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BAFTA Nominations 2019
Category: Articles
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Canadian Screen Awards Winners 2019
Canadian Screen Awards Winners 2019
GALA NIGHTS 1 & 2 Winners
Congratulations to our CCE members who won a Canadian Screen Award last night.
Best Picture Editing: Documentary
Cathy Gulkin, CCE
You are Here
Best Picture Editing: Reality/Competition
Jonathan Dowler, Michael Tersigni, CCE, Gloria Tong, Owin Lambeck (Plus 2 other editors)
The Amazing Race Canada: Just a Beaver Hero
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Rosie Awards Nominations 2019
Rosie Awards 2019 - Nominations for CCE Members
Congratulations to our CCE members in Alberta who are nominated for Rosie Awards.
Sarah Taylor has 3 nominations, Brenda Terning has 2 nominations and Krystal Moss and Ken Filewych, CCE each have 1 nomination.
Good luck!
Sarah Taylor (plus 1 other editor)
Caution: May Contain Nuts – “Sexy Bigfoot Alien Chef’
Sarah Taylor
The Suburbanight
Ken Filewych, CCE
Heartland – “A Fine Balance”
Sarah Taylor
Fast Horse
Brenda Terning
Equus: Story of the Horse – “Origins”
Krystal Moss & Brenda Terning
Equus: Story of the Horse – “Chasing the Wind”
Winner of Best Editing Vancouver Short Film Festival 2019
The CCE were a proud sponsor for the Vancouver Short Film Festival.
We had the honour of presenting the Best Editing Award. The winner of the Editing Award was Jason Karman of the film Lionhood.
Jason Karman is a Vancouver-based screenwriter and director whose 16 short films have screened internationally at festivals including the Melbourne Queer Film Festival, Whistler Film Festival, and Telefilm Canada’s Not Short on Talent at Clermont-Ferrand.
Graduating in 2003 with honours in Cinematography from Capilano College, Jason has worked in documentaries, dramas, thrillers and dance on screen.
In 2011, Jason received the Gerry Brunet Memorial Award at Vancouver Queer Film Festival for I’M IN THE MOOD FOR LOVE, and in 2015 was recipient of the Jury Choice Award at Reel Pride Winnipeg for KIMCHI FRIED DUMPLINGS.
He is the 2016 recipient of the James Lee Foundation Scholarship and the 2018 Normand Bouchard Memorial Bursary.
Categories
Canadian Screen Awards Nominations 2019
Canadian Screen Awards Nominees 2019
Congratulations to our CCE members who are nominated for a Canadian Screen Award.
Achievement in Editing
Simone Smith
Firecrackers
Richard Comeau, CCE
Stockholm
Graham Withers
Transformer
Dave Kazala, CCE
Dolphin Man
Duncan Christie
Mary Kills People: Fatal Flaw
D. Gillian Truster, CCE
Anne with an E: Protest Against Any Absolute Conclusion
Matthew Anas
Cardinal: Blackfly Season
Paul Winestock, CCE
Blood and Water: 201
Brenda Terning & Krystal Moss
Equus: Story of the Horse – Chasing the Wind
Cathy Gulkin, CCE
You are Here
Michael Tersigni, CCE, Jonathan Dowler, Gloria Tong, Owin Lambeck (Plus 2 other editors)
The Amazing Race Canada: Just a Beaver Hero
Jonathan Dowler, Baun Mah, Ryan Monteith, Mike Scott, Andrew Gurney, Seth Poulin, Michael Tersigni, CCE, Jordan Crute, Owin Lambeck (Plus 9 other editors)
Big Brother Canada: Finale
Michael Tersigni, CCE, Ryan Monteith, Mike Scott, Elianna Borsa
Top Chef Canada: Double Overtime
Jonathan Eagan
Workin’ Moms: 2005
Mike Fly (plus 3 other editors)
Baroness von Sketch Show: Is that you Karen?
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ACE Eddie Award Nominations 2019
Categories
DGC Award Winners 2018
DGC Award Winners 2018
Congratulations to our CCE members who won a DGC Award over the weekend.
BEST PICTURE EDITING – DOCUMENTARY
Roderick Deogrades
Silas
BEST PICTURE EDITING – DOCUMENTARY
Silas
BEST PICTURE EDITING – TELEVISION SERIES
Christopher Donaldson, CCE
The Handmaid’s Tale, Episode 102, Birth Day
BEST PICTURE EDITING – TELEVISION SERIES
The Handmaid’s Tale, Episode 102, Birth Day
2018 CCE Winner for LA Edit Fest Raffle - Richard Millen
My EditFest 2018 experience began with a message from a friend attending the 2018 Canadian Cinema Editors Awards. Unable to go this year, I had nonetheless bought a ticket for the annual raffle.
“Hey. You won a trip to LA,” from Greg. “That’s crazy,” from me.
