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Audiovisual Advertising Production

Code: 104902
Credits: 6
2026/2027
Degree programme Type Course
Advertising and Public Relations OB 3

Contact lecturer

Name :
Luis Fernando Morales Morante
Email :
fernando.morales@uab.cat

Teaching staff

Joan Riedweg Perez
Joaquim Crespo Miquel

Group languages

You can consult this information at the end of the document.

Prerequisites

This asignatura of third course of the Degree of Advertising and Public Relations, part of the knowledge on audiovisual grammar that the alumnado has received previously in the assignature: Writen, oral and audiovisual expression of first course.
The external students (Erasmus or mobility) or change of cycle must justify the minimum knowledge established in the teaching plan to be able to enroll in the subject.
It is recommended to contact before the start of classes with the teacher responsible for the subject.

Objectives

Conceptualization and realization of audiovisual advertising products.
1.- Production:
The general process of audiovisual production in film, television and Internet.
Specificity in advertising activity. Advertising formats.
2.- Realization:
The basic knowledge of audiovisual language.
Technological and technical training for the use of audiovisual resources for taking images and sound and staging.
3.- Post-production:
The technological and technical training for the use of the audiovisual resources of the assembly and the digital edition. This will allow to have a consolidated knowledge framework to define the importance of Production and Realization in the general formation of Communication and specifically of the advertising production process.
Knowledge of the development of audiovisual projects and organization of human resources, knowledge of the development of audiovisual projects and organization of human, artistic and technological resources to apply to their activity in the field of advertising.
Special impact on the advertising figure of the Producer as responsible for the organization and development of advertising production in the audiovisual media.

Learning outcomes

  • CM30 (Incorporate individual skills (creativity, use of expressive and technological resources) into the development of collaborative projects in the field of advertising and public relations.) Incorporate individual skills (creativity, use of expressive and technological resources) into the development of collaborative projects in the field of advertising and public relations.
  • CM31 (Devise graphic and audiovisual projects in the field of persuasive communication that respond to new expressive and technological trends.) Devise graphic and audiovisual projects in the field of persuasive communication that respond to new expressive and technological trends.
  • CM32 (Generate transformative graphic and audiovisual projects that reinforce democratic values and increase social rights.) Generate transformative graphic and audiovisual projects that reinforce democratic values and increase social rights.
  • KM32 (Describe the expressive and narrative resources involved in the production and realisation stages in the creation of persuasive audiovisual messages.) Describe the expressive and narrative resources involved in the production and realisation stages in the creation of persuasive audiovisual messages.
  • KM34 (Identify the technological tools and suitable formats for the production and realisation of persuasive audiovisual messages.) Identify the technological tools and suitable formats for the production and realisation of persuasive audiovisual messages.
  • SM28 (Plan the distinct stages of production for the creation of a persuasive audiovisual product.) Plan the distinct stages of production for the creation of a persuasive audiovisual product.
  • SM29 (Use the techniques of image and sound composition, framing, editing and montage to create comprehensible and attractive persuasive audiovisual messages.) Use the techniques of image and sound composition, framing, editing and montage to create comprehensible and attractive persuasive audiovisual messages.
  • SM30 (Operate cameras, microphones, mixing consoles, image and sound editing and retouching software and other post-production effects to produce persuasive messages that are understandable and attractive.) Operate cameras, microphones, mixing consoles, image and sound editing and retouching software and other post-production effects to produce persuasive messages that are understandable and attractive.

Contents


Syllabus

1.- PRODUCTION:

THE PRODUCTION PROCESS.

Production and organization phases.

Technical and production personnel.

Work plan.

Filming plan.

ADVERTISING PRODUCTION.

The advertising producer.

Relations advertising agency and producer.

The Producer.

Casting.

Advertising formats, genres and styles.

Production and realization styles.

Decalogue ethical and aesthetic.

2.- REALIZATION:

THE ADVERTISING SCRIPT.

The idea.

Synopsis and treatment.

The literary script.

The technical script.

storyboard.

 

THE REALIZATION.

Narrative units: plane, scene and sequence,

The camera: features and taking images and sound

The composition.

Planning the filming on set and outdoors.

3.- POSTPRODUCTION.

