Royal Decree 1680/2011, of 18 November, establishes the title of Superior Technician in the Realization of Projects of Audiovisual and Entertainment and its minimum teachings, in accordance with Royal Decree 1147/2011, of July 29, laying down general rules for the vocational training of the educational system, which defines in Article 9 the structure of vocational training diplomas and courses of specialisation, on the basis of the national catalogue Professional qualifications, guidelines laid down by the European Union and other aspects of social interest.

Organic Law 2/2006, of 3 May, of Education, provides in article 6.4 that the educational administrations will establish the curriculum of the different teachings regulated in the Law, which will form part of the Article 6 (1) of Regulation (EC) No 66/2014 The teaching centres shall develop and complete, where appropriate, the curriculum of the different stages and cycles in use of their autonomy, as set out in Chapter II of Title V of that Law.

The Organic Law of 19 June on Qualifications and Vocational Training sets out in Article 10.2 that the educational administrations, in the field of their competences, will be able to extend the content of the corresponding vocational training qualifications.

Royal Decree 1680/2011 of 18 November, in its sole derogating provision, repeals Royal Decree 445/1996 of 8 March 1996 establishing the curriculum of the training cycle of higher education corresponding to the title of Superior Technician in Realization of Audiovisual and Entertainment, established under the Organic Law 1/1990, of October 3, of General Ordination of the Educational System.

In accordance with the above and once the Royal Decree 1680/2011 of 18 November, has set the professional profile of the title of Superior Technician in Realization of Projects of Audiovisual and Entertainment, its teachings In the field of education and training, it is necessary to identify the basic aspects of the curriculum which ensure a common training and guarantee the validity of diplomas throughout the national territory. management of the Ministry of Education, Culture and Sport, the extension and contextualization of the contents of the professional modules included in the title of Superior Technician in the Realization of Audiovisual and Entertainment Projects, respecting the professional profile of the same.

The needs of an integrated labour market in the European Union require that the teaching of vocational training should pay particular attention to the languages of the Member States, incorporating them into their training offer. In this sense, this training cycle incorporates in the curriculum training in the English language, in response to the provisions of Royal Decree 1147/2011, of July 29, which establishes the general management of vocational training.

addition, the curriculum of this training cycle is established from the respect of the pedagogical, organizational and management autonomy of the centers that provide Vocational Training, promoting these the work in the team of the teachers and the development of training, research and innovation plans in their teaching field and actions to promote the continuous improvement of training processes.

On the other hand, the vocational training centres will develop the curriculum established in this order, taking into account the characteristics of the students, with special attention to the needs of the people with disability.

Finally, it should be specified that the curriculum of this formative cycle integrates the scientific, technological and organizational aspects of the teachings established to achieve that the students acquire an overall view of the processes own production of the professional profile of the superior technician in the Realization of Audiovisual and Entertainment Projects.

In the process of drafting this order, the State School Board has issued a report.

For all of the above, in its virtue, I have:

CHAPTER I

General provisions

Article 1. Object.

This order is intended to determine the curriculum of the Higher Degree training cycle corresponding to the title of Superior Technician in the Realization of Audiovisual and Entertainment Projects established in the Royal Decree 1680/2011, dated November 18.

Article 2. Scope.

The curriculum established in this order will be applied in the territorial area of management of the Ministry of Education, Culture and Sport.

CHAPTER II

Curriculum

Article 3. Curriculum.

1. The curriculum for the teaching of vocational training of the educational system corresponding to the title of Superior Technician in the Realization of Projects of Audiovisual and Entertainment, established in Royal Decree 1680/2011, of November 18, is determined in the terms set in this order.

2. The professional profile of the curriculum, which is expressed by the general competence, the professional, personal and social skills, and the qualifications and the competence units of the National Catalogue of Professional Qualifications, is the included in the title of Superior Technician in the Realization of Audiovisual and Entertainment Projects referred to in the previous point.

3. The general objectives of the training cycle curriculum, the objectives of the professional modules expressed in terms of learning outcomes and their evaluation criteria are those included in the title of the Higher Technician in the Audiovisual and Entertainment projects referred to in point 1 of this article.

4. The contents of the professional modules that make up this curriculum, adapted to the socio-economic reality as well as to the perspectives of economic and social development of the environment, are those set out in Annex I of this order.

Article 4. Duration and sequencing of professional modules.

1. The total duration of the lessons for this training cycle, including the vocational training module in the workplace, is 2000 hours.

2. The professional modules of this training cycle, when offered under face-to-face arrangements, will be organised in two academic courses and will be in line with the weekly hourly sequencing and distribution set out in Annex II of this order.

3. The first academic year will be fully developed in the educational center. In order to be able to take the second course, it will be necessary to have completed the professional modules which, as a whole, represent at least eighty percent of the hours of the first course and, in any case, all the professional modules included in the same one, identified as such in Annex II.

4. The right of registration of those who have passed any professional module in another Autonomous Community shall be guaranteed in the terms laid down in Article 48.3 of Royal Decree 1147/2011 of 29 July 2011 establishing the General vocational training of the educational system.

5. In general, during the third quarter of the second year, and once the positive evaluation has been achieved in all the professional modules carried out in the educational centre, the vocational training module will be developed in job.

6. Exceptionally, and in order to facilitate the adaptation of the number of persons registered to the availability of training positions in enterprises, approximately half of the second-year students will be able to develop this vocational training module. Training in workplaces during the second trimester of the second year, provided they have positively overcome all the professional modules of the first academic year.

7. Without prejudice to the foregoing and as a result of the temporality of certain economic activities which may prevent the development of the vocational training module in the workplace from being in conformity with the above assumptions, the latter may be organise in other periods coinciding with the development of the economic activity of the professional profile of the title.

8. In any case, the evaluation of the vocational training module in the workplace will be conditional on the positive evaluation of the rest of the professional modules of the training cycle.

Article 5. Project Professional Module.

1. The professional module of the project has an interdisciplinary character and incorporates the technological and organizational variables related to the essential aspects of the professional competence of the title of Superior Technician in Realization of Projects of Audiovisual and Entertainment.

2. In general, this module will be taught by the teachers who are tutoring training in job centers.

3. The project professional module will be developed during the last period of the training cycle, combining individual and collective tutoring, so that at least 50% of the total duration will be carried out in an in-person manner and completed with remote tutoring in which information and communication technologies will be used.

4. In any case and prior to the start of the vocational training module in the workplace, the teaching and learning activities to facilitate the development of the project professional module should be anticipated by the responsible teacher.

5. The evaluation of this professional module will be conditional on the positive evaluation of the rest of the professional modules of the training cycle, including the training in job centers.

Article 6. Bilingual teaching.

1. The curriculum of this training cycle incorporates the English language in an integrated way, at least in two professional modules, from among those that make up the whole of the training cycle. These modules will be taught by teachers with teaching assignment in them and, in addition, they will have the language enablement corresponding to level B2 of the Common European Framework of Reference for Languages.

2. In order to ensure that bilingual education is delivered in the two academic courses of the training cycle on an ongoing basis, professional modules of both courses will be chosen.

3. The modules which may be imparted in the English language are those listed in Annex III.

4. As a result of the greater complexity of the transmission and reception of teaching in a language other than the mother tongue, professional modules taught in the English language will increase their time load in three hours a week. for the set of modules that are delivered in the first year and two hours for which they are developed during the second course. In addition, the teachers who provide these professional modules will be assigned, in their individual hours, at least three hours a week for their preparation. These hours will have the same character as the reading hours.

5. Exceptionally and on a transitional basis up to the year 2020, when teachers with teacher allocation do not have the level of English required in these professional modules, they will share a total of three hours per week for all the teachers. modules to be delivered in the first year and two hours for those who develop during the second course with a teacher or a teacher of the English specialty. In this case, the programming of these modules will include at least one unit of work or didactics which will be developed exclusively in the English language and the other teaching units will incorporate teaching activities exclusively in English at that time allocated.

6. Exceptionally, in the case of students or students with disabilities who may be able to present difficulties in their oral expression (cerebral palsy, deafness, etc.), measures of relaxation and/or alternatives will be established. in the requirement for the provision of modules in the English language, so as to enable all the teaching of professional modules in their mother tongue to be cured.

Article 7. Spaces and equipment.

The spaces and facilities to be assembled by the vocational training centres, to enable the development of teaching activities, are those set out in Annex IV of this order and must comply with the provisions of the Article 11 of Royal Decree 1680/2011 of 18 November, as well as the rules on equal opportunities, design for all and universal accessibility, prevention of occupational risks and safety and health at the workplace.

Article 8. Qualifications and accreditation of teacher requirements.

