One Year Autonomous Certificate Course offered by MGM

Start your journey as a film editor with one of the reputed colleges in India. MGM CJMC’s Dept. Of Film Arts offers you a one-year Certificate Course devoted to practical training in all aspects of Film Editing and equips you with the skills, knowledge. You will get a 360 Degree support to excel in your chosen field. Join our supportive network of film professionals and sharpen your craft in a group within the nurturing environment of Mahatma Gandhi Mission’s Aurangabad Campus. Our Certificate Course In Film Editing is the only fully comprehensive course of its kind, where you will learn your skills from practising Film industry experts and be fully engrossed in the production of your own films. We expect our student to leave as a multitalented filmosopher with an extensive showreel and a network of professional contacts. MGM has proven its expertise in last 35 years.

“I feel very Proud and happy whenever i visit MGM. I would love to visit MGM again and again to guide students of MGM’s Department Of Film Arts”
-Nana Patekar

• One year study time (20 hr practical + 10 hr theory, 20 skill development tasks per week)
• Learn from award-winning, practising film makers
• Create reputation with a community of industry experts
• While developing your skills as a versatile and malleable industry skills make your own extensive showreel
• Avail facility of Scholarships given by MGM Charitable trust
• Showcase your Short Film (student project) at AIFF (Aurangabad International Film Festival)
• MGM will promote best short films made by the students at world-class film festivals
• World class DVD, Blu rey, eBooks library (along with all required reference books)

Duration: 1 year, full-time
Intakes: In the month of June
Hours:: 30 per week (plus additional hours, incl. evenings and weekends)
Our intensive 12-month Certificate CourseIn Film Editing was the first of its kind to offer “full picture Film Editing”. You will learn all expected Film Editing disciplines: allied arts, editing, producing, editing, screenwriting, cinematography, sound and film marketing. In over 30 hours of practical tuition per week you will find out where your strengths lie, and move into the industry with a wealth of skills, useful contacts and practical knowledge. All our faculties, trainers and mentors are film industry professionals with a working knowledge of current practice and a horde of striking credits. Regular faculties include Award winning editor Chandrakant Kulkarni, Noted lyricist and playwrite Dasu Vaidya, Vetran Critic Ashok Rane, Award Winning screenwriter Ajit Dalvi. You will work State-Of-Art Editing suites supported by Mack and softwares like Final Cut Pro, Davinci Resolve, etc. There will be a devoted editing suite for every student according to his working shift. Learn the current industry software including Final Cut Pro, Pro Tools, Final Draft, Movie Magic EP Budgeting & Scheduling, Avid Media Composer and work on a broad range of projects and film shoots including: visual narratives, short films (two-, four- and eight-minute) and commercials. This all ensures that you leave MGM’S DFA with an extensive showreel of work.

“I feel very Proud and happy whenever i visit MGM. I would love to visit MGM again and again to guide students of MGM’s Department Of Film Arts”
-Linda Aronson, Author

MGM’S DFA Certificate Course In Film Editing is a multi-disciplinary hands-on course, designed to enable students to make creative decisions and receive constructive feedback in a safe, nurturing environment. Over three terms Certificate Course In Film Editing progresses naturally from a basic introduction to aesthetic and technical aspects of Film Editing to wider, more complex problems posed by film production.

Film Editing is just not knowing about the technique. To become a versatile editor we must have aptitude towards every form of art. A editor must know the fundamentals of poetry as well as fine art. He must excel in music as well as theatre. Knowing the need we have an intensive allied arts workshop in the beginning of every diploma course.
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“Movie editors, or should I say people who create things, are very greedy and they can never be satisfied... That's why they can keep on working. I've been able to work for so long because I think next time, I'll make something good.”
-Akira Kurosawa
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What can be said about the shaping of a film’s rhythm in editing beyond saying “it’s intuitive”? This curiosity will lead students to an in-depth study of editors’ rhythmic creativity and intuition, the processes and tools editors work through to shape rhythms and the functions of rhythm in film. Through skill development task students will carve out a number of theories about rhythm in film editing. What it is, how it is shaped, and what it is for? Assignments about creating rhythm in films will be given to students and the progress will be observed time to time.

