General information

Subject type: Mandatory

Coordinator: Rafael Suarez Gómez

Trimester: Third term

Credits: 4

Teaching staff: 

Anna Pilar Llacher Alsina

Teaching languages



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.

Learning outcomes

At the end of the subject, the student will be able to:                

LO1 Master the basic terminology of audiovisual production.

LO2 Understand the legal implications of audiovisual production.

LO3 Apply the techniques, methods and technological tools that allow the design, planning and organization of human resources and technical and budgetary means to produce audiovisual works. 

LO4 Apply an audiovisual and multimedia project with rigor, analyzing the initial requirements of a project. 

LO5 Know and apply the current audiovisual legislation in specific cases. 

Complementary learning outcomes

RC1 Reflect critically on the theoretical contents of the subject from the comparison with several real cases. 

Working methodology

The methodology of the subject is structured in theoretical sessions (3 hours per week in large groups) combined with practical laboratory sessions (2 hours fortnightly in small groups) and autonomous learning. 

The theoretical sessions consist of: expository class sessions based on the teacher's explanation and lectures. These theoretical sessions will combine the theoretical presentation with the case study that complements the knowledge on certain topics. 

The practical sessions will be carried out in the computer rooms in small groups and in them will deepen in the knowledge explained in the theoretical classes by means of his application to real cases. 

Autonomous learning involves a dedication on the part of the students that includes the realization of group exercises proposed in the practical sessions. These will be complemented with the performance of an individual exercise. 


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. 

Learning activities

1. Analysis from a case of the different phases of production of an audiovisual project (corresponds to the following learning outcomes: LO1). 

2. Breakdown of an audiovisual script (corresponds to the following learning outcomes: RA1, RA3, RA4) 

3. Configuration of a Production calendar (organize by dates the three phases of pre-production, production and post-production and the tasks related to each) and search for sources of funding (corresponds to the following learning outcomes: RA1, RA2, RA3, RA4, RA5). 

4. Configuration of a shooting plan (corresponds to the following learning outcomes: RA1, RA2, RA3, RA5). 

5. Development of a dissemination and distribution plan (corresponds to the following learning outcomes: RA1, RA4). 

6. Review of a compulsory reading: Exercise of critical analysis and application of the theoretical contents of the asignatura. (corresponds to the following learning outcomes RA1, RC1).  

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 


  • In order for the exam to average with the mark of the practical exercises, a 5 must be taken. With less than a 5, there is no average and you must go to the resit exam.
  • Plagiarism is penalized. If plagiarism is detected in any of the exercises or in the exam, that practice or exam will be suspended directly. 

  • Orthotypographic spelling and style errors can lead to a drop in the grade in both the practical exercises and the final exam. 

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. 



CARRILLO, BJ (2018). Netflix Paradigm: Algorithm Entertainment. Barcelona: Editorial UOC.


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


FERNÁNDEZ DIEZ, F., MARTÍNEZ ABADIA, J. (1994). The direction of production for film and television. Barcelona: Paidós.



JACOSTE QUESADA, J. G. (1996). The film producer. Experiences and Research Collection. Madrid: Editorial Síntesis.


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


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

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

PARDO, A. (2016). Executive production of film projects. Pamplona: EUNSA.


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


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


FERNÁNDEZ DÍEZ, F., BLASCO, J. (1995). Project direction and management. Application to audiovisual production. Barcelona: Edicions UPC.