Assembly and rhythm. Sonorization.

The digital technological and technical process.

Soundtrack: voice, music, voice and effects.

Graphic editing: color, typography.

Learning activities and methodology

Title Hours ECTS Learning outcomes
Personal study and preparation of works 20 0.8 KM32, KM34
Tutorials 5 0.2 CM30, CM31, KM34, SM28, SM29
Theoretical sessions 15 0.6 CM30, CM31, CM32, KM32, KM34, SM28
Practice on the set 30 1.2 CM30, CM31, CM32, SM28, SM29, SM30

ACTIVE PEDAGOGY:

1 ADVERTISING PROJECT

The students are grouped into production EQUIPMENT from which they carries out the realization of an ADVERTISING PROJECT, aimed at devising, carrying out and designing the dissemination strategy of an advertising, commercial or social campaign, of which 'they end up producing a spot and a telestore, according to a model of active pedagogy, theoretical-practical, consisting of experiencing the theoretical concepts taught in the classes and applying models of audiovisual realization similar to those carried out in the professional field. The advertising project is aimed at organizing human, artistic and technological resources in the field of advertising production.

The PROJECT is therefore the backbone on which the theoretical corpus is articulated and experienced, applied through active peagogia, taking into account the stages of: PRE-PRODUCTION (Script and Organization), REALIZATION (Recording and staging) and POST-PRODUCTION (Editing).

The PROJECT has the support of a decalogue or manual of style with the fundamental aesthetic and ethical criteria to be taken into account for the realization of the products (spots and teleshopda) of the advertising project.

Each decalogue takes into account the following general reference criteria:

Image: use and narrative value of the plans, movements and movements of the camera, scenarios, light, color and graphics.

Sound: use and value of voice, music and effects.

Protagonists: justification of a typology of characters, as interactions between the characters.

Advertising representation of reality and/or fiction.

Limits of creative resources such as humor, emotion, etc.

Production: limits set by potential customers

Reception: realization designed in audiences or potential consumers of the messages and social and sociocultural effects dynamitzadors.


A detailed schedule outlining the content of each session will be presented on the first day of the course and will be available on the course’s Virtual Campus, where students will find the various teaching materials deemed appropriate by the instructors and necessary information for effective course monitoring. Should the teaching modality change for reasons of force majeure according to the

competent authorities, the teaching staff will inform students of any modifications to the course schedule and teaching methodologies

Note: The content of the subject will be sensitive to aspects related to the gender perspective and the use of inclusive language.

Annotation: within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.

Assessment

Continuous assessment activities

Title Weight Hours ECTS Learning outcomes
SPOTS PRODUTION 30 20 0.8 CM30, CM31, CM32, SM28, SM29, SM30
GRUPAL AND INDIVIDUAL THEORY WORK 10 10 0.4 KM32, KM34
TELESHOP 20 20 0.8 CM30, CM31, CM32, KM32, KM34, SM28, SM29, SM30
SPOT ANALYSIS 20 10 0.4 KM32, KM34
DECALOGUE 5 5 0.2 CM32, KM32
WEB PROJECT 5 5 0.2 CM30, CM31, CM32
MAKIN OF 10 10 0.4 CM30, CM31, CM32, KM34, SM28, SM29, SM30

This subject continues to be assessed and does not provide for a single evaluation.


The final grade is obtained from the weighting of the grades obtained by the students in the different works carried out, depending on their weight on the final grade:

Spots 30%

Telestore/Telepromotion 20%

Group memory 5%

Individual memory 5%

Group project website 5%

Making of 10%

Decalogue of the group 5%

Individual audiovisual analysis of a spot 20%


Students will be entitled to reassessment in the course if they have been evaluated on a set of activities accounting for at least two-thirds of the total course grade.


RECOVERY:

Students will only be able to recover the activity of Individual Analysis of a Spot, the individual memory and the spots. The rest of the activities will not be able to be recovered.


PLAGIA

In the event that the student carries out any irregularity that could lead to a significant variation in the grade of an assessment act, this assessment act will be graded 0, regardless of the disciplinary process that may be instructed. In the event that several irregularities occur in the assessment acts of the same subject, the final grade for this subject will be 0.