Reference books: In the Blink of an Eye, by Walter Murch
Reference films: Pulp Fiction (1994)

“Time, imprinted in the frame, dictates the particular editing principle; and the pieces that “won’t edit” that can’t be properly joined are those which record a radically different kind of time. One cannot, for instance, put actual time together with conceptual time; any more than one can join water pipes of different diameter. The consistency of the time that runs through the shot, its intensity or “sloppiness,”could be called time pressure: then editing can be seen as the assembly of the pieces on the basis of time pressure within them.”
- Andrei Tarkovsky, Film Maker

Choreography is the art of manipulating movement: phrasing its time, space, and energy into affective forms and structures. In their work with rhythm, editors do similar things. This chapter compares editing to choreography for the purpose of uncovering some principles that choreographer’s use that may be applicable to the editor’s work with the shaping of the film edit. It begins by examining the uses of the more common metaphor for editing music.
Reference films: The Mirror (Andrei Tarkovsky, 1974), Battleship Potemkin (Sergei Eisenstein, 1925), A Beautiful Mind (Ron Howard, 2001)

Timing is the attribute of rhythm that arises as an editor determines when cuts and shots occur. There are three aspects of timing to be considered when discussing rhythm in film editing: choosing a frame, choosing duration, and choosing the placement of the shot.
Pacing is a felt experience of movement created by the rates and amounts of movement in a single shot and by the rates and amounts of movement across a series of edited shots. Pacing as a tool for shaping rhythm defines the resulting pace of a film.
“Trajectory phrasing” is a term I have devised to cover an area of editing rhythms that is not precisely addressed by the terms “timing”and “pacing.”Trajectory phrasing describes the manipulation of energy in the creation of rhythm.

Reference books: Film Art: an Introduction by Bordwell & Thompson
Reference films: A Night at the Opera (Sam Wood, 1935), His Gal Friday (Howard Hawks, 1940), The English Patient (Anthony Minghella, 1996)

The art of shaping rhythm is a choreographic art in that it involves shaping physical movement for affect. The core unit of this choreographic art is the pulse. A pulse is, in itself, a minute fluctuation of tension and release. The pulse is the energetic emphasis or tension placed on one syllable or part of movement in a “measure”of two or three syllables or parts of movement. The de-emphasized part of movement in the measure is the release of the tension.

Reference books: Grodal, T. K., Moving Pictures: A New Theory of Film Genres, Feelings and Cognition, Tarkovsky, A., Sculpting in Time
Reference films: A Brief History of Time (Errol Morris, 1993), Psycho (Alfred Hitchcock, 1960)

The movements of actors, on however large or small scale, are the explicit expression of their internal rhythms and emotions. The timing and energy of the movement within them is their emotion made explicit, and this is the material being composed into the film’s rhythm. The movement available to choreograph into meaningful patterns of time is not limited to the human body. Movements in the world of the rushes are that world’s explicitly stated rhythms.
Reference books: Linda Aronson’s Scriptwriting Updated: New and Conventional Ways of Writing for the Screen, Van Leeuwe’s Introducing Social Semiotics
Reference films: No Surrender (Richard James Allen, 2002), In the Bedroom (Todd Field, 2001), Die Hard (Len Wiseman, 2007)

Style in editing refers to an aggregate of choices. It’s a tricky word in that it can be quite amorphous, but it’s useful in the discussions between directors, producers, cinematographers, and editors, because it allows them to imagine the whole production as a coherent rhythmic construction and discuss what the final will look and feel like. Students will work on range of choices available in determining editing style, it is useful to break down the possibilities available, what they are, and what effects they create, so that these conversations between creative can have some common terms of reference.
Reference books: Giannetti, L., Understanding Movies, Eisenstein, S., Film Form: Essays in Film Theory, Pudovkin, V. I., On Film Technique and Film Acting
Reference films: Casablanca (Michael Curtiz, 1942), Psycho (Alfred Hitchcock, 1960), Apocalypse Now (Francis Ford Coppola, 1979), Breaker Morant (Bruce Beresford, 1979), Requiem for a Dream (Darren Aronofsky, 2000), Natural Born Killers (Oliver Stone, 1994)

A device is something that complicates the formal patterning, providing form with variations. It is a way of constructing a moment or a passage that varies the unfolding of a story from direct linear cause-and-effect chains to more complicated and potentially formally more expressive patterns of telling. An editing device varies the form by playing with some of the unique capacities of cinema to shape time, space, energy, and movement to create experiences of tension and release.
Reference books: Turim, M., Flashbacks Film: Memory & History, The Eye Is Quicker , Richard D. Pepperman, Eisenstein, S., “ Dickens, Griffi th and the fi lm today, Fairservice, D., Film Editing: History, Theory and Practice
Reference films: Gallipoli (Peter Wier, 1981), The Godfather (Francis Ford Coppola, 1972), Snatch (Guy Ritchie, 2000), Chariots of Fire (Hugh Hudson, 1981), Thelma and Louise (Ridley Scott, 1991)

