Universitat Internacional de Catalunya
Media and Film Production
Teaching staff
By appointment by e-mail:
Isabel Villanueva: isabeluic@gmail.com
Introduction
Introduction to audiovisual production. Study and analysis of the production process of fiction and other audiovisual genres, paying attention to the figure of the producer, the director/producer and the peculiarities of the audiovisual industry and markets.
Pre-course requirements
No pre-requisites.
Objectives
To introduce students to the process of creating an audiovisual product through a theoretical explanation of the concepts and phases of film and television production, and through learning the technique of audiovisual filming and editing.
Students must be able to tackle various audiovisual projects in which each and every one of the phases of audiovisual creation will be put into practice, as well as the main functions carried out in the project production process.
Competences/Learning outcomes of the degree programme
- 01 - The ability to adapt to varying circumstances
- 02 - The ability to understand, accept criticism and correct errors
- 03 - The ability to administer and manage human and technical resources
- 04 - The ability to work in a team and autonomously
- 05 - The ability to organise time and workspace
- 06 - The ability to develop academic rigour, responsibility, ethics and professionalism
- 07 - The ability to apply the deontology and respect for the audiovisual sector
- 08 - The ability of critical analysis, synthesis, concretion and abstraction
- 09 - The ability to objectify, quantify and interpret (data, statistics, empirical evidence )
- 10 - The ability to confront difficulties and resolve problems
- 11 - The ability to generate debate and reflection
- 12 - The ability to meet deadlines, develop the ability to be punctual and respect for human, technical and material resources
- 13 - The ability to create spoken and written communication
- 16 - The ability to manage, analysis and reflect on content
- 24 - The ability to plan and organize both short term and long term projects
- 29 - The ability to budget projects of differing magnitude
- 30 - The ability to study the feasibility of an audiovisual product
- 31 - The ability to understand the financial systems of media groups and companies.
- 32 - The ability to confront audiovisual and film projects in all phases (pre-production, shooting, post-production, distribution)
- 33 - The ability to create and direct.
- 34 - The ability to know and respect the different roles of the artistic and technical teams
- 35 - The ability to contextualize and critically analyze the products of the audiovisual industry
- 37 - The ability to contextualize and critically analyze the organizational structure of global communication
- 38 - The ability to understand and apply the structure of the audiovisual system
- 39 - The ability to understand and apply the legal dimension of an audiovisual product
- 40 - The ability to defend and respect authorship and intellectual property
- 41 - The ability to know how the distinct elemental agencies of the audio visual sector function
- 42 - The ability to distinguish, analyze and dominate the distinct genres and formats of television, film and radio
- 43 - the ability to create scripts for film, television and radio according to the demands of the genre
- 44 - The ability to adapt to new audiovisual formats
- 46 - The ability to dominate resources used for image (Photographs, lighting...) and sound.
- 49 - The ability to write fluent texts, step outlines or scripts
- 50 - The ability to adapt, understand and apply the expressive possibilities of new technologies and future changes
- 51 - Knowledge and mastery of the functioning of Corporate and Institutional Communication.
- 52 - The ability to apply audiovisual knowledge and techniques for commercial purposes in any form
- 53 - Lingustic ability in Catalan, Spanish and English
- 54 - The ability to skillfully manage the literature, terminology and linguistic structures of the English language related to the field of communication.
Syllabus
THEORETICAL SYLLABUS
BLOCK I: Grammar and Syntax of Audiovisual Language (Isabel Villanueva)
Types of shots according to measurement
Types of shots according to angle
Types of shots according to internal action
Camera movements and physical supports
Sequences and scenes. Definition.
Terminology and basic concepts about the field of action: rhythm, raccord, staging.
Diegesis, narrative universe.
BLOCK II: Macrostructure of Audiovisual Production: audiovisual creation
Phase 1: project development (Isabel Villanueva)
From idea to script
Acquisition of rights.
Budget, financing plan. Viability.
Main actors.
Dossier. Financing.
Phase 2: Audiovisual Production: executive and field (Arturo Méndiz)
Cinema, a business activity. Time, cost, and quality.
Difference between executive production and field production.
The producer, present throughout the process. Can (should) be creative.
Hierarchy in production personnel and functions of each.
Time: between one and two times the filming.
Incorporation of team leaders. Progressive incorporation of the rest of the staff.
Negotiation with the entire technical team. Contracts.
Technical script.
Breakdown of the script by departments.
Director and team leader meetings: proposals and decisions to finalize.
Each team works separately.
Negotiation with suppliers and locations. Insurance. Permissions.
Full casting.
Final budget.
Final shooting schedule.
Time: 4 weeks (TV movie), 6-9 weeks (feature), etc.
All teams at the same time and coordinated by the director. Approximately 50-70 people.
Execution of everything prepared in preproduction.
Production: transportation, catering, permits, locations.
Financial control: invoices and expenses, payments, deadlines.
Script notes, camera notes, sound notes.
Call sheet.
Contingencies.
Image editing.
Credits creation.
Addition of VFX.
Composition and recording of music.
Audio editing.
Sound mixing.
Creation of the first copy (35mm, DCP) or master copy.
Phase 3: exhibition and marketing (Isabel Villanueva)
Production, distribution, and exhibition.
Each product is different and marketed differently.
Exploitation by windows: cinema, DVD, online, pay-TV, free TV, airplanes... and merchandising.
Festivals.
International sales. The sales agent.
Teaching and learning activities
In person
| TRAINING ACTIVITY | ECTS CREDITS |
| Coaching. Monitoring how students learn the content of the subject, either individually or in groups. In the coaching sessions, mistakes will be corrected, queries answered, and exercises and activities to achieve the established objectives will be suggested. | 0.8 |
| Focused Praxis. Handing in occasional exercises to learn theory through practice. | 0.8 |
| Meeting Point. Meetings will be organised with notable people from the professional and scientific fields or the international field, and students. These sessions will take the form of conferences, work sessions, discussions, or interviews, etc. | 0.6 |
| Lectures. In lectures, lecturers/professors not only transmit content or knowledge, but also, and above all else, attitudes, motivation, skills and values, etc. They also ensure that participants can express their opinions and arguments to the other students. | 1.2 |
| Peer learning. The aim of this activity is to ensure that students gain the ability to analyse and be critical. One way of achieving this is by correcting their peers' exercises and results, etc. Each student will be evaluated twice: as both a recipient and a transmitter of critical knowledge. | 0.4 |
| Mentoring programme. Ensuring a review of and in-depth look at competences and knowledge, as well as the development of habits involving social commitment and responsibility, with the strongest students providing guidance for students from lower years, particularly if they have any type of disability (physical, etc). | 0.2 |
Evaluation systems and criteria
In person
5% "guiri" practice
5% classroom practice in class
30% Practice "15x15".
60% Exam
In order to obtain the final average for the course, the theory exam must be passed.