1. The specialties of teachers with teaching assignment in the professional modules which constitute the teachings established for the title referred to in Article 1 of this order, as well as the equivalent qualifications for the purposes of teaching, are the entries respectively in Annexes III A and III B to Royal Decree 1680/2011 of 18 November establishing the title of Senior Technician in the Realisation of Audiovisual and Entertainment Projects.

2. In order to ensure compliance with Article 12.3 of Royal Decree 1680/2011 of 18 November, establishing the title of Superior Technician in the Realization of Audiovisual and Entertainment Projects, for the delivery of the Professional modules that make up the same, must be credited with all the requirements set out in the aforementioned article, providing the following documentation:

(a) Photocopy of the official academic title required, in accordance with the qualifications included in Annex III C of Royal Decree 1680/2011 of 18 November, cited. Where the degree presented is linked to the professional module which is to be provided, it shall be deemed to include in itself the objectives of that module. Otherwise, in addition to the titration, the documents referred to in subparagraph (b) or (c) shall be provided.

(b) In the event that it is necessary to justify that the teachings leading to the titration provided encompass the objectives of the professional modules that are intended to be taught:

• Personal academic certification of studies performed, original or photocopied, issued by an official center, in which the teachings are recorded detailing the subjects.

• Programs of studies contributed and submitted by the person concerned, original or photocopy of the studies, sealed by the University or the corresponding official or authorized teaching center.

(c) Where it is desired to justify by means of the work experience which, at least for three years, has developed its activity in the sector related to the professional family, its duration shall be credited by the document appropriate supporting officer, which will be added to:

• Certification of the employer or employer in which the activity developed by the person concerned is specifically recorded. This activity must be implicitly related to the learning outcomes of the professional module that is intended to be delivered.

• In the case of those who are self-employed, a statement of the person concerned with the most representative activities related to learning outcomes.

CHAPTER III

Curriculum adaptations

Article 9. Adaptation to the socio-productive environment.

1. The curriculum of the training cycle regulated in this order is established taking into account the socio-economic reality and the geographical, socio-productive and labour characteristics of the environment for the implementation of the title.

2. Vocational training centres shall have the necessary educational, organisational and economic management autonomy for the development of the teaching and their adaptation to the specific characteristics of the socio-economic, cultural and professional.

3. The centres authorised to provide this training cycle will concretize and develop the organizational and curricular measures that are most appropriate to the characteristics of their students and their productive environment, in a flexible way and in the use of their Pedagogical autonomy, in the general framework of the educational project, in the terms established by the Organic Law 2/2006, of Education.

4. The curriculum of the training cycle regulated in this order will be developed in the didactic programs or curricular development, strengthening or creating the culture of prevention of occupational risks in the spaces where the different modules are delivered professionals, as well as promoting a culture of environmental respect, excellence in work, compliance with quality standards, creativity, innovation, gender equality and respect for equal opportunities, design for all and universal accessibility, especially in relation to people with disability.

Article 10. Adaptation to the educational environment.

1. The vocational training centres managed by the Ministry of Education, Culture and Sport will develop the curriculum set out in this order, taking into account the characteristics of pupils and the environment, particularly in relation to persons with disabilities, in conditions of accessibility and with the necessary support resources to ensure that this student can cure these teachings under the same conditions as the rest.

2. Also, the lessons of this cycle will be taught with a flexible and open methodology, based on self-learning and adapted to the conditions, abilities and personal needs of the students, in order to allow the reconciliation of the learning with other activities and responsibilities.

CHAPTER IV

Other offerings and mode of these teachings

Article 11. Distance offering.

1. Professional modules offered at a distance, when required by their characteristics, will ensure that students achieve all the objectives expressed in learning outcomes, through face-to-face activities.

2. The Provincial Directorates and the Board of Education shall take the necessary measures and shall give the precise instructions to the centres which are authorized to provide this training cycle under pressure for implementation and operation of the offer from the same distance.

3. Centres authorised to teach vocational training at a distance will have appropriate curriculum materials which will be adapted to the provisions of the fourth additional provision of the Organic Law 2/2006 of 3 May 2006. Education.

Article 12. Combined offering.

In order to respond to personal needs and interests and to provide the possibility to reconcile training with work activity, with other activities or situations, the offer of these teachings for people adults and young people in special circumstances may be combined between face-to-face and distance learning systems at the same time, provided that the same modules are not cured in both modes at the same time.

Article 13. Offer for adults.

1. The professional modules of this training cycle associated with the competence of the National Catalogue of Professional Qualifications may be the subject of a modular offer for adults.

2. This training will be developed with an open and flexible methodology, adapted to the conditions, capabilities and personal needs that enable them to reconcile learning with other activities and responsibilities, in compliance with the Chapter I of Title IV of Royal Decree 1147/2011 of 29 July 2011 establishing the general management of vocational training of the education system. In addition, this training will be capitalizable to achieve a vocational training qualification, in order to obtain the necessary accreditation of the established access requirements.

3. In order to reconcile learning with other activities and responsibilities, the Provincial Directorates and the Board of Education may establish specific measures to comply with the provisions of Article 41 of Royal Decree 1147/2011, July 29, which establishes the general management of the vocational training of the educational system and allows for a face-to-face and distance offer simultaneously.

4. In order to promote training throughout life, the Directorate-General for Vocational Training of the Ministry of Education, Culture and Sport may authorise the Provincial Directorates and the Education Ministry to give the training, in the centres of their competence, of professional modules organised in training units of shorter duration. In this case, each learning result, with its evaluation criteria and its corresponding block of contents, will be the minimum and indivisible unit of partition.

Additional disposition first. Authorization to impart these teachings.

The Provincial Directorates and the Board of Education will deal with the Directorate-General for Vocational Training with the authorization to provide the teaching of this training cycle, in full or in part, in In-person and distance-based arrangements, of the institutions that request it and comply with the requirements required under the current legislation.

Additional provision second. Implementation of these teachings.

1. In the course of 2012-2013, the first course of the training cycle referred to in Article 1 of this order will be implemented and the lessons of the first course covered by the Organic Law 1/1990 of 3 October, of Ordination, will cease to be taught. General of the Educational System, corresponding to the title of Superior Technician in Realization of Audiovisual and Entertainment.

2. In the course of 2013-2014 the second course of the training cycle referred to in Article 1 of this order will be implemented and the second course lessons covered by the Organic Law 1/1990 of 3 October will be stopped General Management of the Educational System, corresponding to the title of Superior Technician in Realization of Audiovisual and Entertainment.

Additional provision third. Linguistic enablement of bilingual teaching faculty.

Teachers who are to be taught in English must be in possession, before the date of commencement of each academic year, of the relevant language qualification, to which the Ministry of Education, Culture and Sport will carry out an enabling procedure before the start of each course.

Additional provision fourth. Training of bilingual teaching staff.

The Provincial Directorates and the Board of Education will schedule courses and training activities in the English language for all teachers of vocational training to be taught in professional modules. which may be taught in the English language, who will have the obligation to assist them until they obtain the required qualification. These measures shall apply until at least the year 2020.

The training to be offered will be three types:

a) Intensive training, through a course, preferably in face-to-face mode, during the month of September.

b) Long-term training throughout the school year, by means of a course that combines in-person and online form, which will be performed outside of the mandatory time in the training center. During the period of completion of the vocational training module in the workplace, this course will be intensified and will be carried out, as far as possible, within the required time of stay in the centre.

(c) Training in English-speaking country, through courses, which will be possible to include cultural visits and conferences, and which will be carried out at the end of the course after the completion of school activities in the training centres.

Single transient arrangement. Replacement of titles related to these teachings.

1. The student who, at the end of the school year 2011-2012, meets the conditions required to attend the second course of the title of Superior Technician in the Realization of Audiovisual and Entertainment, covered by the Organic Law 1/1990, of October 3, General Management of the Educational System, and which has not exceeded any of the professional modules of the first course of the aforementioned title, will have two calls in each of the two successive years to be able to overcome these modules professional. After that period, in the course of the school year 2014-2015, the convalidations, for the modules exceeded, as laid down in Article 15.1 of Royal Decree 1680/2011 of 18 November, for which the title of Technician is established, will apply. Superior in Realization of Audiovisual and Entertainment Projects, regulated by the Organic Law 2/2006, of May 3, of Education.

2. To the students who, at the end of the school year 2011-2012, do not meet the conditions required to attend the second course of the title of Superior Technician in Realization of Audiovisual and Entertainment, covered by the Organic Law 1/1990, of 3 of October, for the General Management of the Educational System, will be applied to the convalidations established in article 15.1 of the Royal Decree 1680/2011, of 18 November, for which the title of Superior Technician is established in the Realization of Projects Audiovisual and Entertainment, regulated by the Organic Law 2/2006, of 3 May, of Education.