NOT EVALUABLE

Students who have not completed at least 33% of the assessment activities provided for in any of the assessment systems of the subject will be considered as 'not assessable' and will thus be included in the final grade.


ARTIFICIAL INTELLIGENCE

For this subject, the use of artificial intelligence (AI) technologies is allowed exclusively according to the guidelines indicated bythe teacher. Students must clearly identify which parts have been generated with this technology, specify the tools used and include a critical reflection on how these have influenced the process and the final result of the activity.


The performance of any irregularity in an evaluation act (academic fraud, plagiarism or improper use of AI, unless this use is expressly authorized by the teaching guide), which may lead to a significant variation in the grade, assumes that this act will be graded with a 0. In the event that the teaching guide foresees that in order to pass the subject it is an essential requirement to have obtained a minimum grade in this evaluation act or that there are several irregularities in the evaluation acts of the same subject, the final grade of this subject is 0. Apart from this, a disciplinary process may be instructed to the student that incurs any of these irregularities.


Any student suspected of submitting assignments that have been generated by AI, written by others or copied; include unattributed AI-generated content, or fall outside the permitted scope, may be asked to provide the preliminary work or other materials that can demonstrate it is original work and the result of their own authorship. They may also be asked to separately explain or justify their work. Teachers may also use AI detection systems or carry out any verification tasks they deem appropriate. If, after review, the instructor detects irregularities, the assignment may be graded zero, and the student may be subject to further disciplinary action.


Bibliography

Bassat, Lluis (1994): El libro rojo de la publicidad. 4ª Edición, Madrid: Debolsillo. Disponible en: https://myslide.es/documents/el-libro-rojo-de-la-publicidad-luis-bassat-56a0ff9c0607e.html (consultado el 13 de abril de 2018). Ver un resumen en García-Uceda, Mariola (2009): Las claves de la publicidad. Madrid: ESCI, 6ª Edición, pp.301-309. Disponible en: https://books.google.es/books?id=MSV9_aUxVzMC&pg=PA9&hl=es&source=gbs_selected_pages&cad=2#v=onepage&q&f=false (consultado el 27 de junio de 2025). 

Blanch, Margarida; Lázaro, Patricia (2010) Aula de locución. Madrid: Cátedra.

Fernández Díez, Federico.; Martínez Abadía, José (1999) Manual básico de lenguaje y narrativa audiovisual. Barcelona: Paidós.

Lázaro, Patricia (2016): Apunts. Assignatura: Llenguatges Comunicatius Escrits i Audiovisuals. Bellaterra: UAB.

Lorite García, Nicolás (2021): “Publicidad, diversidad fenotípica y dinamización intercultural en Cataluña en tiempos de crisis y cambios”. En Cuadernos.info, 48, pp.139-165. Disponible en: http://ojs.uc.cl/index.php/cdi/article/view/27671:  (consultado el 27 de junio de 2025).

Lorite García, Nicolás; Grau Rebollo, Jorge; Lacerda, Juiciano (2018): “Representation of sociocultural diversity in audiovisual advertising: materials for inclusive treatment”. En Revista Latina de Comunicación Social, 73, pp. 425 a 446. Disponible en:  (consultado el 27 de junio de 2025).

Millerson,Gerard (2001): Técnicas de realización y producción en TV. IORTV, Madrid. Cuarta edición.

Morales Morante, Fernando (2017).  Editing and Montage in International Film and Video: Theory and Technique. London: Focal Press - Rouledge/Taylor and Francis.

Morales Morante, Fernando (2013): Montaje audiovisual: Teoría, técnica y métodos de control. Barcelona: UOC.

Rodríguez Bravo, Ángel (1998) La dimensión sonora del lenguaje audiovisual. Barcelona: Paidós.

Software

DaVinci Resolve, Runway and Audicity

Course groups and languages

The information provided is provisional until November 30. After this date, you will be able to consult the language of each group through this link. To access the information, you will need to enter the course CODE

Type of teaching Group Language Semester Shift
(TE) Theory 5 Spanish second semester afternoon
(PLAB) Practical laboratories 51 Spanish second semester afternoon
(PLAB) Practical laboratories 52 Catalan second semester afternoon
(PLAB) Practical laboratories 53 Catalan second semester afternoon