All phases of the film project development in a high-impact specialization"

The creation of any film project is a process that involves the combined work of different areas and professionals This creation is based on three basic pillars: screenwriters, directors and producers.

The coordination of these three aspects of creation is absolutely essential A spectacular script will be of no use if the production resources are not in line with the needs that its elaboration demands In this sense, the director's vision will also determine the developments in these two areas

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 solvency in each of the creative and technical moments

All the aspects that the audiovisual professional should know about the development of a film project"

This Postgraduate diploma in Film Project Development offers you the characteristics of a program of high-educational and technological level. These are some of its most notable features:     

• 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 practising experts
• State-of-the-art interactive video systems
• Teaching supported by telepractice
• Continuous updating and recycling systems
• Autonomous learning: full compatibility with other occupations
• Practical exercises for self-evaluation 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 TECH ensures to offer you the updating objective it intends. A multidisciplinary team of professors trained and experienced in different environments, who will develop theoretical knowledge in an efficient way, but, above all, will bring their practical knowledge derived from their own experience to the course: one of the differential qualities of this training.

This mastery of the subject is complemented by the effectiveness of the methodology used in the design of this course. Developed by a multidisciplinary team of e-Learning experts, it integrates the latest advances in educational technology. In this way, students will be able to study with a range of convenient and versatile multimedia tools that will give them the operational skills they need for their qualification.

The design of this program is based on Problem-Based Learning: an approach that views learning as a highly practical process. To achieve this remotely, TECH will use telepractice:  with the help of an innovative interactive video system, and learning from an expert , the student will be able to acquire the knowledge as if they were facing the scenario being learned at that moment. A concept that will allow students to integrate and memorize what they have learnt in a more realistic and permanent way.

The forms of development of the audiovisual film project and the coordination of the different agents of the same, in a specialization of high interest for the professional in this field"

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

The syllabus of the program is structured as a comprehensive tour through each and every one of the concepts required to understand and work in this field. With an approach focused on practical application that will allow the student to grow as a professional from the first moment of this Film Project Development.

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

Module 1. Film Script

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

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

1.2. The Film Script II: Writing for the Screen

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

1.3. The Character in the Film Script

1.3.1. Character Creation: Drama and Psychoanalysis; from Ibsen to Freud
1.3.2. Character Building Tools or Characterization Techniques
1.3.3. Character Exposure
1.3.4. The Myth of the Hero (Paradigms of Change)
1.3.5. Secondary Characters
1.3.6. Types of Conflict

1.4. Script Structure

1.4.1. The Staged Drama (Actions and Events) Units, Parts and Final Concordance and Discordance
1.4.2. The Dramatic Structure Information Management
1.4.3. Plots and Subplots
1.4.4. Scene: Writing, Selecting, Maxims to Achieve a Good Scene
1.4.5. Other Narrative Resources and Techniques

1.5. Execution of the Classic Script

1.5.1. The First Act
1.5.2. The Second Act
1.5.3. The Third Act

1.6. The Dialogues Script Formats

1.6.1. The Rules of Film Dialogue
1.6.2. Uses and Functions
1.6.3. Dialogues in the Film Script
1.6.4. Script Formats
1.6.5. Script Presentations

1.7. Rewriting the Script Pitching

1.7.1. The Script Improvement Process
1.7.2. Detect What's Wrong
1.7.3. The Art of Problem Solving: From the Scene to the Structure
1.7.4. Pitching: Presenting the Script
1.7.5. Creative Mechanisms to Devise Cinematic Storytelling
1.7.6. Study Cases The Stephen King Method

1.8. Film Adaptations I: Theory and Analysis of Adaptation

1.8.1. The Relationship between Literature and Cinema: Mutual Influences
1.8.2. Authorship and Adaptation
1.8.3. Types of Adaptation

1.9. Film Adaptations II: Theory and Analysis of Adaptation

1.9.1. Spatial and Temporal Representation
1.9.2. The Point of View: From Literature to Cinema
1.9.3. Remake

1.10. Case Studies

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

Module 2. Theory and Techniques for Performance

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

2.1.1. From the Literary to Technical Scripts Scale
2.1.2. The Work Team: The Film Directing Department

2.2. The Elements of the Screen Layout. Construction Materials

2.2.1. Choosing the Space
2.2.2. Spatial Preadaptation. Art Direction

2.3. Pre-Production. Implementation Documents

2.3.1. Technical Script
2.3.2. The Scenographic Plan
2.3.3. Storyboard
2.3.4. Planning Reconciling Artistic and Productive Aspects
2.3.5. The Shooting Schedule

