Bachelor's Degree in Filmmaking

More information

Bachelor's Degree in Filmmaking

Presentation Objectives and competences Access, pre-registration and enrolment Scholarships Timetable Syllabus Teaching plans Teaching staff Student support Final Degree Project - TFG Internships Quality system Application for the diploma FAQ More information
Program details
Status: Title in extinction
Branch of knowledge: Arts and humanities
Scope: Film and Audiovisuals
Modality: Face-to-face
Teaching language: Catalan, Spanish
Credits: 180 ECTS
Head of Studies: Jaume Macià
Coordinator: Yago Alcover
Cut-off marks: 9,442 (July 2021, start of process, via PAU and FP)
Indicative price per credit: 21,46 € (academic year 2021-2022)


ESCAC’s three-year, 180-credit Bachelor’s Degree in Cinematography, positively verified by the Council of Universities on 11 July 2017, is currently in the process of being phased out. The last graduating class of this degree will complete their studies in the academic year 2024-2025.

From the academic year 2023-2024 ESCAC will offer the 240-credit, four-year Bachelor’s Degree in Cinematography.

With its own methodology based on learning by doing, project work and 900 hours of practice, students will learn film technique and narrative in order to be able to apply it to any audiovisual medium.

This three-year basic training, common to all students, is completed with the 90-credit Higher Speciality Master’s Degree (to choose from one of the 7 disciplines taught at the school: Directing, Art Direction, Cinematography, Screenwriting, Editing, Production, Sound) or with the University Master’s Degree in Film Studies and Visual Cultures.


Until the 2017-2018 academic year, ESCAC taught the 240 ECTS-credit, four-year Bachelor’s Degree in Film and Audiovisual Media. In the academic year 2020-2021, the last graduating class of this degree will have completed their studies.

Objectives and competences

Objectives of the degree

The Bachelor’s Degree in Filmmaking aims to train students to be able to enter the film and audiovisual sector in general. The degree offers students the theoretical and practical training necessary for professional practice at university level in the areas of work of the degree.

The Bachelor’s Degree provides a basic and multi-purpose training that provides students with narrative capacity through audiovisual language and also basic knowledge and skills in the different trades in the sector. Students must be able to express themselves through audiovisual language as well as know and be able to creatively exercise their different professions: fiction direction, documentary direction, art direction, photography direction, scriptwriting, editing, production, digital production and sound.

It is important for anyone who wants to develop professionally in the field of film to have a solid knowledge in the areas of audiovisual narration, cinematographic crafts, film studies and technology, since knowledge and skills in these areas are necessary whatever the subsequent specialisation of the student and future professional.

The Bachelor’s Degree offers training in these four basic areas of knowledge and provides the necessary basis for access to the Higher Master’s Degree in Cinematography offered by ESCAC, which provides specialised training in the chosen cinematographic profession.

  • Entry profile
    • Future students of this degree should have a training base, whether of an artistic, humanistic or scientific-technical nature, which will place them in a position to tackle the proposed studies from solid pillars in the fields of communication, expression, social attitudes, research and technology, which should be made up of a set of knowledge, competences and skills, among which we can highlight:
      1. Correct and fluent command of expression, both oral and written, in Spanish and Catalan.
      2. Ability to maintain a communicative relationship in English.
      3. Analytical and critical skills with respect to body, visual and audiovisual language.
      4. Ability to express ideas, experiences or feelings correctly through non-verbal communication.
      5. Ability to assess the relevance of the information obtained in terms of the proposed objectives.
      6. Ability to convert localised information into knowledge suitable for assimilation.
      7. Ability to structure and synthesise information and draw conclusions.
      8. Ability to research information through different sources (bibliographic, visual, newspaper and periodical, video, etc.).
      9. Ability to manage information and take advantage of the communicative possibilities of virtual networks.
      10. Ability to use non-face-to-face digital communication environments for interaction, cooperation and self-learning.
      11. Ability to work with office automation and audiovisual production tools.
      12. Creative and entrepreneurial capacity.
      13. Capacity for ethical and social commitment. Willingness to relate appropriately within their own socio-cultural environment, as well as to have a respectful and receptive attitude towards others.
    • The evaluation of the values and abilities required of future students will be carried out through a Personal Aptitude Test (PAP), the passing of which will be necessary to gain access to the Degree in Cinematography. See section Access, pre-enrolment and enrolment.
  • Exit profile
    • Basic and general competences
      • Students have demonstrated possession and understanding of knowledge in an area of study that builds on the foundation of general secondary education, and is usually at a level that, while relying on advanced textbooks, also includes some aspects that involve knowledge from the cutting edge of their field of study.
      • Students are able to apply their knowledge to their work or vocation in a professional manner and possess the competences usually demonstrated through the development and defence of arguments and problem solving within their field of study.
      • Students have the ability to gather and interpret relevant data (usually within their field of study) in order to make judgements that include reflection on relevant social, scientific or ethical issues.
      • Students are able to convey information, ideas, problems and solutions to both specialist and non-specialist audiences.
      • That students have developed those learning skills necessary to undertake further studies with a high degree of autonomy.
      • Ability to collaborate with others and to contribute to a common project and to work in interdisciplinary teams and in multicultural contexts in the field of film.
      • Ability to work autonomously, make decisions and adapt to new situations in the cinematographic field.
      • Critical and self-critical capacity and ability to show attitudes coherent with ethical and deontological conceptions.
      • Ability to formulate, design and manage projects and to seek and integrate new knowledge and skills based on creativity in the cinematographic field.
      • Ability to assess the social and environmental impact of their actions.
    • Specific competences
        • Assimilate the mechanisms of audiovisual language and be able to use them to tell stories.
        • Possess the skills and instruments to analyse and evaluate all types of film discourse.
        • Know the latest technologies applied in the audiovisual sector and be able to use them appropriately.
        • Demonstrate mastery of the techniques and mechanisms of the production of audiovisual works, throughout the processes of ideation, development and exploitation of the same.
        • Demonstrate mastery of the techniques and mechanisms of the direction of audiovisual works and be able to carry out the planning, realisation and supervision of an audiovisual production.
        • Demonstrate the ability to devise, develop and write scripts for audiovisual works of different characteristics.
        • Have the ability to conceive, design and materialise the lighting, chromatic and visual treatment in general within the framework of an audiovisual work.
        • Be able to conceive, design and develop the space, costumes and props involved in the production of an audiovisual work.
        • Demonstrate the ability to carry out the processes involved in the recording, design and sound post-production of an audiovisual work.
        • Being able to structure, manage and adequately treat audiovisual material through the mastery of the resources and strategies of editing and post-production.
        • Being able to manage the processes of pre-production, production and post-production of digital effects in an audiovisual production.

