases

4.2.1. Distinction
4.2.2. Phases
4.2.3. Duration

4.3. Development Phase

4.3.1. Departments
4.3.1. Roles
4.3.3. Tasks

4.4. Pre-Production Phase

4.4.1. Departments
4.4.2. Roles
4.4.3. Tasks

4.5. Production Phase

4.5.1. Departments
4.5.2. Roles
4.5.3. Tasks

4.6. Post-Production Phase

4.6.1. Departments
4.6.2. Roles
4.6.3. Tasks

4.7. Necessary Equipment

4.7.1. Software
4.7.2. Hardware
4.7.3. Others

4.8. Feature Film

4.8.1. Schedules
4.8.2. Staff Management
4.8.3. Resources Management

4.9. Short Film

4.9.1. Schedules
4.9.2. Staff Management
4.9.3. Resources Management

4.10. Series

4.10.1. Schedules
4.10.2. Staff Management
4.10.3. Resources Management

Module 5. 3D Animation Projects

5.1. Objectives of a 3D Animation Project

5.1.1. Project Start
5.1.2. Interlude
5.1.3. Reaching the Project

5.2. Project Phases

5.2.1. Distinction
5.2.2. Phases
5.2.3. Duration for Each Phase

5.3. Development Phase

5.3.1. Departments
5.3.2. Roles
5.3.3. Tasks

5.4. Pre-Production Phase

5.4.1. Departments
5.4.2. Roles
5.4.3. Tasks

5.5. Production Phase

5.5.1. Departments
5.5.2. Roles
5.5.3. Tasks

5.6. Post-Production Phase

5.6.1. Departments
5.6.2. Roles
5.6.3. Tasks

5.7. Necessary Equipment

5.7.1. Software
5.7.2. Hardware
5.7.3. Others

5.8. Feature Film

5.8.1. Schedules
5.8.2. Staff Management
5.8.3. Resources Management

5.9. Short Film

5.9.1. Schedules
5.9.2. Staff Management
5.9.3. Resources Management

5.10. Series

5.10.1. Schedules
5.10.2. Staff Management
5.10.3. Resources Management

Module 6. Transmedia Project

6.1. Technologies

6.1.1. Capture
6.1.2. Movement
6.1.3. Libraries

6.2. Methods

6.2.1. Digital
6.2.2. Analogue
6.2.3. Hybrid

6.3. Artificial Intelligence

6.3.1. Appearance in AI
6.3.2. UX
6.3.3. Future

6.4. Vitubers

6.4.1. New Formats of the Media
6.4.2. Future of Anonymity
6.4.3. Development

6.5. Video Games

6.5.1. Technologies Used
6.5.2. Development

6.6. Video Games and Processes

6.6.1. Pipeline
6.6.2. Processes
6.6.3. Hierarchy

6.7. Publicity

6.7.1. Animation in Advertisements
6.7.2. Motion Graphics
6.7.3. Visual Impact

6.8. Entries

6.8.1. Entries
6.8.2. Other Types of Animation
6.8.3. Production

6.9. Augmented Reality

6.9.1. AR
6.9.2. Uses

6.10. Virtual Reality

6.10.1. VR
6.10.2. Uses
6.10.3. Metaverse

Module 7. Financing

7.1. The Budget

7.1.1. Margins
7.1.2. Resource Management
7.1.3. Unforeseen Circumstances

7.2. Own Funds and Grants

7.2.1. Savings
7.2.2. Crowfunding
7.2.3. Subsidies

7.3. Sales and Pre-Sales

7.3.1. Distributor
7.3.2. Televisions
7.3.3. Other Means

7.4. Investment Vehicles

7.4.1. Joint Venture Accounts
7.4.2. Crowdfunding

7.5. Ibermedia Program

7.5.1. Ibermedia
7.5.2. Process
7.5.3. Documentation

7.6. Ibermedia Program and Economy

7.6.1. Help
7.6.2. Continuity After Procurement
7.6.3. Justifications

7.7. Tax Incentive

7.7.1. Business Attraction
7.7.2. Requirements
7.7.3. Legal Aspects

7.8. NFT

7.8.1. NFT
7.8.2. Utilities
7.8.3. Indirect Financing

Module 8. Distribution

8.1. Product Lifetime

8.1.1. Start
8.1.2. Duration
8.2.3. Finalization

8.2. Networking Campaign

8.2.1. Visibility
8.2.2. Influencers
8.2.3. Costs

8.3. Afiche

8.3.1. Afiche
8.3.2. Process
8.3.3. End

8.4. Documentation

8.4.1. Presentations
8.4.2. Trailer
8.4.3. Other Requirements

8.5. Distributors

8.5.1. Large-Size Entities
8.5.2. Medium-Sized Entities
8.5.3. Small-Size Entities

8.6. International Competitions

8.6.1. Small Festivals
8.6.2. Big Festivals
8.6.3. Economic Repercussions

8.7. Brand Agreements

8.7.1. Collaborations
8.7.2. Sponsorships
8.7.3. Other Forms of Collaboration

8.8. Product Sales

8.8.1. Digital Platforms
8.8.2. Types of Agreements
8.8.3. New Life of the Product

8.10. Merchandising

8.10.1. Sales License
8.10.2. Manufacturing Agreements
8.10.3. Revenues

Module 9. Co-productions

9.1. Co-productions

9.1.1. Co-production
9.1.2. State Requirements
9.1.3. Regional Requirements

9.2. Contributions and Rights

9.2.1. Benefits
9.2.2. Parts
9.2.3. Rights Over the Work

9.3. Co-production Agreement

9.3.1. Documentation
9.3.2. Agreements
9.3.3. Types of Collaboration

9.4. Contract Agenda

9.4.1. Agenda
9.4.2. Effect on the Contract
9.4.3. Formalization

9.5. Financing Media Subprogram

9.5.1. Subprogramming
9.5.2. Financing
9.5.3. Development Grants

9.6. Subprogram Financing and Amounts

9.6.1. Types
9.6.2. Projects
9.6.3. Amount of Grants

9.7. Eurimages Financing

9.7.1. Institution in Charge
9.7.2. Requirements
9.7.3. Documentation

9.8. Eurimages Financing and Its Distribution

9.8.1. Distribution
9.8.2. Grants
9.8.3. Reimbursement

9.9. Other International Co-productions

9.9.1. Other Countries With Agreements
9.9.2. Internationalization
9.9.3. Documentation

Module 10. Animation Production: Legislation, Negotiation and Industry

10.1. Laws

10.1.1. Supporting Documentation
10.1.2. Interprofessional Agreements
10.1.3. Jurisprudence

10.2. Vacation and Sick Leave

10.2.1. Annual Evolution
10.2.2. Unforeseen Circumstances
10.2.3. Solutions in Production

10.3. Negotiation

10.3.1. Parties in Conflict
10.3.2. Types of Agreement
10.3.3. Resolutions

10.4. Multiple Functions

10.4.1. Human Resources Absence
10.4.2. Tasks in Other Departments
10.4.3. Interdepartmental

10.5. File Management

10.5.1. Resource Platforms
10.5.2. Backup Copies

10.6. Crunch

10.6.1. Current Status
10.6.2. Problems or Solutions
10.6.3. Repercussions

10.7. Quantitative and Qualitative Representation

10.7.1. Female Representation
10.7.2. LGTBI Representation
10.7.3. International Representation

10.8. Post-Pandemic Situation

10.8.1. Professionalization
10.8.3. International Productions

10.9. Animation Consumption

10.9.1. Incentives
10.9.2. Exports
10.9.3. Imports

A unique, key and decisive training experience to boost your professional development”