Learn all the keys to film creation and management in a highly intensive and educationally effective Postgraduate diploma"

Filmmaking is a complex process. Its scope in terms of material, human resources and production is associated with a structured way of working that brings into play the skills of the professionals working in this field.

The involvement of numerous agents in different areas requires a need for management, based on the broadest possible knowledge of all aspects of this industry and its basic developments. 

This training will take the professional through the complete learning of the different relevant topics and their practical application, in a stimulating and effective process
of professional and personal growth.

During this specialization, the necessary keys will be given to understand and intervene in each of these areas, to coordinate the work of the different agents involved and to act with confidence and competence in each of the creative and technical moments.

All aspects of film creation and management that the audiovisual professional must know in order to grow in this area of work"

This Postgraduate diploma in Film Creation and Management contains the most complete and up-to-date program on the market. Its most notable features are:

• The latest technology in online teaching software
• A highly visual teaching system, supported by graphic and schematic contents that are easy to assimilate and understand
• Practical cases presented by practicing experts
• State-of-the-art interactive video systems
• Teaching supported by tele-practice
• Continuous updating and recycling systems
• Autonomous learning: full compatibility with other occupations
• Practical exercises for self-assessment and learning verification
• Support groups and educational synergies: questions to the expert, debate and knowledge forums
• Communication with the teacher and individual reflection work
• Content that is accessible from any fixed or portable device with an Internet connection
• Supplementary documentation databases are permanently available, even after the program

A contextualized and real educational program that will allow you to put your learning into practice through new skills"

Our teaching staff is made up of working professionals. In this way we ensure that we deliver the educational update we are aiming for. A multidisciplinary team of professors trained and experienced in different environments, who will develop the theoretical knowledge in an efficient manner, but, above all, will put the practical knowledge derived from their own experience at the service of the program: one of the differential qualities of this training.

This mastery of the subject is complemented by the effectiveness of the methodological design of this Postgraduate Diploma. Developed by a multidisciplinary team of e-Learning experts, it integrates the latest advances in educational technology. This way, you will be able to study with a range of comfortable and versatile multimedia tools that will give you the operability you need in your education. 

The design of this program is based on Problem-Based Learning: an approach that conceives learning as a highly practical process. To achieve this remotely, we will use tele-practice: with the help of an innovative interactive video system, and learning from an expert you will be able to acquire the knowledge as if you were facing the scenario you are learning at that moment. A concept that will allow you to integrate and fix learning in a more realistic and permanent way. 

A program of high interest for the professional in this field and for those who want to seek their professional opportunity in it"

A practical and real program that will allow you to advance gradually and safely"

The syllabus of the Postgraduate diploma is configured as a journey through each and every one of the knowledge necessary to understand and assume the ways of working in this field. With allow approach focused on practical application that will help you grow as a professional from the very first moment.

A comprehensive syllabus focused on acquiring knowledge and converting it into real skills, created to propel you to excellence"

Module 1. Theory and Techniques for Performance

1.1. Realization as Construction of the Audiovisual Work The Work Equipment 

1.1.1. From the Literary to Technical Scripts Scale 
1.1.2. The Work Equipment 

1.2. The Elements of the Screen Layout. Construction Materials 

1.2.1. Spatial Preadaptation. Art Direction 
1.2.2. The Elements of the Screen Layout 

1.3. Pre-production. Implementation Documents 

1.3.1. Technical Script 
1.3.2. The Scenographic Plan 
1.3.3. The Storyboard 
1.3.4. Planning 
1.3.5. The Shooting Schedule 

1.4. The Expressive Value of Sound 

1.4.1. Typology of Sound Elements 
1.4.2. Construction of Sound Space 

1.5. The Expressive Value of Light 

1.5.1. Expressive Value of Light 
1.5.2. Basic Lighting Techniques 

1.6. Basic Single-Camera Shooting Techniques 

1.6.1. Uses and Techniques of Single-Camera Shooting 
1.6.2. Found Footage Subgenre Fiction and Documentary Films 
1.6.3. Single-Camera Production in Television 

1.7. The Editing 

1.7.1. Editing as an Assemblage. Space-Time Reconstruction 
1.7.2. Non-Linear Assembly Techniques 

1.8. Post-production and Color Grading 

1.8.1. Postproduction 
1.8.2. Vertical Mounting Concept 
1.8.3. Color Correction 

1.9. Formats and Production Equipment 

1.9.1. Multi-camera Formats 
1.9.2. The Studio and the Team 

1.10. Keys, Techniques and Routines in Multi-Camera Production 

1.10.1. Multi-camera Techniques 
1.10.2. Some Common Formats 

Module 2. Audiovisual Production 

2.1. Audiovisual Production 

2.1.1. Introductory Concepts 
2.1.2. The Audiovisual Industry 

2.2. The Production Team 

2.2.1. The Professionals 
2.2.2. The Producer and the Script 

2.3. The Audiovisual Project 

2.3.1. Project Management 
2.3.2. Project Evaluation 
2.3.3. Presentation of Projects 

2.4. Production and Financing Modalities 

2.4.1. Financing of Audiovisual Production 
2.4.2. Modes of Audiovisual Production 
2.4.3. Resources for Pre-financing 

2.5. The Production Team and the Script Breakdown 

2.5.1. The Production Team 
2.5.2. The Breakdown of the Script 

2.6. The Shooting Areas 

2.6.1. The Locations 
2.6.2. The Scenery 

2.7. Casting and Film Contracts 

2.7.1. Casting 
2.7.2. The Casting Test 
2.7.3. Contracts, Rights and Insurance 

2.8. The Work Plan and the Budget of the Audiovisual Work 

2.8.1. The Work Plan 
2.8.2. The Budget 

2.9. Production in Filming or Recording 

2.9.1. Preparation for Filming 
2.9.2. Filming Equipment and Means 

2.10. Post-production and the Final Balance of the Audiovisual Work 

2.10.1. Editing and Post-production 
2.10.2. Balance Sheet and Operations 

Module 3. Film Script

3.1. The Film Script I. From the Idea to the Story

3.1.1. Process for Making a Screenplay: Basic Definitions (Script, Idea, Synopsis, Plot/Scene, Treatment, Theme, Narrative Event, Scene, Sequence, Act)
3.1.2. Tips for Making a Good Story
3.1.3. Text and Subtext