Access, pre-registration and enrolment

General information on pre-registration and admission

Depending on your previous studies, there are different ways to access the UB’s bachelor’s degree courses. This information, which is constantly updated, can be consulted at: Admission to UB bachelor’s degree courses.

  • Studying abroad
  • University entrance exams (PAU) or higher level training cycle (CFGS).
    • In the case of access from the university entrance exams (PAU) or from a higher level training cycle (CFGS), you should visit the website of the Generalitat de Catalunya where there are permanently updated, the specifics for access through these routes: Access and admission.

In order to access the first year of a university course at any of the seven public universities in Catalonia, students who have completed the PAU, vocational training courses and the exam for students over 25 years of age must complete university pre-enrolment. We recommend that you visit the website of the Generalitat de Catalunya where you will find permanently updated information on pre-enrolment: University pre-enrolment.

Specific information on access corresponding to the Degree in Filmmaking

The evaluation of the values and abilities required of future students will be carried out through a Personal Aptitude Test (PAP), the passing of which will be necessary to gain access to the Degree in Filmmaking. The elements that make up the PAP are:

  • the portfolio,
  • a practical test of audiovisual creation and
  • a personal interview.

Candidates will submit their portfolio on the established dates. The audiovisual creation test will take place on a specific day and on the basis of specific premises. The personal interview will take place before an examining board at a later date than the audiovisual creation test.

The dates of the PAP will be established each academic year in accordance with the indications of the University Admissions Office. The result of the PAP will be pass or fail.

See timetable and specifics of access to the Degree for the 2022-2023 academic year.

Transfer regulations

The ESCAC is governed by the UB’s transfer regulations.

Registration period and procedure

Enrolment takes place once places have been allocated by the University Access Office and during the month of July. The centre will contact each student to give them the date and time of enrolment.

Welcome sessions

  • The ESCAC carries out different actions to inform prospective students beforehand.
    • Open Days.
    • Presence at the Saló de l’Ensenyament.
    • Presence at Unitour, University Orientation Fair.
    • Personal interviews and visits to the school to anyone who requests them.
    • Presence of school staff at secondary education centres on request.
    • Support to high school students in carrying out their research work by school staff.
    • Talks and workshops on filmmaking for groups of secondary school students at the school’s facilities.
    • Summer courses for secondary and high school students.
    • Summer course for secondary school teachers.


Every academic year, the ESCAC offers ordinary scholarships for training for the Degree in Filmmaking, on a competitive basis.

See the specificities and the calendar of the 2022-2023 call for scholarships.

In addition, the student can also apply for:


Teaching and assessment calendar academic year 2022-2023

First semester: 12/09/22 to 03/02/23
Second semester: 13/02/23 to 30/06/23

Continuous assessment
First semester: 12/09/22 to 3/2/23
Second semester: 13/02/23 to 30/06/23

Single assessment
First semester: 09/01/23 to 03/02/23
Second semester: 01/06/23 to 30/06/23

First semester: 26/06/23 to 7/07/23
Second semester: 10/07/23 to 20/07/23

Calendar of holidays and public holidays academic year 22-23

Public holidays: 12 October, 31 October, 1 November, 6 and 8 December
2022, 1st May 2023

Christmas holidays: 26 December 2022 to 8 January 2023

Easter holidays: from 3 to 10 April 2023


Name of course: Bachelor’s Degree in Filmmaking

Qualification awarded on successful completion of the degree course: Graduate in Filmmaking by the Universitat de Barcelona.

Minimum length of studies and ECTS credits: Three academic years and 180 ECTS credits.

