TECH presents you with the best 100% online program to specialize in Animation Production through an academic experience that will give you the keys to succeed in this sector" 

It has been more than a century since the first animated film in history was made public. From that moment and up to the present day, this audiovisual technique of character representation has undergone 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, showing the simple movement of a character painted with chalk, now totally obsolete, but considered at the time the most avant-garde, evolved to what we know today with international projects such as Soul, Coco or the live action Lion King. 

But the growth of this sector has not only been reflected in the cinema. The video game industry has also benefited greatly, 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 deemed it necessary to create a degree 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 has been born, a 100% online program that will give you the keys to specialize in this sector and thus make a quantitative and qualitative leap in your career.  

Through an exhaustive analysis of the profession, the syllabus delves into the programs and management tools used in production, with special emphasis on the specifics of Traditional Animation, Stopmotion, 3D andtransmedia.  In addition, it delves into the issues of financing small and large-scale projects and the requirements of co-production, focusing also on the legislation in force 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 skilled program that will elevate 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 can access the Virtual Classroom 24 hours a day, where you can find dozens of hours of additional high quality material to deepen your knowledge of the most interesting concepts according to your interests. Thus, in less than 12 months, you will have achieved your most ambitious professional goals and will be able to take charge of the international animation productions of your choice from then on.  

A degree 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. Its most notable features are:

• The development of case studies presented by experts in audiovisual and animation production
• The graphic, schematic and eminently practical contents with which it has been conceived provide 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 training 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 training programmed to train 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 throughout the program. For this purpose, the student will be assisted by an innovative interactive video system created by renowned and experienced experts.

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

You will learn in detail the keys to good product distribution, including merchandising management and brand agreements"

The design of both the structure and the content of this Professional master’s degree was the responsibility of 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, together with the syllabus, can be downloaded to any device with an internet connection from the beginning of the course, so that you can customize your schedule and combine it with any other academic or professional commitments.  

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

Module 1. Animation Producer

1.1. Functions

1.1.1. Production
1.1.2. Specialized Jargon
1.1.3. Date:

1.2. Types of Companies

1.2.1. Types
1.2.2. Specialized Companies
1.2.3. Project Types

1.3. Types of Entrepreneurs and Societies

1.3.1. Societies
1.3.2. Freelances and Self-Employed
1.3.3. Other Legal Ways

1.4. Media Development

1.4.1. The Radio
1.4.2. The Cinema
1.4.3. TV

1.5. Multimedia Development

1.5.1. Web
1.5.2. Video Games
1.5.3. Applications

1.6. Animation Industry

1.6.1. Industries
1.6.2. Current Moment
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. Redes sociales
1.8.2. YouTube
1.8.3. Twitch

1.9. Differentiation in Productions

1.9.1. End
1.9.2. Interlude
1.9.3. Start

1.10. Feature and Short Film

1.10.1. Feature Film
1.10.2. Short Films
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. Times

2.2.1. Monetization
2.2.2. Optimization
2.2.3. Contracts

2.3. Work Flows

2.3.1. Pipelines
2.3.2. Superpositions
2.3.3. Tasks

2.4. Work of Different Teams

2.4.1. Communication
2.4.2. Localizations
2.4.3. Location Management

2.5. Hierarchies

2.5.1. Producer
2.5.2. Relationship 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. Postmortem
2.8.3. Future Projects