3. The students who, at the end of the school year 2012-2013, do not meet the conditions required to obtain the title of Superior Technician in Realization of Audiovisual and Entertainment, covered by the Organic Law 1/1990, of October 3, of Ordination General of the Educational System, it will have two calls in each of the two successive years to be able to overcome these professional modules, with the exception of the training module in the center of work for which a school year will be available supplementary. The students who have not obtained the title after that period have not obtained the title, for the modules they have exceeded, as laid down in Article 15.1 of Royal Decree 1680/2011 of 18 November, establishing the title Superior Technician in the Realization of Audiovisual and Entertainment Projects, regulated by the Organic Law 2/2006, of May 3, of Education.

Final disposition first. Application of the order.

The Directorate-General for Vocational Training, in the field of its powers, is authorised to take the measures and to issue the necessary instructions for the implementation of the provisions of this order.

Final disposition second. Entry into force.

This order will take effect the day following your publication in the "Official State Bulletin".

Madrid, 15 February 2012.-The Minister of Education, Culture and Sport, José Ignacio Wert Ortega.

ANNEX I

Professional modules

1. Professional module: Planning of film and video realization. Code: 0902

Contents:

a) expressive planning of audiovisual sequences:

Features and codes of film genres, videographic, multimedia and new media: Internet, mobile phones and other screens.

Techniques for creating audiovisual sequences based on the study of the characteristics of the image.

Expressive planning of audiovisual sequences.

Fragmentation techniques of the audiovisual scenic space.

The motion of the camera and of the referent in the analysis and construction of audiovisual messages.

Suggested geographies build procedures: field and off-field.

Composition techniques applied to the performance of audiovisual products.

Maintenance techniques of continuity in audiovisual accounts: narrative continuity, perceptive, formal raccord, movement, action, direction, lighting, costume and daring, among others.

Space/time articulation procedures in the account.

Audiovisual realization techniques applied to the resolution of interactions and situations with different numbers of characters.

Functionality, expression and communication of the sound resources of an audiovisual production.

Design of soundtracks of an audiovisual product that responds to their communicative requirements.

Analysis methodology for audiovisual products.

b) Assessment of the characteristics of the staging of audiovisual works:

Technical, expressive and communicative functions of staging.

Similarities and differences in staging according to media: film, television, multimedia, video games and new media.

Evolution of the audiovisual movements in their relationship with the staging.

Audiovisual scenographic techniques: setting, decoration and daring.

Expressive value of lighting: typology of lighting in audiovisual according to genera, quantity and quality of light, schemes of illumination of subjects and objects, and chromatism.

expressive and communicative functions of the dressing room, makeup, characterization and hairdressing. Special effects.

Functions of the gestural codes in the interpretation. Developing the role of the character.

c) Elaboration of audiovisual technical scripts:

Types and formats of audiovisual scripts according to type of genres:

Fiction, reporting and documentary.

Scripts for multimedia productions and video games.

Narrative techniques applied to the construction of fictional audiovisual accounts:

The theme idea and the dramatic idea.

Conflict and basic intrigue.

Approach, development, and outcome.

Frame and Subframe.

Character characteristics and typologies.

Features and functions of audiovisual dialogues.

Literary script construction process: idea, documentation, story line, synopsis and treatment.

Literary script to technical script transformation process: planning.

storyboard construction techniques.

Processes for adapting pre-existing works to audiovisual scripts.

The adequacy of the sound expression in the audiovisual scripts.

d) Determination of the characteristics of the resources necessary for the performance of a film, video or multimedia:

Functions and organizational structure of the industry in film, video, multimedia and new media: production and auxiliary companies or service companies.

Typology of processes of audiovisual production: phases and characteristics according to media and technology.

Sources of audiovisual funding.

Typology and characteristics of the technical and artistic personnel in the different phases of production of the project.

Criteria for selecting technical and artistic equipment.

Typology and characteristics of the material and logistic resources in the production phases of the project.

Typology and characteristics of locations, studies, and scenarios.

Criteria for selection of scenic materials: setting, lighting and special effects.

Typology and characteristics of the elements used in the characterization: costumes, accessories, makeup and hairdressing. Selection criteria.

Typology and characteristics of the visual, graphic and sound documentation supporting the realization of audiovisual projects. Selection criteria.

Resource breakdown techniques from the analysis of the script or definitive project documentation. Drawing up needs lists.

Distribution and exhibition processes for audiovisual products: film, video, multimedia and new media.

e) Determination of the characteristics and the setting of scenic spaces for the recording of an audiovisual work:

Ambient and Scenography:

The art director and his team.

Construction of decoration and adaptation of locations for audiovisual productions.

Daring, dressing room, hairdressing, makeup and characterization.

The scenic space for film and video:

Dishes for film and video.

Feature of the running space.

Access and auxiliary installations.

Fixed and mobile lighting equipment.

Power facilities and stand-alone generators.

Location procedures:

Analysis of the technical, aesthetic and expressive needs of locations.

Search for locations and analysis of documentation.

Site logistics: infrastructure, accommodation, travel and catering among others.

Localization reports and tabs.

Permissions for localization.

Expressive possibilities of decorations and locations.

Techniques Applied to Contingency Management in Scenic Spaces:

Organization of alternative locations.

f) Evidence for the selection of actors for audiovisual works:

Typology of characters: protagonists, secondary, episodic, figurative and specialists, among others.

Definition, characterization, sequence breakdown, and character situations.

Artistic staff selection process:

Sources for obtaining actors.

Representatives and agencies.

Type of actor selection tests.

Analysis techniques for character characteristics.

Defining the artistic and functional criteria of the selection tests.

Improvisations and Trials.

Selection Test Organization Techniques.

Drafting results reports for selection.

Actor choice criteria from test result analysis.

Artistic staff hiring models:

Remuneration of artistic staff.

Hiring of figurines and public.

Drafting contract clauses.

g) Planning of the filming/recording of the sequences of an audiovisual work:

Election of the filming/write plan model according to the media and product type: model typology.

Computer applications for the construction of the shoot/write plan.

Procedures for determining the phases of work in the planning of the audiovisual project.

Log time assessment techniques or performance by consistent production sequences, blocks, or units.

Organization procedures for the order of record or realization by consistent production sequences, blocks, or units.

Contingency forecasting in the application of the shoot/write plan: planning of alternative solutions.

Resource allocation and optimization techniques in the construction of the shoot/write plan.

Planning for the delivery of intermediate and final products in the different phases of the audiovisual project.

Design and construction techniques for the filming/recording plan according to the media and product type.

Affecting the realization model to the budget of the audiovisual work.

2. Professional module: Processes of film and video realization. Code: 0903

Contents:

a) Coordination of human, artistic and technical resources for filming/recording:

Technical documentation analysis techniques for the filming/recording process:

Shooting/Write Plan.

Resource listings.

Work orders for artistic and technical teams.

Preparing reports for the day of filming.

Plan of adaptation of the service accumulation plan to human and technical resources.

Organization and control of the mechanical processes of filming/recording with one or more cameras:

Adaptation of the camera placement according to the purpose and expressiveness of the realization, choice of objectives and height.

Adaptation of motion machine movements and camera supports according to performance.

Shooting machinery and camera supports.

Adaptation of the lighting in the filming/recording.

Control of the scenery.

Defining the recording of the sound aspects in the shooting/recording.

The organization of the choreography of actors and their relationship with the machinery and the script.

Communication procedures for work orders to the artistic and technical team.

b) Coordination of the availability of technical, material and logistical resources for filming/recording:

Verification of the adequacy of the technical equipment at the location or set of filming.

Location technical conditioning control techniques:

Accessibility, spaces, security, and communications.

Scenographic and technical adaptation needs.

Drafting the final localization report and its distribution.

Logistics resolution techniques:

Monitoring the conditioning of the transport of technical equipment.

Control and storage of equipment.

Verification, in the location or set of filming, of the operation of the technical equipment:

Record check, lighting, sound, and shooting machinery.

Installation verification procedures and filming spaces:

Checking the installation, placement, and suitability of the decoration.

Checking the elements of daring and control of the scenery.

Verifying the operation of the viewing room and other technical facilities.

c) Direction of the tests with the technical and artistic teams involved in the filming/recording:

Communication with staff during trials:

Citations, calls, and transport orders.

Shooting plan communications and modifications.

Specific requirements of the hairdressing area, makeup and characterization. Citations for actors and figuration.

Testing techniques with technical personnel.

Assessment of times and durations in staging:

Organization of tests and camera tests for costumes, makeup and characterization.

Testing techniques with artistic personnel:

Actor, figurative, and specialist management techniques.