Syllabus Degree in Filmmaking

Teaching plans

Teaching staff

  • Maria Adell
    • PhD in Audiovisual Communication from the UPF. Professor of several subjects on film history and Spanish film history at ESCAC and UB. Researcher on female film stars of Franco’s regime and on contemporary Spanish actresses and filmmakers.
  • Yago Alcover
    • Graduate in Film and Audiovisual Media from ESCAC (2007), specialising in Documentary. Member of the pedagogy department and coordinator of the undergraduate studies at ESCAC. Since 2019, member of the creative film collective CraterLab. He has collaborated in the magazines Contrapicado, Mondo Sonoro and Rockdelux. As a musician and editor, he has published more than a dozen references in Spain, France and the Netherlands. Author of the documentary pieces Loop Film and Si a el menos recuerdo el olor a tú ceniza.
  • Carlos Alonso
    • Graduate in Film and Audiovisual Media from ESCAC (2012). Author of the short films Hogar, hogar (2013) and Pequeña silenciosa (2016). Co-author of the collective feature film Los inocentes (2013), in charge of video content at ESCAC. Director of the feature film Share, in development.
  • Jordi Bransuela
    • Graduate in Film and Audiovisual Media from ESCAC (1998). Director of photography for Hijo de Caín (Jesús Monllaó, 2012), La rosa de fuego (Manel Huerga, 2012) and numerous projects shot in 3D. Colourist for the TV series Merlí and the feature films La corona partida (Jordi Frades, 2016) and La vida libre (Marc Recha, 2017).
  • Diego Calderón
    • Graduate in modern music; Master’s degree in Music as an Interdisciplinary Art; Master’s degree in University Teaching; Doctor in Art History; Doctor in Educational Technology. Author of more than 60 articles in indexed journals. Author of 4 books and nearly 20 book chapters. His main lines of research revolve around sound and music and their implication with different arts.
  • Margarida Carnicé
    • PhD in Communication with the doctoral thesis La política de la actriz en la obra de Anna Magnani. Lecturer at ESCAC and UB. Member of the consolidated research group CINE (UPF). She has participated in the research projects El cuerpo erótico de la actriz bajo los fascismos (Spain, Italy, Germany 1939-1945) and El deseo femenino en el cine español del franquismo: evolución gestual de la actriz bajo la coacción censora (The erotic body of the actress under fascism (Spain, Italy, Germany 1939-1945) and El deseo femenino en el cine español del franquismo: gestural evolution of the actress under censorship coercion).
  • Christian Checa
    • Graduate in Film and Audiovisual Studies from the ESCAC (2006); Degree in Philosophy from the UB (2009); Master in Contemporary Film and Audiovisual Studies from the UPF (2009), and PhD in Social Communication from the UPF (2016). Lecturer in Film Studies and Thought and Creation for the Degree in Cinematography. Author of the book No trespassing. From the bodies of cinema to contemporary conspiracy.
  • Geoffrey Cowper
    • Graduate in Film and Audiovisual Media from ESCAC, specialising in directing. Director of the short film Caracoles and the feature film Tercero grado, as well as numerous video clips and commercials.
  • Jaume Duran
    • PhD in Audiovisual Communication with the thesis Narrativa audiovisual y cine de animación por ordenador. The feature films of Mear Animation Studios; BA in Philology; BA in Linguistics; DEA in Art History. Film lecturer at the UB, the URL, the ENTI and the ESCAC. Author of La muerte en el cine. 50 films about death.
  • Virginia García de Pino
    • Graduate in Fine Arts and Master in Creative Documentary by the UAB. Lecturer at ESCAC and UAB. Film director and visual artist. Author, among others, of the feature film La 10ª carta (2014) and the short film Improvisaciones de una ardilla (2017), winner of the award for best documentary short film at the Malaga Film Festival.
  • Roger Guaus
    • Technical Telecommunications Engineer specialising in Image and Sound from the URL (1994), Higher Telecommunications Engineer specialising in Communications from the UPC (2000), Master’s Degree in Digital Television from the URL (2002).
  • Josep Gustems
    • PhD in Pedagogy; advanced degree in Music; degree in Cultural Anthropology. Professor of Didactics of Musical Expression at the UB and director of the Department.
  • Ramon Herrero
    • PhD in Physics from the Universitat Autònoma de Barcelona (UAB) in 1995. Professor at the Universitat Politècnica de Catalunya where he teaches physics and photonics. His research work focuses mainly on nonlinear dynamical systems, spatial patterns and spatio-temporal dynamics, nonlinear optics, laser dynamics and light propagation in structured materials.
  • Daniel Jariod
    • Graduate in Film and Audiovisuals from ESCAC, specialising in Documentary. As a filmmaker, he has directed Imparables (2013), Jazz, What a Wonderful World (2010) and Con música lo escuchías todo mejor (2009). He teaches at ESCAC, ECIB and UB. At the same time, he has programmed the DocsBarcelona (2007-2019) and Memorimage (2014-2019) festivals.
  • Carlos Losilla
    • Graduate in Philosophy and Arts from the UAB (1984). PhD in Audiovisual Communication from the UPF (2010). Essayist and lecturer at the UPF and ESCAC. Member of the editorial board of the magazines Caimán Cuadernos de Cine and La Furia Umana. His books include En busca de Ulrich Seidl (2003), La invención de Hollywood (2005), EWl sitio de Viena (2007), La invención de la modernidad (2013), Zona de sombra (2014), Raoul Walsh (2020).
  • Jaume Macià
    • PhD in Pedagogy with the thesis Structural models for writing short film scripts (2014). Graduate in Catalan Philology from the UB. Director of Studies at ESCAC and professor of several subjects in the scriptwriting department since the 1994-95 academic year.
  • Joan Marimón Padrosa
    • Graduate in Art History from the UB. Film producer, manager of Marimon Padrosa SL (Mar & Mi Producciones). Scriptwriter and director. Author of the books El montaje cinematográfico and Diccionario incompleto del guion audiovisual.
  • José Enrique Monterde
    • PhD in Art History. Lecturer in Art Theory and Film History at the UB and ESCAC. Film critic and author of numerous books and articles on film.
  • Xavier Parache
    • Graduate in International Business and Marketing from ESCI, a centre affiliated to the UPF. Master’s Degree in Financial and Accounting Management from UPF. Executive MBA from the Instituto de Empresa. Partner/Owner of Gate Media, an independent consultancy firm that has worked for multiple film and audiovisual production, distribution and exhibition companies.
  • Marta Piñol Lloret
    • PhD in Art History from the Universitat de Barcelona, lecturer at the same university, at ESCAC, the UIC and the UOC. She teaches History of Cinema, History and Theory of Photography, Documentary Cinema, Cinema and Visual Culture and Cinema and Visual Arts.
  • Marta Rodríguez
    • Graduate in Film and Audiovisual Media from ESCAC, specialising in production. Producer of the feature film The Girl from the Song. Co-creator of N.E.S.A., where she specialises in telling stories in different formats and exploring the narrative potential of immersive experiences and XR technology.
  • Gerard Rosich
    • PhD in Philosophy from the UB (2015), extraordinary doctoral prize. Postdoctoral researcher at the University of Helsinki. Member of the Centre for Studies on Culture, Politics and Society (CECUPS) of the UB.
  • Sergi Sánchez
    • PhD in Audiovisual Communication from the UPF. Lecturer at ESCAC and UPF. Film critic for Fotogramas and La Razón. Contributor to several publications specialising in film and author of books such as Hacia una imagen no-tiempo: Deleuze y el cine contemporáneo.
  • Vanesa Sola
    • Graduate in Art History from the Universitat de València. Graduate in Film and Audiovisual Media from ESCAC, specialising in Cinematography. Director of photography for the feature film Mí querida cofradía and several short films, commercials and video clips.
  • Nina Solà
    • Graduate in Film and Audiovisual Media from ESCAC, specialising in documentary (2014). Director of the documentaries Cartes al meu fill, El temps després de la pluja and La passió segons Pep Amores. Co-founder of the artistic collective Mambo Project and director of the play La fiesta.
  • Liliana Torres
    • Graduated in Film and Audiovisuals at ESCAC (2003). Studied documentary filmmaking at the Centro de Capacitación Cinematográfica de México. Writer, director and producer of the feature film Family Tour (2012). Award for best new director from the Catalan directors’ association (2015). Co-director of the documentary Hayati (2019). Director of the feature film What did we do wrong? (2020).
  • José Francisco Trull
    • Degree in Physics from the Universitat de València (1991). PhD in Physics from the UPC (1999). Lecturer in the Department of Physics and Nuclear Engineering at the UPC. Member of the research group Nonlinear Dynamics, Nonlinear Optics and Lasers (DONLL).
  • Adriana Vila
    • PhD in Anthropology from the UB. Filmmaker, artist and anthropologist dedicated to teaching and to the cinematographic creation of single-channel pieces, installations and filmic performances. Co-founder of the analogue film laboratory Crater-Lab.
  • Gerard Vila
    • Graduate in film and audiovisuals from ESCAC, specialising in editing. Master’s degree in Opera Prima, specialising in editing. Editor of feature films such as The Girl from the Song (Ibai Abad, 2017) and Y’viene Always Wanted tone Direct (Steve Jacobs, 2020).