2.9. Projects

2.9.1. Possibilities
2.9.2. Developers
2.9.3. Loss of Objective

2.10. Project Publication

2.10.1. Times
2.10.2. Publications
2.10.3. Broadcast

Module 3. Traditional Animation Project Producer

3.1. Traditional Animation Project Objectives

3.1.1. Start
3.1.2. Getting to the Project
3.1.3. Achieving Objectives

3.2. Phases of the Project

3.2.1. Distinctions
3.2.2. Phases
3.2.3. Duration

3.3. Developmental Phases

3.3.1. Departments
3.3.2. Roles
3.3.3. Work

3.4. Pre-production Phase

3.4.1. Departments
3.4.2. Roles
3.4.3. Work

3.5. Production Phase

3.5.1. Departments
3.5.2. Roles
3.5.3. Work

3.6. Post-production Phase

3.6.1. Departments
3.6.2. Roles
3.6.3. Work

3.7. Necessary Equipment

3.7.1. Software
3.7.2. Hardware
3.7.3. Others

3.8. Feature Film

3.8.1. Times
3.8.2. Staff Management
3.8.3. Resources Management

3.9. Short Films

3.9.1. Times
3.9.2. Staff Management
3.9.3. Resources Management

3.10. Sets

3.10.1. Times
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. Getting to the Project

4.2. Phases of the Project

4.2.1. Distinctions
4.2.2. Phases
4.2.3. Duration

4.3. Developmental Phases

4.3.1. Departments
4.3.1. Roles
4.3.3. Work

4.4. Pre-production Phase

4.4.1. Departments
4.4.2. Roles
4.4.3. Work

4.5. Production Phase

4.5.1. Departments
4.5.2. Roles
4.5.3. Work

4.6. Post-production Phase

4.6.1. Departments
4.6.2. Roles
4.6.3. Work

4.7. Necessary Equipment

4.7.1. Software
4.7.2. Hardware
4.7.3. Others

4.8. Feature Film

4.8.1. Times
4.8.2. Staff Management
4.8.3. Resources Management

4.9. Short Films

4.9.1. Times
4.9.2. Staff Management
4.9.3. Resources Management

4.10. Sets

4.10.1. Times
4.10.2. Staff Management
4.10.3. Resources Management

Module 5. 3D Animation Projects

5.1. 3D Animation Project Objectives

5.1.1. Project Start
5.1.2. Interlude
5.1.3. Getting to the Project

5.2. Phases of the Project

5.2.1. Distinctions
5.2.2. Phases
5.2.3. Duration of Each Phase

5.3. Developmental Phases

5.3.1. Departments
5.3.2. Roles
5.3.3. Work

5.4. Pre-production Phase

5.4.1. Departments
5.4.2. Roles
5.4.3. Work

5.5. Production Phase

5.5.1. Departments
5.5.2. Roles
5.5.3. Work

5.6. Post-production Phase

5.6.1. Departments
5.6.2. Roles
5.6.3. Work

5.7. Necessary Equipment

5.7.1. Software
5.7.2. Hardware
5.7.3. Others

5.8. Feature Film

5.8.1. Times
5.8.2. Staff Management
5.8.3. Resources Management

5.9. Short Films

5.9.1. Times
5.9.2. Staff Management
5.9.3. Resources Management

5.10. Sets

5.10.1. Times
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. AI with Appearance
6.3.2. UX
6.3.3. Future

6.4. Vtubers

6.4.1. New Forms of Media
6.4.2. Future of Anonymity
6.4.3. Development

6.5. Video Games

6.5.1. Technology Used
6.5.2. Development

6.6. Videogames and Processes

6.6.1. Pipelines
6.6.2. Processes
6.6.3. Hierarchy

6.7. Advertising

6.7.1. Animation in Adverts
6.7.2. Motion Graphics
6.7.3. Visual Repecussion

6.8. Opening

6.8.1. Opening
6.8.2. Other Animation Types
6.8.3. Production

6.9. Augmented Reality

6.9.1. AR
6.9.2. Uses
6.9.3. Currently

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. Lymph Node Involvement
7.1.2. Resource Management
7.1.3. Unforeseen Circumstances

7.2. Own Funds and Help From Others

7.2.1. Savings
7.2.2. Crowdfunding
7.2.3. Subsidies

7.3. Sales and Presales

7.3.1. Distributors
7.3.2. Television
7.3.3. Other Media

7.4. Investment Vehicles

7.4.1. AIE
7.4.2. Joint Venture Accounts
7.4.3. Crowdfunding

7.5. Ibermedia Program

7.5.1. Ibermedia
7.5.2. Process
7.5.3. Documentation

7.6. Ibermedia Program and Economics

7.6.1. Help
7.6.2. Continuity After Obtaining It
7.6.3. Justifications

7.7. Tax Incentives

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 Life Span

8.1.1. Start
8.1.2. Duration
8.1.3. Finalization

8.2. Networking Campaign

8.2.1. Visibility
8.2.2. Influencers
8.2.3. Costs

8.3. Poster

8.3.1. Poster
8.3.2. Process
8.3.3. End

8.4. Documentation

8.4.1. Presentations
8.4.2. Trailer
8.4.3. Other Needs

8.5. Distributors

8.5.1. Big Entities
8.5.2. Medium Entities
8.5.3. Small 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. Sponsorship
8.7.3. Other Types of Collaboration

8.8. Product Sales

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

8.9. Merchandising

8.9.1. Sales License
8.9.2. Manufacturing Agreements
8.9.3. 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 Help

9.6. Subprogram Financing and Amounts

9.6.1. Types
9.6.2. Projects
9.6.3. Amount of Subsidies

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. Subsidies/ Grants
9.8.3. Reimbursement

9.9. Other International Coproductions

9.9.1. Other Countries With Agreements
9.9.2. Internalization
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. Holidays and Sickness

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. Resolution

10.4. Multiple Functions

10.4.1. Absence of Human Resources
10.4.2. Work in Other Departments
10.4.3. Interdepartmental

10.5. File Management

10.5.1. Resources Platform
10.5.2. Backup Copies
10.5.3. Access

10.6. Crunch

10.6.1. Current Moment
10.6.2. Problems and Solutions
10.6.3. Repercussions

10.7. Qualitative and Quantitative Representation

10.7.1. Feminine Representation
10.7.2. LGBTI Representation
10.7.3. International Representation

10.8. Post-Pandemic Situation

10.8.1. Professionalization
10.8.2. 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”