General information

Subject type: Mandatory

Coordinator: Jorge Oter Gonzalez

Trimester: Third term

Credits: 4

Teaching staff: 

Anna Pilar Llacher Alsina
Irene Camposo Carmona 

Teaching languages

  • Spanish
  • Catalan



And some articles, views, or reading material may be in English.


Specific skills
  • E5_Design and make an audiovisual product (consisting of still or moving images), taking into account both its technical and artistic aspects, in all its components

  • E15_Size and manage human, technical and economic resources necessary for the development of an audiovisual or multimedia project optimizing time, costs and quality


This subject takes an approach to the audiovisual production process and delves into the different phases of the production of an audiovisual project (television, cinema, multimedia). The syllabus of the subject is an approach to the human and technical resources involved in audiovisual production, and its organization, as well as computer resources in its management. This will be done by monitoring the ideation, production, post-production and marketing of an audiovisual product.


Topic 1: Introduction to the profession of producer                    
1.1 What is audiovisual production? 
1.2 The film and television producer. 
1.3 The current context.

Topic 2: Pre-production            
2.1 How did the idea come about? From idea to project. 
2.2 What should the project look like?
2.2.1 Feasibility of the project.
2.3 What is a movie script like?
2.3.1 Breakdown and point of view of production.
2.3.2 Creative thinking and team management.
2.4 Acquisition of the rights of the work.
2.5 Intellectual Property Registry.
2.6 Evaluation of the project.
2.7 Budget.
2.8. Financing Plan.
2.9 Search for funding for projects in development. 
2.9.1 Sources of public funding. 
2.9.2 Sources of private funding.
2.10 Work Schedule.
2.11 First meetings. NDA contract.
2.12 Casting proposal. Letters of interest.
2.13 Presentation of the project to a TV channel.
Topic 3: Production                    
3.1 Production models: co-productions, associated productions, micro-patronage, third-party production. 
3.2 The search for the production partner.
3.3 Production tasks in filming.
3.4 The equipment in the shooting phase. Specific cases.
3.5 A new challenge: sustainable filming.        
3.6 Other sources of funding after filming. 

Topic 4: Post-production and marketing                    
4.1 Control from production of the entire assembly phase. 
4.2 Communication plan.
4.3 Markets and Festivals.
4.4 Pitching.
4.5 Dissemination and distribution plan. 

Evaluation system

Evaluation and percentages of the final mark 

50% final theoretical exam of the subject. 

50% practical exercises 
Activity 1: not evaluable. 
Activity 2: 10% of the overall grade.
Activity 3: 10% of the overall grade.
Activity 4: 10% of the overall grade.
Activity 5: 10% of the overall grade.
Activity 6: 10% compulsory reading exercise 


  • For the exam to be averaged with the grade of the practical exercises, at least a 5 must be taken from the exam. With less than a 5 in the exam, you don't get an average and you have to go to the make-up exam.
  • Orthotypographic spelling and style errors can lead to a drop in the grade in both the practical exercises and the final exam. 

  • Identification of plagiarism is considered a serious circumstance that may lead to a failing grade in the subject. In case of detection of plagiarism, the coordination of the degree will be informed so that the corresponding disciplinary measures can be taken.

Practical exercises: Attendance is mandatory in order to pass the internship. To pass the practical part of the subject it is essential to attend the sessions and deliver all the practices. The practical part is done continuously throughout the course and is not recovered.

Recovery: The recovery consists of an exam that will be the final grade of the subject. Internships will not be recoverable; the re-evaluation of the subject only contemplates the realization of this examination where the total of the note recovers. 




MARZAL FELICI, JAVIER, GOMEZ TARÍN, FRANCISCO JAVIER (ed.) (2009). The producer and production in the film industry. Madrid: Editorial Complutense, SA


SCOLARI, CARLOS. (2013). Transmedia narratives. When all media count. Barcelona: Deusto. 

PARDO, ALEJANDRO (2016). Executive production of cinematographic projects. Pamplona: EUNSA.


CARRILLO, JAVIER (2018). Paradigm Netflix: Algorithmic entertainment. Barcelona: Editorial UOC.


SUBIRÓS, PAU. (2015). The accidental producer. Published by Anagrama. Collection: Chronicles.

Throughout the course, complementary bibliography and different articles on specific aspects of the subject will be provided.


FERNÁNDEZ DIEZ, FEDERICO, MARTÍNEZ ABADIA, JOSÉ. (1994). Production direction for film and television. Barcelona: Paidós.



MARTÍNEZ ABADÍA, JOSE; VILA, PETER (2004). Basic manual of audiovisual technology and techniques for creating, broadcasting and disseminating content. Barcelona: Paidós.


FERNÁNDEZ DÍEZ, FEDERICO, BLASCO, JAUME. (1995). Project management and management. Application to audiovisual production. Barcelona: Editions UPC.            


JACOSTE QUESADA, JOSE G. (1996). The film producer. Experiences and Research Collection. Madrid: Synthesis Publishing.


MATAMOROS, DAVID (coord.) (2009). Film distribution and marketing: first aid manual. Barcelona: University of Barcelona.