Construction of the character by the artistic team.

Organization of the work of the figuration during the trials.

Organization of the work of specialists and special effects.

Managing security for artistic personnel.

Elaboration of the report plan for technical, stage, and interpretive corrections.

d) Address of the filming/recording of an audiovisual work:

Documentation processing techniques for filming/recording:

Adaptation of the filming schedule documents: technical dash and storyboard.

Daily filming/write plan control.

Crafting the camera parts and other filming/recording documents.

Application of realization techniques in shooting/recording:

Control and realization of the sequence plane, master plan and coverage plans.

Resolution of dialog scenes.

Choreographies and Music Numbers.

Control of shooting with multiple cameras.

Claqueta identification techniques.

Control of the maintenance of formal continuity.

Shooting/Write techniques for action sequences.

Shooting/recording techniques with virtual staging and optical effects.

Sound takeover and control assessment.

Daily filming report: modifications and elaboration of new work orders.

Motivation techniques and personnel management.

Prevention of professional and environmental risks during filming.

e) Organisation of audiovisual material recorded in the filming/recording of an audiovisual project:

Technical documentation preparation techniques for the mounting and post-production phase:

Minutes, duration, and time codes.

Description of the plane and sound content.

Pre-production and post-production planning:

Adapting formats for mounting.

Selection of material for image assembly: drawings, graphics and effects, among others.

Selection of sound assembly material: music, sound effects, and other sound elements.

Staging the mount dash.

Management, control, conservation and archiving of audiovisual material generated during filming:

Managing the daily material generated in the shoot/write.

Labelling and archiving of audiovisual material.

Archive and preservation of audiovisual material.

Closing procedures for the technical documentation of the filming/recording.

3. Professional module: Planning of the realization on television. Code: 0904

Contents:

a) Defining the characteristics and format of a television program:

Types of television companies: platforms, broadcasters, producers and service companies. Ownership. National, regional and local level. Television advertising.

Television genres and formats: informative, reportage, documentaries, debates, magazines, retransmissions, musicals and fiction.

Audience characteristics and studies.

Television programming techniques. Grill, strategies and techniques.

Television realization models: live program, deferred direct, block write, live streaming, and deferred retransmission.

Expressive lighting in television programs.

The expressive sound in television programs.

The use of narrative resources in television. Design conditioning for all.

The TV script and the program scale.

A television program analysis methodology.

b) Development of the staging of the television program:

Script breakdowns in fiction projects and television programs. Coordination between the production and production teams.

The breakdown models of the television program's execution script. Breakdown sheets for locations, decorations, stage elements, daring, distribution, figuration, costumes, characterization, vehicles, lighting and sound effects.

Determining the characteristics of the recording studio and the locations from the script. Suitability factors for locations.

Structure, rhythm, and narrative resources in fiction projects and television programs.

Television program scale realization techniques. Structure in blocks or sequences. Determination of advertising or promotional breaks. Relationship of interventions, videos, lines, and durations.

Job plan drafting techniques.

c) Preparation of materials for the preproduction of a television program:

Determining the needs of archival audiovisual material in television programs.

Procedures for obtaining audiovisual materials. News agencies. Audiovisual documentary funds.

Determination of the graphics material in television programs. Management of the realization of graffiti.

Typology and labeling strategies in television programs.

Virtual systems for editing and writing audiovisual news and documents.

Management of resources protected by intellectual property. The copyright statement.

d) Planning for multicamara realization in television control:

Planning of the television set. Types of stage elements. Decorated plants and standard representations and three dimensions.

Virtual Scenography.

The staging of fictions and television programs.

Axes and directional sense in multicamara realization.

Planning of action movement in multi-camera realization: camera and motion shots.

Space articulation techniques and time in television realization.

Image and sound articulation techniques in television programs.

expressive use of sound and lighting in television programs.

Control of the television station.

e) Control of emission, advertising and self-promotion times in television continuity:

Processing techniques for the continuity scale.

The scoring elements in the television continuity.

Territorial connections and disconnections.

Audiovisual media management and documentation in television continuity.

Operation of television continuity equipment.

End-of-edition operations on programs and parts to issue.

Communications and orders for continuity in television broadcasts.

Forecast of incidents in television continuity.

4. Professional module: Television realization processes. Code: 0905

Contents:

a) Developing the work script for completion:

Monitoring the quality of audiovisual materials from pre-production.

Video Pieces to be played on TV shows: totals and queues.

Minuted data according to different program typologies.

Identification of passages, voices and instruments in musical performances.

Recording types in television realization: master, unencrusted signal, and masterized cameras.

The work script in the multicamara realization.

b) Control of the reproduction and emission of video pieces, sources and artistic performances in television programmes:

Methods of anticipation of videos in attendance at control.

Step-to-video data: previous intervention's output foot, input line, duration, output foot, and coleo.

Methods of anticipation of passages, actions, dialogues, voices and instruments in the performance of musical performances.

Methods of anticipation of actions and dialogues in television fictions.

Techniques and strategies for recording and reproducing repetitions in sports retransmissions.

c) Realization of multi-camera television programs:

The coordination of the human team of television programs.

Communication and orders in the realization control.

Television realization dynamics according to genres and formats.

Expressive functions of framing and camera movements. Multi-camera composition techniques.

Live-mount techniques in television performance.

Actor's directing techniques in television fiction programs.

Performing transitions. Expressive and narrative uses.

Signal embedding: signals involved in the program, expressive and communicative uses.

Graphics in the making of television: expressive, communicative and aesthetic uses.

Dynamics of the use of sound elements in television.

d) Coordination of TV dish activities:

Procedures for coordinating the activities of technical and artistic teams in the television studio.

Techniques of use of the orders to be transmitted in programs and television broadcasts.

Procedures for monitoring positions and movements of artistic personnel in the television studio: interpreters, presenters and guests.

Camera position monitoring and maneuverability forecasting procedures.

Visual continuity monitoring procedures in television fictions: of interpreters, costumes, daring and lighting.

Coordination of special effects, lighting effects and sound effects in the television studio.

Control of display media and screens in the television studio.

Management techniques and public animation in television programs.

e) Mix of fonts, transitions, embeds, and effects:

Input and output line chart of the video mixer: in relation to the signal sources and the destinations of the previous, program and auxiliary outputs to recorders, monitoring and continuity control.

Technical monitoring of camera signals via waveform monitor, vectorscope and Rasterizer.

Technical tuning of video signals from cameras using their camera control units.

Expressive image adjustment: in brightness, contrast, color saturation and chromatic balance, according to expressive intentions.

Video mixer input and output configuration techniques.

Video mixing techniques:

Pretuning, memorizing, and executing transitions.

Inlay and digital effects on the video mixer.

Dynamic and conditioning of the selection of video sources in television performance.

Managing, pre-setting and launching labels on television.

f) Realization of technical operations supporting the realization:

Configuring and tuning magnetoscopes, remote controls, hard drives, and video server systems for realization control.

Search and launch video parts on magnetoscopes and video playback systems.

Program and auxiliary signal recording systems and operations: in magnetoscopes, hard drives, and video server systems.

Hard disk operation techniques and video server systems for recording and reproducing repetitions in sports retransmissions.

Monitored on multi-display systems of the realization control. Assignment of signs and tallies to monitored signals.

Selections of entries and destinations for video and audio signals in the switch arrays and preselectors of the realization control.

Titulator operation techniques and tag out applications in the realization control.

5. Professional module: Planning of audiovisual assembly and post-production. Code: 0906

Contents:

a) Evaluation of the communicative, expressive and technical characteristics of the assembly project:

The mount:

Treatment of time, space, and idea or content in the mount.

The soundtrack in the mount.

Maintenance of the continuity in the mount.

Internal and external pacing in the mount.

Application of Mount Techniques:

Mount sequences.

Assembly of dialog scenes.

Action scenes mount.

Documentary assembly.

Suspense articulation.

Extreme fragmentation and rule breaking techniques.

Express use of the jump cut.

Technical documentation of an audiovisual project at the stage of assembly:

Typology of documents: hyphen and auxiliary documents.

Structure, codes, and symbology used.

Technical assembly effects and their involvement in the run-in phase.

b) Planning of the process of mounting and postponing an audiovisual project:

Characteristics of assembly and post-production companies: typology, organizational structures, and selection criteria.

Features of the assembly and post-production rooms for cinema, video and TV: typology, models and selection criteria.

Phases and professional functions involved in the assembly and post-production of audiovisual works.

Assembly and post-production process planning techniques: time diagrams and activities. Implementation of existing legislation on universal accessibility and design for all.

Image and sound editing and post-production platforms and systems: typology and choice criteria.