3.2. The Film Script II: Writing for the Screen

3.2.1. Types of Scripts (Classic Script-Plot Driven Film-, Non-Classic Script-Character Driven Film-) Study Paradigms
3.2.2. Screenwriting Tools (Objective, Obstacle/Conflict, Premise, Main Tension, Theme, Unity, Exposition, Dramatic Irony, Surprise, Story Development, Probability)
3.2.3. Decisions Prior to the Execution of a Screenplay: Narrative Axis and Point of View, Focusing, Genre, Style, Plot Synthesis, Plot

3.3. The Character in the Film Script

3.3.1. Character Creation: Drama and Psychoanalysis; from Ibsen to Freud
3.3.2. Character Building Tools or Characterization Techniques
3.3.3. Character Exposure
3.3.4. The Myth of the Hero (Paradigms of Change)
3.3.5. Secondary Characters
3.3.6. Types of Conflict

3.4. Script Structure

3.4.1. The Staged Drama (Actions and Events) Units, Parts and Final Concordance and Discordance
3.4.2. The Dramatic Structure Information Management
3.4.3. Plots and Subplots
3.4.4. Scene: Writing, Selecting, Maxims to Achieve a Good Scene
3.4.5. Other Narrative Resources and Techniques

3.5. Execution of the Classic Script

3.5.1. The First Act
3.5.2. The Second Act
3.5.3. The Third Act

3.6. The Dialogues Script Formats

3.6.1. The Rules of Film Dialogue
3.6.2. Uses and Functions
3.6.3. Dialogues in the Film Script
3.6.4. Script Formats
3.6.5. Script Presentations

3.7. Rewriting the Script Pitching

3.7.1. The Script Improvement Process
3.7.2. Detect What's Wrong
3.7.3. The Art of Problem Solving: From the Scene to the Structure
3.7.4. Pitching: Presenting the Script
3.7.5. Creative Mechanisms to Devise Cinematic Storytelling
3.7.6. Study Cases The Stephen King Method

3.8. Film Adaptations I: Theory and Analysis of Adaptation

3.8.1. The Relationship between Literature and Cinema: Mutual Influences
3.8.2. Authorship and Adaptation
3.8.3. Types of Adaptation

3.9. Film Adaptations II: Theory and Analysis of Adaptation

3.9.1. Spatial and Temporal Representation
3.9.2. The Point of View: From Literature to Cinema
3.9.3. Remake

3.10. Case Studies

3.10.1. The Godfather (Francis Ford Coppola, 1972)
3.10.2. The Silence of the Lambs (Jonathan Demme, 1991)
3.10.3. The Schindler List (Steven Spielberg, 1993)
3.10.4. The Family of Pascual Duarte (Camilo José Cela) and Its Film Adaptation Pascual Duarte (Ricardo Franco, 1976)

Module 4. Management and Promotion of Audiovisual Products 

4.1. Audiovisual Distribution 

4.1.1. Introduction 
4.1.2. Distribution Players 
4.1.3. Marketing Products 
4.1.4. The Audiovisual Distribution Sectors 
4.1.5. National Distribution
4.1.6. International Distribution 

4.2. The Distribution Company

4.2.1. The Organizational Structure 
4.2.2. Negotiation of the Distribution Agreement 
4.2.3. International Customers 

4.3. Operating Windows, Contracts and International Sales 

4.3.1. Operating Windows 
4.3.2. International Distribution Contracts 
4.3.3. International Sales 

4.4. Film Marketing

4.4.1. Cinema Marketing 
4.4.2. The Film Production Value Chain 
4.4.3. Advertising Media at the Service of Promotion 
4.4.4. Launching Tools 

4.5. Market Research in the Film Industry

4.5.1. Introduction 
4.5.2. Pre-Production Phase 
4.5.3. Post-production Phase 
4.5.4. Commercialization Phase 

4.6. Social Networks and Film Promotion 

4.6.1. Introduction 
4.6.2. Promises and Limits of Social Networking 
4.6.3. Objectives and their Measurement 
4.6.4. Promotion Calendar and Strategies 
4.6.5. Interpreting What the Networks Are Saying 

4.7. Audiovisual Distribution on the Internet I

4.7.1. The New World of Audiovisual Distribution 
4.7.2. The Internet Distribution Process 
4.7.3. Products and Possibilities in the New Scenario 
4.7.4. New Distribution Modes 

4.8. Audiovisual Distribution on the Internet II

4.8.1. Keys to the New Scenario 
4.8.2. The Dangers of Internet Distribution 
4.8.3. Video on Demand (VOD) as a New Window for Distribution 

4.9. New Distribution Spaces 

4.9.1. Introduction 
4.9.2. The Netflix Revolution 

4.10. Film Festival 

4.10.1. Introduction 
4.10.2. The Role of Film Festivals in Distribution and Exhibition 

Study at your own pace, with the flexibility of a program that combines learning with other occupations in a comfortable and real way"