An excellent editor Should be able to make vitally important choices about where and when to turn the scene; that is, what shot or character to be on, and what moment of his performance to show, to shape the emphasis and empathy we experience as the emotions in the scene turn. Students will do intensive practical based on respective Skill Development Tasks.
Reference books: McKee, R., Story: Substance, Structure, Style and the Principles of Screenwriting, Dancyger, K., The Technique of Film and Video Editing, Theory and Practice, McKee, R., Story: Substance, Structure, Style and the Principles of Screenwriting
Reference films: Gone with the Wind (Victor Fleming, 1939), Howard’s End (James Ivory, 1992), The French Connection (William Freidkin, 1971)

We firmly believe that excellence in technique only will support the maker to dream high and achieve it. We are proud that we are one of the very few institutes in India which provide in-house VFX, DI ( ) and mastering facility.
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We follow the industry method to start the production. Students are supposed to pitch for their concept of the film. They will work with screenwriting students on the final draft. Final draft and budget will be presented in front of the panel of Producers. After approval from producer panel students are supposed to complete the project with industry discipline. They follow the projected schedule and come up with the complete film by strictly following the limitations of time and budget. We strongly believe that this skill will help students to grown in the competitive industry along with their creative skills.
Students will select crew from other specialisations like actors from Acting diploma, director of photography from cinematography diploma and so on.
We will provide autonomy in student’s decision making to manage the proposed budget in DFA currency. (Students will get credits in DFA currency which they are supposed to spend for hiring cast and crew, studio bookings and all related expenses. Students will be graded on their budget handling skills also)
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Students are encouraged to attend events and screenings at a range of film festivals throughout the duration of the course. MGM’S DFA is involved with a variety of film festivals like Aurangabad International Film Festival (AIFF). In addition students are invited to attend workshops held at these festivals and facilitated by the MGM’S DFA. Where possible, students will be issued with delegate passes for relevant festivals, where we actively encourage attendance at screenings or networking events. Such festivals may include the Yashwant International Film Festival, Mumbai or Filmingo Short Film Festival. their budget handling skills also)
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MGM’S DFA is a Film making community that operates like a production company. Students from all courses regularly support one another so that their film-school experience will be enhanced. Film Editing students work for post-production and Sound Design students join the sets with students of Certificate Course In Film Direction for sound and so on.
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To start your journey as a director with us please register for the Orientation Workshop at REGISTER NOW. You will receive a mail about details of Orientation Workshop
If you need any information or counselling please click the NEED COUNCELLING button and you will receive a call from our councillor.
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• 10+2 or equivalent can apply
• Students with good experience from the field of theatre, music, fine art, etc may get priority in the limited seats criteria
• Students with a non-traditional background will be considered on the strength of their knowledge about the subject and their performance in ENTRANCE TEST WORKSHOP where student can demonstrate transferable skills in other relevant areas
• Those who have experience in the field can present their work in audio visual format at the time of FINAL INTERVIEW
• Fluency in English is must for the applicant, as so many mentors and tutors will be from non-Hindi and Marathi background

“A film is never really good unless the camera is an eye in the head of a poet.”
-Orson Welles
• We will welcome you if you are Committed, dedicated and passionate for filmmaking
• If you want a professional career in film
• If you are Collaborative and have a capacity to articulate creative people
• If you have practiced on Film making or any other art form (Allied Arts)

Apply Now

• Register yourself before June 16, 2018
• Orientation Workshop is on July 7 & 8, 2018 (Full Day) at MGM Campus Aurangabad
• Fees For Orientation Workshop Is Rs.1000/- and this fees to be deposited at MGM College of journalism and mass communication before 16th April 2018
• First 40 applications only will be considered for the Orientation Workshop
• Course Fee: Rs. 100000/-
• Admissions will be conferment on July 10, 2018 after submission of required documents and first instalment of fees by the students.
• Batch will start from the third week of July 2018
• Final submissions, exam will be commenced approximately in the month of April/May 2019

For further information please contact our Admissions Coordinator on 0240-2478908 or