Technical characteristics of video, film, photography and sound formats in relation to the assembly and the post-production of audiovisual works.

Standard definition and high definition, and its involvement in the assembly and post-production of audiovisual.

Image and sound scanning techniques and their relationship to assembly and post-production: video compression and codecs.

Image and sound multigeneration techniques.

Medium file transfer between different applications: OMF and MXF formats.

c) Introduction of media in the edit system:

External identification techniques for physical media: media media identification systems.

Minutive techniques for the shooting and fetching material.

Media physical media compaction techniques:

Viewing copies with time-to-screen codes.

Duplicates.

Formats conversions of physical media. Tools, applications, and techniques.

Managing the time code in video/audio materials:

Insert, sync, and management techniques for discontinuities and time-code interrupts.

Control of the original pietage on telecins.

Procedures for evaluating the technical quality of image, audio, and graphic material sequences.

Configuring, connecting, and operating linear and nonlinear editing systems.

Configuring, connecting, and operating electronic editing systems.

Capture and ingest media to an editing system from analog and digital sources:

Configuring video sources.

Capture modes and processes.

Transferring and ingesting media from cards or disks.

Importing files.

Defect and incident correction techniques for media containers.

d) Generation of effects, image processing, sound, graphics and media preparation:

Software platforms and tools for the creation of special effects, graphics and tag-out:

Application catalog and additional software tools.

System configuration and requirements for special effects editing, photography, graphics, and tag-out applications.

Process of generating patterns and models of image, sound, graphics, and tag-out effects.

Photographic image processing and editing techniques for audiovisual assembly projects:

Preparing and configuring the photographic image for audiovisual projects.

Fixed image processing and editing for audio-visual assembly.

Special effects creation techniques in post-production:

Type of effects.

Technical and application of special effects for audiovisual projects.

Graphism and illustration creation techniques in post-production:

Preparing and configuring graphics for audiovisual projects.

Vector image processing and editing for audiovisual assembly.

Cross-platform exchange protocols:

Exchange files.

Exchange documents: parts of work, technical reports.

e) Sorting of image, sound and infographic materials:

Organization procedures for editing project materials using computer applications:

Project organization design techniques.

Material clustering criteria.

Media file management procedures:

Identification, marking, and tagging of valid sockets.

Organization of clips.

Material classification procedures for the elaboration of effects.

Sorting and organizing procedures for leftover and discard materials.

Raw synchronization procedures from different sources from a concurrent record.

Takes preparation techniques for pre-mounting audio dubbing.

6. Professional module: Realization of audiovisual assembly and post-production. Code: 0907

Contents:

a) Configuring and maintaining editing and post-production equipment:

Edit/post-production room optimization and configuration procedures:

Defining and monitoring room technical equipment.

Selection of video recording and playback devices.

Determining the workflow.

Configuration and optimization procedures for audio, video, and television take and post-production rooms:

Routing of signals on the editing team.

Analog and digital sound table operation techniques.

Selecting the fetch devices.

Maintenance of mounting and post-production equipment:

Equipment failures and breakdowns: detection methods and corrective actions.

Preventive maintenance operations.

b) Realization of the assembly and post-production of audiovisual products:

Audiovisual mount systems operation:

Non-linear edit.

Virtual editing with simultaneous write and playback devices on random access storage media.

Offline edition. The EDL.

The mounting process:

Media collection.

Identification, selection, and sorting of materials.

Homogenization of formats and aspect ratio.

Mount on the timeline.

Fine tuning on the timeline.

Construction of the soundtrack.

Video and audio synchronization.

Output options for the completed mount.

Application of the theories and techniques of the audiovisual assembly in the resolution of programs.

Assembly evaluation procedures.

c) Generation and introduction of image effects in the assembly and post-production process:

Devices for generating video effects:

Effects programming.

Memory of settings and parameters.

Image post production systems and platforms:

Composition tools.

Retouching tools.

Color correction tools.

Multi-layer composition techniques and procedures:

Organization of the project and workflow.

Layer management.

Creating masks.

Animation. Interpolation. Trajectories.

Effect application procedures:

The effects of key. Overlay and embedding.

Color correction and image effects.

Video Image Retouching.

Motion Effects.

Tracking effects.

Planning the recording for follow-up purposes.

Chart and Tag Creation Techniques:

Tag out tools.

Composition of charts and titling.

Graphic design techniques.

Application documentation to mount and post-production operations.

d) Preparation of materials for exchange with other platforms and external companies:

Services catalogs of service companies to post-production.

Film lab services:

Made available to the media lab.

Input and output products.

Exchange documents:

Work Orders.

Documents of technical specifications.

Material interchange systems and protocols:

Graphics and infographic documents.

2D and 3D animations.

Exchanges of photosensitive materials.

International exchanges: audio, subtitles, and roaduses.

Media classification, identification, and storage techniques:

Audiovisual documentation services.

File systems.

Descriptors for media identification.

Cross-platform media and exchange formats.

Media and exchange formats for sound post-production.

e) Finishing processes in the post-production of the audiovisual product:

Final assembly and sonization processes.

Techniques, procedures and workflows in the product finish: image stabilization, etalonage and color correction and monitoring systems.

Techniques and workflows in offline editing: conformed and cut from negative.

Product Quality Control:

Distribution of sound tracks on video and film media.

The international band.

Quality standard maintenance.

PPD (Ready for broadcast or broadcast) rules.

Technical regulations applied to image and sound.

Postproduction technical final balance: assessment criteria.

Quality control in assembly, editing, and post-production:

Protection, classification, and documentation of the generated product.

Material exchange systems and protocols.

Material classification techniques.

File systems and documentation.

f) Adequation of the master's characteristics to the different formats and technologies used:

Technical Constraints on the different windows of the exploitation of audiovisual products.

Dissemination of audiovisual products through television operators.

The commercial distribution: downloading of contents and copies with physical support.

Formats for projection in movie theaters:

Projection of online content.

Sound systems for display.

Location of the sound tracks in the standard copy.

Master's get process and exploitation copies:

For film display.

For television broadcast.

For distribution on optical media (DVD and Blu-ray).

For online distribution systems.

DVD and Blu-ray authoring systems:

Design of Authories.

Generation of viewings.

Anti-copy protection systems.

Generation of backups and video mirroring.

Presentation of the product.

Classification and file of media, documents, and data generated in the mount/postproduction process.

7. Professional module: Planning of the regatta of shows and events. Code: 0908

Contents:

a) Evaluation of the dramatic, narrative and functional characteristics of a scenic project:

Features of live shows and events. Typology and differential and specific elements:

Technical features of shows: theatre, dance, opera, circus, pantomime, magic and performance.

Technical characteristics of musical productions: concerts.

Technical features of events: fashion passes, presentations, rallies, conventions and sporting events, among others.

Dramatic genres and their differential elements.

Elements of dramatic structure in performing arts: theme, argument, characters, dramatic action, space and time.

The structure and narrative discourse applied to the performing arts:

A methodology for analysis of the dramatic structure and narrative structure of text in shows and events projects.

Features of scripts, escalets, librettos, and use scores in shows and events.

Script-making techniques for shows and events. Artistic and technical scripts.

Technical evolution of schools and artistic movements of live shows and events.

b) Assessment of the features of staging a show or event:

The theatrical architecture. Functional evolution of the container buildings of shows and events.

Technical evolution of scenic spaces for the representation of live shows and events, in their relationship with the staging.

Address and staging: technical procedures.

Functions of the interpretive codes in the shows.

Evolution of schools and interpretative techniques for shows.

Functions of the scenery and the use in the show. The spatial design. Costume, makeup, hair and other stylistic elements.

Functional and expressive value of lighting in live shows and events.

Music functions and sound effects in the performing arts.

The application and functions of audiovisual in the performing arts.

Application of existing legislation on universal accessibility and design for everyone in the staging of a live show or event.

c) Elaboration of the technical, artistic, and organizational documentation of a show or event project:

Organization structure of show production companies.

The process of developing a performing arts show, musical performances, events, and others:

Preproduction, production, release, display, or tour.

Managing event and event projects.

Functions and tasks of artistic and technical collectives:

Address, production, and technical equipment.

The cast.

The functions of the ruler.

Techniques for the realization of the breakdown of resources and the elaboration of technical listings:

Breakdown of technical, material and logistical resources.

Breakdown of the artistic staff.

Breakdown of the technical staff.

Control techniques for the implementation of the set-stage.

Building the regatta book:

Order of scenes, duration and breaks.

Changes raised for scenery, utility, and locker room.

Characters inputs and outputs.

Expected lighting, sound, and audiovisual effects.

Sequence of actions required to facilitate the work process.

d) Planning for a show or event project:

Trial process:

Text Reads. Italian.