2.4. The Expressive Value of Sound

2.4.1. Typology of Sound Elements
2.4.2. Construction of Sound Space

2.5. The Expressive Value of Light

2.5.1. Expressive Value of Light
2.5.2. Basic Lighting Techniques

2.6. Basic Single-Camera Shooting Techniques

2.6.1. Uses and Techniques of Single-Camera Shooting
2.6.2. The Subgenre of Found Footage : Fiction and Documentary Filmmaking
2.6.3. Single-Camera Production on Location for Television

2.7. The Editing

2.7.1. Editing as an Assemblage. Space-Time Reconstruction
2.7.2. Non-Linear Assembly Preparation Techniques

2.8. Post-Production and Color Grading

2.8.1. Postproduction
2.8.2. Vertical Mounting Concept
2.8.3. Color Correction

2.9. Formats and Production Equipment

2.9.1. Multi-camera Formats
2.9.2.    The Studio and the Team

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

2.10.1. Keys to Multi-Camera Content
2.10.2. Multi-Camera Techniques
2.10.3. Monitoring and Routines
2.10.4. Some Common Formats

Module 3. Digital Postproduction

3.1. The Digital Video Archive

3.1.1. Film: From Photochemical to Digital Cinema
3.1.2. Television: From Analog to Digital
3.1.3. The Digital Signal: Digital Image Coding
3.1.4. Basic Concepts
3.1.5. Digital Image Attributes
3.1.6. Digital Image Quality

3.2. The Photo and Video Camera I: Image Capturing

3.2.1. Traditional Capturing Process 
3.2.2. Camera Parts
3.2.3. The Digital Camera: Common Elements
3.2.4. Differentiating Elements 

3.3. The Photo and Video Camera II: Image Capturing

3.3.1. Camera Operation Description
3.3.2. Digital Composition
3.3.3. Exposure Control
3.3.4. Focus
3.3.5. Automatic Controls
3.3.6. Types of Shots
3.3.7. Framing the Shot
3.3.8. The Basic Elements of Composition
3.3.9. Video Recording
3.3.10. Light and Illumination
3.3.11. Filters and Effects 
3.3.12. Camera Care

3.4. Video Editing: Editing I

3.4.1. Film End Processes 
3.4.2. Types of Editing: Analytical, Post-Classical and Contemporary (MTV Editing)
3.4.3. The Traditional Assembly Process

3.5. Video Editing: Editing II

3.5.1. The Editing Table
3.5.2. The Editing Programs
3.5.3. Editing Codecs
3.5.4. Rendering
3.5.5. Importing the Material:  Naming, Classification and Synchronization of Material

3.6. Video Editing: Post-Production

3.6.1. The Leap from Linear to Non-Linear Editing
3.6.2. Formats
3.6.3. Exporting or Dumping of an Online Project
3.6.4. Compression
3.6.5. Color Correction
3.6.6. Visual Effects and Their Main Families
3.6.7. Computer-Generated Image Embedding (CGI)
3.6.8. Post-Production Digital Compositing Programs: Combustion, Flame, Smoke and After Effect

3.7. Sound Audio Capturing and Editing

3.7.1. Sound Qualities: Loudness, Pitch (Frequency) and Timbre
3.7.2. Basic Concepts
3.7.3. The Importance and Weight of Sound
3.7.4. Sound Standards
3.7.5. The Soundtrack
3.7.6. Premiere Audio Effects
3.7.7. Sound for UHD Video and 4K cinema

3.8. Television Set Technologies

3.8.1. Digital Television: Characteristics
3.8.2. Coding Standards, Audio and Video Formats
3.8.3. Audio and Video Connectors
3.8.4. Style Guide and Graphics in Television: Channel, Program and Graphic Elements
3.8.5. Technical Means Applied to Television Graphics
3.8.6. Interactive Television Production 

3.9. Post-Production for Interactive Media

3.9.1. The Interactive Multimedia Work; Interactivity
3.9.2. Constituent Elements of the Hypermedia Language (Syntax or Navigation, Format of a Hypermedia Work, Hypermedia Genres)
3.9.3. Implementation of a Hypermedia Project Software for DVD Authoring
3.9.4. Main Authoring Software
3.9.5. Apple DVD Studio

3.10. New Technologies in Audiovisual Creation

3.10.1. High Dynamic Range in Digital Video
3.10.2. 3D Graphics 3D Modeling and Texturing
3.10.3. Digital Video Broadcasting on the Internet: Streaming

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