Student support

Recursos de aprendizaje

    • Theoretical classrooms equipped with audiovisual projection equipment: Classroom 1.1: 102.48 m2, 95 places. Classroom 1.2: 75.41 m2, 65 places. Classroom 1.3: 75,41 m2, 65 places. Classroom 1.4: 102,48 m2, 105 places. Classroom 1.5: 61,64 m2, 30 places. Classroom 1.6: 52,79 m2, 30 places. Classroom 1.7: 50,86 m2, 30 places. Classroom 2.2: 39,13 m2, 12 places. Classroom 2.3: 40,97 m2, 12 places. Classroom 2.4: 38,16 m2, 12 places. Classroom 2.5: 44,92 m2, 12 places. Classroom 2.6: 41,77 m2, 30 places. Classroom 1: 65,90 m2, 30 places. Classroom 2: 73.31 m2, 30 places.
    • Computer rooms: Classroom 1.8: 42,01 m2, 13 computers. Classroom 1.9: 74,38 m2, 30 computers. Classroom 2.1: 39,76 m2, 13 computers. Classroom 3: 67,93 m2, 30 computers. Classroom 4: 67,93 m2, 13 computers. Classroom 5: 67,94 m2, 13 computers. Classroom 6: 65,90 m2, 30 computers.
    • Computer programs: Avid, Final Cut, Adobe Suite, Davinci Resolve, Movie Magic Scheduling, Movie Magic Budgeting, Autocad, Compressor, Cinema Tools, Autodesk Maya 2017, Arnold Render, Adobe After Effects, Adobe Photoshop, Nuke X, Mari, Hierro, 3D equalizer, HOUDINI 15, UvLayout, Adobe flash, Zbrush 4 v 7, Mocha pro, Nuke Studio, Deadline 6, PF track, Ftrack, Mudbox, Reial Flow, Shave & Hirecut, Dragon frame.
    • Drawing room: 80 m2 and 25 drawing tables.
    • Photography laboratory: 34 m2, 10 universal format enlargers, 3 medium format enlargers.
    • Special equipment: Stage 1: 258,63 m2. Stage 2: 111.63 m2. Protools 1 editing room: 15 m2 (1 table). Protools 2 editing room: 14 m2 (1 table). Protools 3 editing room: 51.09 m2 (1 table). 5.1 / 7.1 mixing room: 51 m2 (1 table). Voice-over room: 12 m2. Assembly and viewing room 1: 10 m2. Room for editing and viewing 2: 10 m2. Colourimetry room: 20 m2. Lighting equipment store: 300 m2, with more than 100,000 watts of light (incandescent, fluorescent, HDMI, LED). Direct sound recording equipment: Sound Devices, Tascam, Sensheisser, etc.