Scene Trials.

Technical tests.

General tests.

Techniques and methods for planning:

Sequence of tasks and activities.

Methods of crafting the Pert and Gantt activity diagrams.

Planning for spaces and services for rendering in unprepared spaces.

Tailoring of the time table. The calls.

The regulations and labor laws of shows. Collective agreements of the show.

Enabling test spaces and rendering:

Conditioning the spaces.

Functional distribution of spaces.

Distribution of actors in the Cameroonians.

The placement of the locker room and the utility.

Safety and occupational risk prevention regulations.

Greeting and hygiene of spaces.

e) Valuation of the adaptation of a show or event project to new spaces of representation:

Adapting the script or regatta book to new rendering spaces.

Processes of adapting a live show or event to new spaces:

Local's own organization.

The use of the back stage.

The walls regidor functions.

Documentation on changes and adaptations.

Lightweight architectures used for activities in unconditioned spaces:

Trusses.

Modular scenarios.

Scaffolding.

Storage, packaging and storage techniques.

Equipment and transport logistics.

8. Professional module: Process and event regatta processes. Code: 0909

Contents:

a) Preparation of technical, material and human elements:

Incident resolution techniques in the trials.

Coordination of regatta with technical and artistic direction.

Technical past performance techniques in the trials.

Time control systems in the tests.

Control of technical and stage changes.

Trial documentation: trial memory, regal book update, and regatta script realization.

Coordination with technical and artistic collectives.

Risk assessment during trials.

The coordination of prevention activities.

b) Design of the procedures for the management of the work processes of the technical and artistic teams of a show or event:

Management techniques and styles. Leadership and motivation techniques in shows and events:

The resolution of interpersonal conflicts in shows and events.

Staging procedure in staging.

Test room marking techniques.

Techniques and styles of interpretation.

Gestural and verbal codes in communication.

Transmission techniques for information generated during testing

Monitoring procedures for stage elements in trials.

Work plan application and monitoring techniques.

Work plan follow-up documentation in the trials.

c) Establishment of the tasks of the collectives involved in the trials of a show or event:

Features of teamwork in shows and events.

Driving, moderating and participating in show work meetings.

Intervention addresses to interpreters and technicians.

The fixing of changes in interpretation during testing.

Control of movements and movements of characters in shows and events.

Techniques for control of technical variations in trials.

Control and fixation techniques for all actions that make up a show or event.

Specific language and codes applied to the event and event regatta.

Resolution of conflicts regarding security-freedom of creation.

Risks associated with working conditions in shows and events.

d) Evaluation of the procedures for monitoring activities prior to the start of the show or event:

Technical and artistic personnel arrival control procedures.

Monitoring techniques for performing the past technique:

Planning and control of activities.

Control of times.

Room open sequence: warnings and prevention:

Communication to participants.

Order of intervention for technical and artistic collectives.

Public host processes:

Volume of affluence.

Dispensing of tickets at the box office.

Elements that affect the beginning of the act.

Control techniques for communication and signaling systems.

Security control procedures in the representation.

e) Setting the order of actions to follow during rendering:

Specific processes in performances (theatre, dance and lyric), music (pop-rock, classical or symphonic) and in events:

Input and output orders for actors, singers, choirs, dancers, figuration, presenters, and speakers.

Order of entry and exit of decoration mechanisms.

Order of the decoration changes.

Order of the effects of lighting, sound and audiovisual effects.

Costume and utilery change orders.

Control of times of partial elements of representation:

Acts.

Decorated changes.

Breaks.

Bises.

Greetings to the public.

Contingency control procedures in shows and events:

Momentary or total suspension procedures of the act.

Communication techniques to the public.

Security and evacuation plan implementation techniques in public concurrency.

f) Procedures for closing and assessing the representation of the show or event:

Reporting techniques or daily parts of the function.

Technical incident resolution:

Planning for technical adjustments.

Incident resolution with artistic staff:

Tuning times and trials into substitutions.

Update techniques during the representation of the daily tablet.

Live show balance and event: closure and valuation.

Final regnum book elaboration procedures:

Contributions from the departments involved.

Starting model in new representations.

Material selection procedures for your file and cataloging.

9. Professional module: Audiovisual and scenic technical media. Code: 0910

Contents:

(a) Determination of the technical conditions of the lighting and stage equipment needed in audiovisual shows and media:

Photometry, colorimetry, color temperature of light sources, natural and artificial. Magnitudes: degrees Kelvin and Grades Mired. Measuring instruments: thermocolimeter and fluxometer.

expressive quality of light. Hardness and softness of the light beam. Coverage.

Applied electricity for lighting installations in audiovisual shows and media:

Electrical magnitudes.

Supply and electrical connections to the network and to generators. Electrical frames and phases.

Audiovisual lighting sources and filament lamps, discharge, fluorescence, and LED.

Lighting equipment for shows and audiovisual media: open-beam projectors, lens projectors, soft light reflectors, modular and robotic devices.

Scenarios and theatrical architecture. Grand Support, Truss, modular scenarios and scaffolding.

Characteristics of the carpentry, metalworking materials and finishes in the construction of decoration.

Scenic machinery.

b) Determination of the technical qualities of imaging equipment in film, video and television:

Film and video goals: types, parameters, and accessories. Camera filters.

Characteristics of the objectives used in audiovisual productions: focal distance, focus, depth of field, depth of focus and effects on the image. Exposure control: luminosity, diaphragm and F. numbers

Record supports for various image capture technologies. Film camera film and generic features.

Technical features of digital video recording systems.

Features and capabilities of video formats on electrooptical disks, memory cards, and hard drives.

Cinematographic Cameras. Support in 16 mm, 35 mm or 65 mm. Video camera specifications. Audio settings in camcorders. Film and video camera supports. Camera head types and tripods.

Hand camera accessories: steadycam, bodycam and the like.

Travelling, dollies, pens, cranes and hot heads.

Robotic Camera Systems.

c) Determination of the technical qualities of sound equipment suitable for spectacles, radio and audiovisual media:

General technical performance of microphones for sound capture in shows, radio and audiovisual projects: typology, technical specifications and selection criteria.

Technical and operational capabilities of analog and digital audio tables for radio, entertainment and audiovisual: elements of the input module, elements of the output module of the audio table, and elements of the module monitored.

Audio amplification capabilities in scenic spaces, shows, radio, recording studios, and television studios.

Lines and amplification configurations for scenic spaces and radio and television studios.

Digital audio recording equipment for direct cinematographic and audiovisual sound, music recordings and radio and television programmes.

Technical capabilities of audio recorders on memory card, hard disk, or DVD RAM.

Synchronization requirements and time codes in relation to movie or video cameras.

Suitability of digital audio recorders for various types of recording in film, video, radio, entertainment and television.

Setting up recording studios and radio studies.

d) Determination of the technical means configuration of the realization control, the mobile unit, and the television continuity control:

General technical and operational qualities of video mixers, synchronisms generators, matrices or patch-pannel, video preselectors, cameras and camera control units, players and video recorders, Securators, autocue systems, and virtual staging systems.

Equipment diagrams and video and audio connections in mobile units, continuity controls, and performance controls in relation to the television set.

Video and audio equipment of the television continuity control and linkage between the different equipment and the continuity computing system.

Technical and operational qualities of analog and digital video mixers.

Types of television cameras in studio and retransmissions. Technical and operational capabilities. Television camera supports in studio and retransmissions.

Camera control units and operational controls: gain, gamma, diaphragm, level of black, manual and automatic black and white balance, detail and memorization of scene presets.

Monitoring, measurement and control of analog and digital video signals: waveform monitors, vectorscopes, and Rasterizers.

e) Determination of post-production equipment in audiovisual projects:

Equipment and configuration of linear post-production rooms.

Technical and operational capabilities of digital magnetoscopes.

Technical and operational capabilities of linear video editors.

Technical specifications for switch arrays.

Equipment and configuration of non-linear post-production rooms.

Workstation specifications for nonlinear editing.

Technical and operational qualities of non-linear editing applications.

Linking between non-linear editing teams in capture/digitisation and end dump processes.

Nonlinear Edit Project Configurations:

Video standard, scan, image size, image and pixel aspect ratio, and video codecs.

Frequency of sampling, quantification, channels, and audio codecs.

Non-linear edit project output configurations.

Determinants in the suitability of linear editing or non-linear editing in audiovisual and cinematographic post-production projects:

Medium and gender.

Offline or online edit type.

Input materials, edit decision list, and output materials.

Subsequent post-production or distribution phases.

Technical and operational capabilities of virtual newswriting and editing systems.

f) Defining the suitability of technical equipment in multimedia projects:

Technical capabilities of multimedia production computing equipment: processor, memory, hard disk capacity, optical recording and playback units, graphics card and display.

Benefits of storage systems.

Scanner, printer, and tablet capabilities.

Computing application capabilities for multimedia:

Image treatment applications, vector illustration, 2D animation, 3D modeling and animation, virtual staging, interactive design, web design, video editing and authoring for DVD and Blu-ray.

Ideal image, audio, and video file formats for multimedia projects.

Target media characteristics that condition the project's technical options: screen sizes, audio and video conditioning, and use and accessibility requirements.

g) Definition of multimedia, multi-channel and interactive technical options and qualities of audiovisual and multimedia programmes:

Standard definition television standards and emission formats in DTT, IPTV, satellite, cable and mobility.

Characteristics of analog and digital video signals:

Frequency of sampling, quantification, and encoding-decoding of audio and video.

Image definition, pixel type.

Progressive or interlaced scan, frames per second, and bit rate.

Interactive television: media, standards, interactive decoders, and return channels.

Modulation, frequency bands, and analog and digital radio standards.

Internet streaming and podcast types for audio and audiovisual media. Formats, codecs, and bit rates.

Interactive radio interactive radio receivers and technologies.

Digital media for distribution of audiovisual and music products:

Capacity, faces, layers, and densities.

DVD and Blu-ray Video Formats:

Bit rate and audio and video encoding-decoding.

Regional Codes. Subtitled.

Interactivity and navigation options using menus and charts. Additional media content.

Audio Formats on CD and DVD-Audio:

Audio systems, channels, and tracks.

Features of interactive broadcast across the Internet, DTT, mobile telephony, and digital media.

10. Professional module: Project to carry out audiovisual projects and shows. Code: 0911

Contents:

a) Identification of the needs of the productive sector and the organization of the company:

Identification of job roles.

Structure and business organization of the audiovisual and entertainment sector.

Company activity and its location in the audiovisual and entertainment sectors.

Organization chart of the company. Functional relationship between departments.

Industry trends: productive, economic, organizational, employment and other.

Work procedures in the company scope. Systems and methods of work.

Determination of excluded labor relations and special labor relations.

Collective agreements applicable to the professional field.

Company culture: corporate image.

Quality and security systems applicable in the industry.

b) Design of projects related to the audiovisual and entertainment sector:

Analysis of the local reality, of the business offer of the audiovisual sector and of the show in the area, and of the context in which the professional module of Training in work centers will be developed.

Collecting information.

The overall structure of a project.

Crafting a work script.

Project execution planning: objectives, content, resources, methodology, activities, timing, and evaluation.

Project Feasibility and Opportunity.

Review of applicable regulations.

c) Planning for project execution:

Sequencing of activities.

Elaboration of work instructions.

Making a risk prevention plan.

Documentation required for project execution schedule.

Compliance with safety and environmental standards.

Project quality assurance indicators.

d) Definition of procedures for monitoring and evaluating the performance of the audiovisual or show project:

Proposal for solutions to the objectives outlined in the project and justification of the selected ones.

Defining the project evaluation procedure.

Determining the variables that can be evaluated.

Documentation required for project evaluation.

Process and end product quality control.

Log of results.

11. Professional module: Training and employment orientation. Code: 0912

Contents:

a) Active job search:

Valuation of the importance of permanent training for the career and professional career of the superior technician in the Realization of Audiovisual and Entertainment Projects.

Analysis of personal interests, skills and motivations for the professional career.

Identification of training itineraries related to the higher technician in Realization of Audiovisual and Entertainment Projects.

Responsible for learning itself. Knowledge of the requirements and expected fruits.

Definition and analysis of the professional sector of the superior technician in Realization of Audiovisual and Entertainment Projects.

Planning your own career:

Setting work objectives, in the medium and long term, compatible with needs and preference.

Realistic and consistent goals with current and projected training.

Job search process in small, mid-sized, and large companies in the industry.

Learning and employment opportunities in Europe. Europass, Ploteus.

Job search techniques and instruments.

Self-employment assessment as an alternative for professional insertion.

The decision-making process.

Setting a personal checklist of consistency between career plan, training, and aspirations.

b) Conflict management and work teams:

Valuation of the advantages and drawbacks of the team work for the organization's effectiveness.

Equipment classes in the audiovisual and entertainment services sector according to the functions they perform.

Analysis of the training of work teams.

Features of an effective work team.

The participation in the work team. Analysis of the possible roles of their members.

Conflict definition: features, sources, and stages of the conflict.

Methods for conflict resolution or suppression: mediation, reconciliation, and arbitration.

c) Job Contract:

The right of the job.

Intervention of public authorities in industrial relations.

Analysis of the individual labor relationship.

Determination of excluded labor relations and special labor relations.

Hiring contract modes and promotion measures.

Rights and duties arising from the employment relationship.

Working Conditions. Salary, work time and work rest.

Modifying, suspending, and extinguishing the work contract.

Representation of workers.

Collective bargaining as a means of reconciling the interests of workers and employers.

Analysis of a collective agreement applicable to the professional scope of the superior technician in the Realization of Audiovisual and Entertainment Projects.

Collective conflicts of work.

New work organization environments: subcontracting and teleworking, among others.

Benefits for workers in new organizations: flexibility and social benefits, among others.

d) Social Security, Employment and Unemployment:

The Social Security System as a basic principle of social solidarity.

Structure of the Social Security system.

Determination of the principal obligations of employers and workers in the field of social security: affiliation, ups, downs and contributions.

The protective action of Social Security.

Classes, requirements, and benefits.

Unemployment-protected situations.

Systems of workers ' advice regarding their rights and duties.

e) Professional risk assessment:

Importance of preventive culture at all stages of professional activity.

Assessment of the relationship between work and health.

Analysis and determination of working conditions.

The concept of professional risk. Risk factor analysis.

Risk assessment in the company as a basic element of preventive activity.

Risk analysis linked to security conditions.

Risk analysis linked to environmental conditions.

Risk analysis linked to ergonomic and psychosocial conditions.

Specific risks in the audiovisual and entertainment sector.

Determination of the possible health damage to the worker that can be derived from the identified risk situations.

f) Planning for risk prevention in the enterprise:

Rights and duties in the field of occupational risk prevention.

Responsibilities in the field of occupational risk prevention.

Managing prevention in the enterprise.

Representation of workers on preventive matters.

Public bodies related to the prevention of occupational risks.

Planning for prevention in the enterprise.

Emergency and evacuation plans in work environments.

Elaboration of an emergency plan in a small or medium enterprise in the sector.

g) Application of prevention and protection measures in the enterprise:

Determination of individual and collective prevention and protection measures.

Action protocol in an emergency situation.

First aid. Medical urgency. Basic concepts.

Application of first aid techniques.

Training for workers in the field of emergency plans.

Surveillance of workers ' health.

12. Professional module: Enterprise and entrepreneurial initiative. Code: 0913

Contents:

a) Entrepreneurship Initiative:

Innovation and economic development. Main features of the innovation in the activities of the production and production companies of audiovisual and entertainment (materials, technology and organization of production, among others).

Entrepreneurial culture as a social need.

The entrepreneurial character.

Key factors for entrepreneurs: initiative, creativity and training.

Collaboration between entrepreneurs.

The performance of entrepreneurs as employees of a company related to the production and realization of audiovisual and entertainment.

The performance of entrepreneurs as entrepreneurs in the field of production and production of audiovisual and entertainment.

The risk in entrepreneurial activity.

Concept of entrepreneur. Requirements for the exercise of business activity.

Personal goals versus business goals.

Business Plan: the idea of business in the field of audiovisual and entertainment production.

Good practices of entrepreneurial culture in the activity of the production and realization of audiovisual and entertainment at the local level.

b) The company and its environment:

Basic company functions.

The enterprise as a system.

The overall business environment.

Analysis of the overall environment of a company related to the production and realization of audiovisual and entertainment.

Company-specific environment analysis.

Analysis of the specific environment of a company related to the performance of audiovisual and entertainment.

A company's relations with the production and production of audiovisual and entertainment with its environment.

Relations of a company of production and production of audiovisual and entertainment with the whole of society.

Company culture: corporate image.

Social responsibility.

The Social Balance.

Business ethics.

Social and ethical responsibility of companies in the production and production of audiovisual and entertainment sectors.

c) Creating and starting a company:

Company concept.

Enterprise Types.

The responsibility of the owners of the business.

Taxation in companies.

Choice of the legal form. Dimension and number of partners.

Administrative formalities for the formation of a company.

Economic Viability and Financial Feasibility of a Company Related to the Production and Performing of Audiovisual and Entertainment.

Analysis of sources of financing and budgeting of a company related to the production and production sector of audiovisual and entertainment.