Tutorial action plan

    • Welcoming, integrating and orienting first-year students.
    • Provide curricular guidance to first, second and third year students.
    • Provide guidance on professional and academic opportunities for fourth-year students.
    • The person responsible for the coordination of the tutor group is the degree coordinator, who is in charge of energising the tutor team, participating in the formulation of the tutorial action programmes and providing the resources and action strategies for the tutors to carry out their functions.
  • Mentor roles
    • Tutors inform students about ESCAC and its teaching and help them adapt to the new study environment, guide them in curricular aspects, intervene in their training, optimise their curricular itinerary, complement their training with other activities and provide them with professional guidance.


Final Degree Project - TFG


These are the regulations governing the Final Degree Project (TFG) at the Escola Superior de Cinema i Audiovisuals de Catalunya, in accordance with Royal Decree 1393/2007, of 29 October, which establishes the organisation of university education, modified by Royal Decree 861/2010, of 2 July, as well as the regulatory framework approved by the Governing Council of the University of Barcelona on 7 June 2011.
This regulation implements everything that refers to the nature, specification and characteristics of the TFG that corresponds to the Degree in Cinematography.

  • Nature and characteristics
    • The TFG is defined as an audiovisual project developed collectively, aimed at putting into practice and accrediting the knowledge and skills learnt in the degree subjects. The TFG is made up of 12 ECTS credits. The TFG Committee is responsible for establishing the specific modifications that may be made to the conditions of the TFG.
  • Organisational structure
    • TFG Committee. As mentioned above, the Degree in Filmmaking must have a specific committee, appointed by the centre’s Academic Board, which must be made up of the Head of Studies (as the highest academic authority), the head of production at ESCAC Films (as the person in charge of organisational and logistical control in the development of the TFG) and the heads of department. The functions of this committee are as follows:
      1. Drawing up the TFG teaching plan.
      2. Establish the criteria and protocol for the development of proposals and their presentation through the submission of a dossier that must be approved by the Committee in order to be carried out under the conditions and in the timetable assigned to it.
      3. Assign a tutor for each TFG to monitor it and ensure that it is properly carried out.
      4. To foresee and schedule the conditions under which the TFG must be publicly defended, so that it can be assessed by the committee appointed for this purpose.
      5. Any other function that may be assigned by the Academic Board.
    • Coordinator of the TFG Committee. He/she is responsible for chairing the Committee, as well as entering the grades and signing the corresponding minutes.
      TFG Tutor. The development of the project must be supervised and tutored, so that the learning process is as dynamic and enriching as possible. The people in charge of this responsibility will be appointed by the Academic Board of the centre. Their functions will be:

      1. Ensure the correct development of the pre-production and planning process prior to the project.
      2. Provide guidance and make any comments considered appropriate to encourage the correct materialisation of the project.
      3. To issue a final report on all the circumstances that have arisen throughout the work carried out by the students.
      4. Form part of the TFG assessment committee.
    • Academic Board of the Centre. It must approve the teaching plan for the TFG subject.
  • Enrolment and evaluation process
    • The TFG is located according to the syllabus of the Bachelor’s Degree in Filmmaking in the third year.
    • The defence and grading of the TFG must take place within the official assessment period, although, given the degree of complexity of some TFGs, and provided that there is some force majeure that can be accredited by the team and contrasted by the tutor, the TFG Committee may grant an extension to proceed with the final submission of the TFG.
  • Application mechanism and teaching assignments
    • Any student who registers for the TFG must be integrated and take part in the preparation and/or subsequent development of a collective project, where they will have to accredit their degree of maturity in the exercise of the competences acquired in the development of the learning process.
    • The responsibility for assigning a tutor to the TFG lies with the heads of department and must be approved by the TFG Committee.
  • TFG assignment
    • The TFG Committee makes the definitive assignment of students to the TFGs according to the result of the evaluation of the dossiers submitted with the proposals.
    • All students who register for the credits corresponding to the subject will be assigned a TFG.
  • Development of the TFG
    • The completion of the TFG will be monitored by a tutor, who will have to report on it through a final report in which the evolutionary process followed by the project will have to be descriptively specified, as well as an evaluation of the results obtained in the same.
    • The first phase of the TFG consists of the formation of the working groups that will carry out the audiovisual productions. Once these groups have been formed, the tutor coordinates the assignment of a role for each member student according to their interests and abilities: director, director of photography, art director, screenwriter, editor, producer, digital production designer and sound designer. Once the TFG pre-production, production and post-production schedule has been established, each student is tutored in their specific profession.
      1. The directing student is supervised in the stages of pre-production (planning, casting), production (shooting), post-production (editing, sound and VFX) and in the coordination of all the processes.
      2. Cinematographers are supervised in the stages of pre-production (preparation for shooting), production and post-production.
      3. Art direction, in the stages of pre-production (design and construction of spaces, costumes, props) and shooting.
      4. Screenwriting, in the initial scriptwriting phase.
      5. Editing, at the image post-production stage.
      6. Sound, in the stages of production (direct sound) and post-production (sound post-production).
      7. Production, in the pre-production, production and post-production stages and in the overall coordination of the project.
      8. Digital production, in the production (shooting) and post-production stages.
    • Students must submit their dissertation together with a final report, which must comply with the rules established for this purpose by the TFG Committee and with the framework criteria published by the UB.
  • Assessment and grading of the TFG
    • The parameters assessed include:
      1. The student’s written report .
      2. The tutor’s final report.
      3. The report and the grade awarded by the assessment committee set up for the purpose of judging the public defence of the dissertation.
    • The assessment is done on an individual basis and according to the craft developed during the process of creating the audiovisual production: Thus, the directing student is evaluated on the basis of the staging, planning, direction of actors and the overall result; the director of photography, on the basis of the quality of the image composition; the art director, on the basis of the correct adaptation of the spaces, costumes and props to the story; the script director, on the basis of the quality of the plot and dialogue; the editing student, on the basis of the correct rhythm of the narrative and the emotional punctuation of its key moments; the editing student, on the basis of the correct rhythm of the narrative and the emotional punctuation of its key moments; the editing student, on the basis of the quality of the story and the emotional punctuation of its key moments; the editing, based on the correct rhythm of the narrative and the emotional punctuation of its key moments; the production, based on the adherence to the schedule and budget and the general organisation of the project in all its phases; the digital production, based on the quality of the digital effects of the production; and the sound, based on the quality of the dialogue and sound effects.
  • The Evaluation Commissions
    • They will be appointed by the TFG Committee. Each assessment committee will be made up of a minimum of three full members, one of whom will be appointed as chairperson, as well as a couple of substitutes, chosen from among the teaching staff of the different departments involved. The TFG tutor must be one of the members of this assessment committee.
  • Final qualification
    • The final grade is the responsibility of the assessment committee.
    • The TFG coordinator is the person who signs the corresponding academic report at the end of the assessment process.
    • The Academic Board is the competent body to hear and resolve any appeal that may be submitted to the director of the centre in relation to any complaint or manifest non-conformity with the grade obtained by the student.

General UB regulations


ESCAC, through the School-Company department, establishes agreements throughout the academic year that regulate student internships in collaborating centres (companies and institutions). We are in contact with the main companies in the audiovisual sector and each year around 300 paid internship agreements are formalised.

Quality system

The quality system of the centre takes as a reference the standards and guidelines for quality assurance in the European Higher Education Area developed by the European Association for Quality Assurance in Higher Education (ENQA) and adopted by the European Ministers of Education in Bergen (2005), follows the guidelines established by the quality agencies Agency for the Quality of the University System of Catalonia (AQU Catalonia), the National Agency for Quality Assessment and Accreditation (ANECA) and the Agency for the Quality of University Studies of Galicia (AGSUG) in the AUDIT programme and meets the requirements of the regulations established in the official university education regulations of the Ministry of Education and Science.

The quality system of the centre integrates all the activities related to the quality assurance of the bachelor’s and master’s degrees and deploys the Internal Quality Assurance System (SAIQU) as the instrument to be used both in the design phase of the courses and in the continuous monitoring of these to ensure the achievement of the objectives associated with the training, their modification, if necessary, and their accreditation (VSMA).

Read more about the Quality System

Application for the diploma

This procedure is exclusively for graduates who have already completed their academic transcript and passed all the necessary credits.

  1. Access the specific URL for the degree you wish to apply for and pay the corresponding degree fee (amount established by the University Fees Decree for the current academic year).
    Application for the Degree and SET of Graduate in Cinema and Audiovisual Media (official degree) – academic year from 2009/2010 onwards
    Application for the Degree of Graduate in Film and Audiovisual Media (official degree) – academic year from 1994 to 2013
  2. Fill in the application form (document to download at the bottom of this page), sign it and send it scanned by email to
  3. The student must submit to the Academic Secretary: (can be sent online)
    Degree application form
    Proof of payment
    Copy of identity document (DNI/NIE/Passport)

At this point, we will be able to issue the student with the certificate of completion and process its issuance.