Aid, grants and tax incentives for SMEs related to the production and production of audiovisual and entertainment sectors.

Company plan: choice of legal form, study of economic and financial viability, administrative procedures and management of grants and grants.

d) Administrative function:

Concept of basic accounting and notions.

Accounting operations: recording the economic information of a company.

Accounting as a true picture of the economic situation.

Analysis of accounting information.

Corporate Tax Obligations.

Requirements and deadlines for the filing of official documents.

Administrative management of a company related to the production and production of audiovisual and entertainment.

13. Professional module: Training in workplaces. Code: 0914

Contents:

a) Identification of the structure and business organization:

Structure and business organization of the audiovisual production and entertainment sector.

Company activity and its location in the industry.

Organization chart of the company. Functional relationship between departments.

The company's logistics organization. Suppliers, customers, and marketing channels.

Work procedures in the company scope. Systems and methods of work.

Human resources in the enterprise: training requirements and professional, personal and social skills associated with different jobs.

Quality system set in the job center.

The security system set in the job center.

b) Application of ethical and labour habits:

Personal Attitudes: empathy and punctuality.

Professional attitudes: order, cleanliness, responsibility and security.

Attitudes to the prevention of occupational and environmental risks.

Hierarchy in the enterprise. Communication with the work team.

Documentation of professional activities: methods of classification, coding, renewal and elimination.

Recognition and application of internal company rules, work instructions, standard work procedures, and others.

c) Planning and direction of filming/recording of audiovisual works:

Procedures for analyzing the documentation of audiovisual projects for the determination of their formal, aesthetic and communicative characteristics.

Techniques for the allocation of human and material resources in the different phases of the project.

Time to record time for scenes.

Elaboration of the shoot/write plan.

Contingency forecast in the shoot/write plan.

Technical and artistic essay planning and direction techniques.

Address procedures applied to the staging/recording.

Control of elements that converge in the shooting/recording.

Take validation: interpretation, image, and sound.

Management, conservation and archiving techniques for registered audiovisual material.

d) Planning and running programs in multicamara:

Analysis of TV program projects.

Program scale construction techniques.

Script breakdown techniques.

Determining the needs and arrangements for obtaining resources for the production of a multi-camera program.

Block recording planning: camera and character movement control, lighting control, audio, and other elements.

Preparation of audiovisual sources to be used in the implementation of a programme. Unifying formats.

Control in the making of entries and outputs of video pieces, sources, performances, interventions and others.

Multi-camera television program realization techniques.

Managing human resources in the realization.

Configuring auxiliary equipment, servers, and virtual systems in the writing and editing of television programs.

e) Planning and implementation of the assembly and post-production of audiovisual programmes:

Video Formats, graphics and sound files, and their relationship to assembly and post-production processes.

Minute, compacted and media identification techniques for mounting and post-production.

Planning procedures for the preparation of the plan for the assembly and post-production of audiovisual programmes.

Media quality verification procedures.

Selecting and configuring editing systems.

Determining the technical parameters for editing the editing platform.

Computer applications for generation of effects.

External platforms and their relationship to program assembly and post-production.

Masterization processes.

f) Test and regal planning in the representation of shows or events:

Script analysis and breakdown techniques for determining resources according to the sequence of actions to be developed.

Writing procedures for the first regatta book.

Annotation Techniques of the changes in the direction of the show or event: order of scenes, entries and exits of characters, changes of scenery, use, sound, luminaires, breaks and effects.

Test planning techniques.

Enabling workspaces.

Regulations and labour law of interveners in shows and events.

Compliance with the provisions for the prevention of occupational risks and public participation.

Event escalation techniques.

Functions and operations of the past in a show or event.

Redaction book wording.

Construction and analysis of the rider of the show or event.

Procedures for adapting a show or event to a new scenic space.

ANNEX II

Sequencing and weekly hourly distribution of professional modules

Higher Grade Formative Cycle: Realization of Audiovisual and Entertainment Projects

0904. Television realization planning

0906. Planning for audio-visual assembly and post-production

0908. Planning for show and event regatta

0910. Audiovisual and scenic technical media (1)

0912. Job training and guidance

0905. Television realization processes

0909. Show and event regatta processes

0913. Enterprise and entrepreneurship

	Module	Duration - Hours	First Course - h/week	Second Course
				2 quarters - h/week	1 quarter - Hours
0902. Film and video realization planning	140	4
150	5
160	5
130	4
200	6
90	3
reserved for the English imparted module	90	3
0903. Film and video realization processes	120		6
120		6
0907. Performing audio-visual assembly and post-production	140		7
120		6
60		3
reserved for the imparted module in English	40
0914. Job center training	400			400
0911. Project realization of audiovisual and show projects	40			40
Total in the formative cycle	2,000	30	30	440

(1) Professional training modules for other vocational training courses.

ANNEX III

Modules capable of being imparted in the English language

0903. Film and video realization processes.

0904. Planning of the performance on television.

0905. Processes of realization on television.

0906. Planning of audiovisual assembly and post-production.

0907. Realization of audiovisual assembly and post-production.

0909. Show and event regatta processes.

0910. Audiovisual and scenic technical means.

ANNEX IV

Minimum spaces and equipment

Spaces

Form Space

Surface
30 pupils	20 pupils
60	60	40
and sound technique.		40	40
180	180	180
and post-production rooms.	90	90
.	150	150

Minimum Equipment

Training Space

Aula multipurpose.	Pizarra.
	media (TV, DVD, CD players).
	Computers installed in network, high speed printer, projection canon, Internet access, and audio system.
Image and Sound Aula.	Individual computers, with sound playback systems and screens, installed in network and with Internet access
	Videoprojector with sound playback system and projection screen.
	printer.
	.
	Ofimatica computer applications (word processor, database, spreadsheet, and presentations)
	applications for planning, production, management, and realization of audiovisual and show projects
	applications for the generation and treatment of fixed image
	Computer Applications for Generation, Treatment, and Editing mobile image
	applications for special image effects
	generation, treatment, and sound editing
	applications for DVD authorship
rhoduction studies audiovisual.	Plato:
	Videocamas in study configuration with tripods or pedestals, with auto-cue and use-in-shoulder capabilities
	Cart traveling light.
	pluma or small crane.
	Parrilla and lighting equipment (fresnel projectors, fluorescent screens, projectors asymmetric and trim projectors)
	Lighting throttling system using dimmers and lights table
	diffuser filters, color temperature conversion, and color effects conversion.
	Reflection elements: estics, folding reflectors, reflection screens, and two-by-two-meter palio.
	cutting elements in cremer sheets, flags of various sizes, gauze and silks.
	and audio connections to the realization control
	Intercommunication system for regasties, cameras, and auxiliaries.
	microphones, tie microphones, and directional microphones, some in wireless version.
	System video and audio monitoring using video screens, headphones, and speakers
	Control of realization:
	Audio and video
	Mixer.
	Management and Control Computer
	External data storage systems with image inputs and outputs sound
	Titler.
	Autocue System.
	of Mixtures audio.
	sound monitoring system
with sound file management and launch software.
Control of cameras with video monitor, preselected and rasterizer or monitor Waveform with vectorscope.
System intercom with dish.
and post-production rooms.	Stand-alone video and audio capture teams:
	compact cameras, with rain-melt for camascope and transport bags for camascope.
	Tripods for camascope.
	Field monitors with power.
	Batteries for camscopes. Battery chargers. Power supplies for camascopes.
	Steadicams.
	-alone lighting equipment with cable-halogen torches, tripods and diffusers
	sound capture equipment by: wireless microphone system, directional dynamic microphone and tie microphone, pertiga, zeppelin, suspensions, and portable sound recording system.
	VisioningTeams: six viewing teams, composed by: monitor, headphones, DVD writer/player, Blu-ray player.
	-up room: armchairs for makeup, mirrors, specific lighting, hairdressing sink, dressing room, and shower
	Storing and daring
	Teams Computer-based individual edition, two screens per post and system of Sound monitoring by headsets.
	computers in network and with Internet access
	systems data storage with image and sound inputs and outputs
	Videoprojector with sound playback system and projection screen
	Scanner
	system for monitoring sound played in the room
	applications for fixed and mobile generation, treatment, editing and post-production
	Computer applications for sound generation, treatment, editing, and post-production
.	Truss or structure to place lighting, sound, and stage sets with boxes of electrical connections
	system composed of projectors (fresnel, PC, tracking cannon and trims), flags, light beam control accessories and system regulating lighting by dimmers and table of lights
	Scenic machinery with a minimum of three rods, on loom.
	System playback and sound control
	projection and viewing of fixed and mobile images
	Intercommunication system.