Contact: Marta Figueras

Application for an official diploma

Application for a specific degree


Preguntas más frecuentes sobre Acceso

  • ¿Des de qué bachillerato puedo acceder?
    • Desde cualquiera. Puedes consultar las ponderaciones 2022-2023 en la sección de acceso.
  • ¿Desde qué Ciclos Formativos de Grado Superior (CFGS) puedo acceder?
    • Desde cualquiera. Siempre es mejor si accedes desde algún ciclo relacionado con el audiovisual (Imagen y Sonido, Realización, etc.), ya que te puede dar una buena base para nuestros estudios.
  • ¿Puedo acceder desde un Ciclo Formativo de Grado Medio (CFGM)?
    • No. El CFGM te da acceso a un CFGS, desde el que sí puedes acceder al Grado.
  • ¿Qué necesito para acceder al Grado en Cinematografía?
    • Necesitas superar nuestra Prueba de Aptitud Personal y tener la nota de corte requerida para este año según tu vía de acceso.
  • ¿Qué es la nota de corte?
    • La nota de corte es la calificación más baja con la que puedes conseguir la admisión al grado por medio del proceso de adjudicación de plazas (preinscripción universitaria). Dependerá de la relación entre la oferta de plazas y la demanda de solicitantes y no hay una nota mínima preestablecida, sino que el/la último/a alumno/a admitido/a marca la nota de corte. En la sección de acceso encontrarás los indicadores con las notas de corte de los últimos años así como las asignaturas que ponderan para nota. Consejo: si vienes de bachillerato o de CFGS preséntate a las materias específicas de la selectividad para poder ir con la nota más alta posible.
  • ¿Cuáles han sido las últimas notas de corte?
    • 2014-2015 7,91; 2015-2016 6,5; 2016-2017 6,45; 2017-2018 7,333; 2018-2019 9,264; 2019-2020 9,762; 2020-2021 9,650; 2021-2022 9,442
  • ¿Cómo funciona la Preinscripción Universitaria?
    • Puedes encontrar toda la información sobre el proceso de preinscripción universitaria en el Canal Universidad.
  • ¿Cuándo sabré si tengo plaza en el Grado?
    • Si has superado la PAP y has hecho todos los trámites de Preinscripción Universitaria y pago de la prueba correctamente, sólo tendrás que esperarte a que la Oficina de Acceso a la Universidad te asigne una plaza a nuestro Grado (según la nota de corte). La primera asignación de plazas la realizan durante la segunda semana de Julio (fechas a determinar).
  • Si finalmente me asignan plaza, ¿qué tengo que hacer?
    • Nosotros nos pondremos en contacto contigo vía correo electrónico para darte toda la información sobre el proceso de matrícula.
  • ¿Y si supero la PAP pero no me asignan plaza?
    • Si tienes la nota de corte requerida y la no asignación de plaza es a causa de alguna incidencia de documentación/vía de acceso, etc. te recomendamos que te pongas en contacto con la Oficina de Acceso a la Universidad para hacer la reclamación pertinente para poder entrar en las reasignaciones siguientes de Julio/Agosto/Septiembre. Si no tienes la nota de corte requerida para este curso, deberás intentar subir nota de cara al siguiente curso o bien esperar que la nota sea más baja. Puedes aprovechar para entrar ya a ESCAC cursando el FOUNDATION lo que te permitirá, aparte de adquirir conocimientos que seguro son un plus a tu formación, conocer a fondo el funcionamiento de la escuela y acceder a la comunidad ESCAC participando y ayudando en proyectos de cursos de Grado. Además, te ayudaremos a preparar materias de la selectividad específica para que puedas subir tu nota de acceso al Grado de cara al siguiente curso.
  • Si ya he comenzado una carrera universitaria, ¿puedo reconocer algunos créditos / asignaturas?
    • Sí, en el momento de la matrícula puedes solicitar el trámite de reconocimiento de créditos a Secretaría Académica del centro.
      Si has comenzado un grado dentro de la misma rama de conocimiento que nuestro grado (Artes y Humanidades) deberás reconocer un mínimo de 27 créditos de Formación Básica directamente.
      Si el grado que has iniciado pertenece a otra rama de conocimiento puedes pedir el estudio de reconocimiento de aquellas materias de formación básica de nuestro grado que consideres que coinciden en contenidos y competencias. El director de estudios del centro hará la evaluación correspondiente emiten una resolución al respecto. Se debe mantener el mínimo de 27 créditos objeto de reconocimiento. En las materias reconocidas se les pondrá la misma nota que tenías en el antiguo expediente.
  • Si vengo de un CFGS, ¿puedo reconocer algunos créditos / asignaturas?
    • Para el Grado en Cinematografía no tenemos ninguna correspondencia entre materias de Ciclo Formativo y materias del grado. De todos modos, si consideras que hay alguna materia que coincide en competencias y contenidos, puedes solicitar un estudio de reconocimiento a la Secretaría Académica en el momento de la matrícula para que el Director de estudios pueda valorar el caso. Si la resolución fuese positiva, en la materia reconocida se te pondría un 6 (AP).

Preguntas más frecuentes sobre sistema de pagos y descuentos

  • ¿Hay que pagar para hacer la Prueba de Aptitud Personal (PAP)?
    • Sí. En el momento de hacer la Preinscripción Universitaria a través del Portal de Acceso a la Universidad, el último paso es hacer el pago que te da derecho a examen. Recuerda que sin el pago no podremos evaluarte y por tanto, perderías todas las opciones poder acceder al grado. Tiene un coste aproximado de unos 95€ y se puede hacer el pago online directamente a través del portal una vez realizado el trámite de la preinscripción.
  • ¿Cuál es el precio del crédito?
    • Cada año a principios de julio la Generalitat publica el Decreto de Tasas donde se determina el precio del crédito universitario y otras tasas universitarias para el próximo curso. A modo informativo, el precio del crédito del curso 2021/2022 fue de 21,46 €.
  • ¿Cómo se desglosa el precio de la matrícula?
    • Una parte de FUNDACIÓN, una parte de CRÉDITOS y la otra de GASTOS DE MATRICULACIÓN.
      Ejemplo importe desglosado matrícula ordinaria = 11.350 €, CRÉDITOS = 1.287,60 €, GASTOS MATRICULACIÓN = 69,80 €, FUNDACIÓN = 9.992,60 € *
      (*)INCLUYE: Seguro escolar para accidentes en periodo lectivo / Seguro de Responsabilidad Civil / Tasas que se pagan a la UB para servicios específicos y de soporte al aprendizaje / Cuantía destinada al desarrollo íntegro de los estudios (instalaciones, profesorado, material, etc.)
  • ¿Desgrava la Fundación?
    • Al pagar la matrícula no estás haciendo una donación sino pagando un servicio, con lo cual no es desgravable.
  • Tengo una carrera universitaria, ¿debo pagar lo mismo?
    • No. Según el Decreto de Tasas de la Generalitat el precio del crédito lo pagarás con un recargo del 40%. Si cogemos de ejemplo el precio del crédito del curso pasado, en vez de pagarlo a 21,46€, pagarías el crédito a 30,04€. Eso supondría unos 500€ aprox más de matrícula.
  • Soy familia numerosa, ¿tengo descuento?
    • Sí, se te aplicará una bonificación sobre el precio del crédito y los gastos de matriculación, dependiendo de la categoría de familia numerosa que seas:
      FAMILIA NUMEROSA GENERAL: Descuento del 50% (unos 600 € aproximados precios 20/21)
      FAMILIA NUMEROSA ESPECIAL : Descuento total (unos 1.300 € aproximados precios 20/21)
  • Si soy familia monoparental, ¿tengo descuento?
    • Según el Decreto de Tasas del 21/22, no.
  • Si he sacado matrícula de honor en bachillerato, ¿tengo descuento?
    • Sí, tendrás un descuento total de la parte de créditos.
  • Si tengo una discapacidad reconocida del 33% ¿tengo descuento? ¿Y si pertenezco a un colectivo especial (víctimas violencia de género, víctimas terrorismo, etc)?
    • También tendrás descuento total de la parte de créditos más gastos de matriculación.
  • ¿Puedo pagar la matrícula a plazos?
    • No, el pago a la escuela es ÚNICO. Puedes buscar la financiación a alguna entidad bancaria. La ESCAC tiene un convenio con el BBVA. Más información en el apartado becas.
  • ¿Cuándo deberé hacer el pago?
    • A partir del día en el que se formaliza la matrícula se dan 15 días para realizar el pago. Las matrículas de 1er curso se pagan antes del 31 de julio, y las de los otros cursos (2º y 3º) se pagan en septiembre.
  • ¿Tengo que pagar la matrícula aunque haya pedido la Beca General del Ministerio?
    • Sí, el pago de la matrícula no está condicionado a la concesión o no de la Beca General.
  • El precio del crédito ordinario es el mismo que el crédito reconocido?
    • No, el precio del crédito reconocido, según el Decreto de Tasas de la Generalitat, es un 20% del precio del crédito ordinario. Durante 2020/2021 por ejemplo, el precio del crédito ordinario fue de 21,46 € y el precio del crédito reconocido por tanto de 4,29€.
  • ¿Cuando puedo solicitar la Beca General del Ministerio de Educación?
    • Del 30 al 12 de mayo de 2022.
  • ¿Hay otras becas que pueda pedir?
    • Sí, las becas internas, las de colaboración de la UB, etc. Más información en el apartado ‘Becas’


Para cualquier aclaración, consulta o duda puede contactar con Secretaría Académica:

Marta Figueras
937 361 555 ext. 104

You may also be interested in

Master in Film and Screen Studies

Official Master's Degree in Film Studies: research into contemporary audiovisual culture and the history and evolution of moving images. (IN SPANISH)

Estudios fílmicos  

Specialty Master’s Degree

Specialise in one of the seven film disciplines taught at the school: Directing, Art, Photography, Screenwriting, Editing, Production or Sound.


Foundation course

Pre-university introductory course in audiovisual arts. (IN SPANISH)

About the cookies
We use third-party cookies as well as our own to be able to offer you all the functionalities of our website, for analytical purposes and to show you personalized advertising according to a profile prepared from your browsing habits. You can accept all cookies by clicking "Accept cookies", obtain more information in our Cookies policy , obtain more information in our cookie policy or configure or reject their use by clicking on “Settings"..
Accept cookies Settings
Basic information about cookies
This website uses cookies and/or similar technologies that store and retrieve information when you browse. In general, these technologies can serve very different purposes, such as, for example, recognizing you as a user, obtaining information about your browsing habits or customizing the way in which the content is displayed. The specific uses we make of these technologies are described below. By default, all cookies are disabled, except for the technical ones, which are necessary for the website to work. If you wish to expand the information, you can consult our Cookies policy.
Accept cookies Manage preferences
Technical or necessary cookies Always active
Technical cookies are those that facilitate user navigation and the use of the different options offered by the web, such as identifying the session, allowing access to certain areas, facilitating orders, purchases, filling in forms, registration, security, facilitating functionalities (videos, social media…)
Analysis cookies
Analysis cookies are those used to carry out anonymous analysis of the behavior of web users and that allow user activity to be measured and navigation profiles to be created with the objective of improving websites.
Advertising cookies
Advertising cookies allow the management of advertising spaces on the web. In addition, these cookies can be for personalized advertising and allow the management of web advertising spaces based on user behavior and browsing habits.
Confirm preferences