And so, it was on. The American Cinema Editors’ EditFest 2018 took place on Saturday August 25th in Burbank at the Main Theatre on the Walt Disney Studios campus. After flying into Los Angeles on Friday evening, I arrived at the event in time Saturday morning to catch the “warmup act,” a presentation from Blackmagic Design on the latest iteration of DaVinci Resolve. I imagine most CCE members are familiar with the constantly evolving colour grading and (more recently) editing software. As much as I like a good tech presentation, I was eager for the panel discussions to get under way, featuring a cross section of editors from the film and television industries
Panel #1: Small Screen, Big Picture
The celebration of our craft that is EditFest was introduced by Stephen Rivkin, president of the American Cinema Editors. Some members will remember Stephen appearing at a CCE event in Toronto a few years back where he discussed his role as editor of Avatar.
Following his EditFest introduction, he handed the stage over to the first panel discussion Subtitled “Editors discuss their personal experiences and challenges in the cutting room,” “Small Screen, Big Picture” was moderated by Margot Nack a strategic business developer for Adobe Pro’s film & TV market in LA.
Editors from different genres, the panelists included Peter Beyt, ACE (multicam sitcom), Jacques Gravett, ACE (TV drama), Tim Porter (Game of Thrones) and Meaghan Wilbur (comedy specials).
It must be noted that all the editors have worked in several genres during their careers and were talking about their recent areas of speciality.
As the discussion’s subtitle suggests, the talk was wide ranging and highlighted the differences and commonalities among the panelists’ daily editing work. Mostly free of controversy, I took note of the lighthearted back and forth about the degree of difficulty and challenge each editor felt was typical of their particular projects.
“You single-camera-scripted guys have it easy!”
The common theme being how each editor’s passion for their career and creative contributions overrides any of the day-to-day challenges that present themselves.
Panel #2: The Extended Cut
Based on description in the EditFest 2018 agenda, “The Extended Cut” was a session I was seriously looking forward to. In these days of increased focus on workplace mental and physical health, the “How to survive and thrive in editorial” subtitle was a topic tease that promised some enlightenment and perspective. The panel was made up of editors of diverse ages and backgrounds, but a generally common understanding of the environment needed to foster creative and effective editing.
Lillian Benson is a thirty veteran, who has edited across many genres and was the first African-American female member of ACE. In addition to currently editing the third season of Chicago Med, Lillian serves on the Board of Directors of ACE.
Zack Arnold, in addition to his numerous film and TV credits, founded and runs Optimize Yourself. Optimize Yourself comprises a number of resources designed to offer his fellow post production professionals a roadmap to improved mental and physical health. This effort grew out of Zack’s own struggles with job burnout and the resulting issues that arose.
Carol Littleton’s impressive 40-year career includes collaborations with directors Lawrence Kasdan, Jonathan Demme, Robert Benton among others.
Her multiple award-winning career and distinguished service with the Editors Guild, ACE and AMPAS, provided her with an excellent vantage point to contribute to this discussion of the desire for the betterment of the working lives of editors.
Andrew Seklir rounded out the panel and brought direct attention to the recently published Best Practices Guide for Post-Production. This is a guidebook produced by the American Cinema Editors aimed at improving the working lives of its members. Andrew is a multi-award winning and nominated editor. He is also a producer and director. While the Best Practices guide seems on the surface to be a “pie in the sky” wish list, I think it’s value for me was simply a reminder of how far we have come as a profession, and more importantly how far we have to go to achieve the respect and consideration of our employers, when it comes to working conditions. Whether cutting corporate videos or big budget motion pictures, as editors we have more in common than we differ in our professional lives.
Andrew, the other panelists and moderator Matt Feury (Avid, Director of Product Marketing) all contributed to a lively and enlightening discussion. For me one of the more important messages to come from all participants was, don’t be afraid to walk away from a bad situation. Go with your gut and always make your health and well-being a priority in service of a long and creatively satisfying career.
Panel #3: Inside the Cutting Room with Bobbie O'Steen
After lunch, EditFest continued with “Inside The Cutting Room with Bobbie O’Steen.” Bobbie is an Emmy nominated editor, writer and film historian and lecturer. Her guest for the one-on-one conversation on stage was editor Tatiana Riegel.
Tatiana was recently nominated for a Best Editing Academy Award for the film I, Tonya. Their conversation covered Tatiana’s entry into the world of film editing through her extensive collaboration with director Craig Gillespie (Lars and the Real Girl and I, Tonya) and other notable producers and directors.
As a window into one editor’s creative process and relationships, the conversation was both illuminating and entertaining.
Panel #4: Lean Forward Moment
“The Lean Forward Moment” was the final panel discussion of EditFest and focused on the ACE Internship Program. The panel was moderated by Norman Hollyn, a long-time film, television and music editor. Norman is a Full Professor at USC’s School of Cinematic Arts. The panelists were all former ACE interns and working film and television editors. Not surprisingly, they all spoke in support of the intern program and gave personal anecdotes, as well as identifying the films that inspired them to pursue the careers they now enjoy.
The panel was comprised of Mark Hartzel (True Blood), Joi McMillon (Moonlight), Shoshanah Tanzer (The Catch) and Julia Wong (X-Men: The Last Stand). An interesting session that highlighted the way in which organizations like ACE and others can give back and inspire the next generation of editors.
To summarize, my EditFest 2018 experience was fantastic. Many thanks to the Canadian Cinema Editors for offering this prize through the awards night raffle. My good luck in the draw led to a wonderful chance to commune with an enthusiastic group of fellow editors. Special thanks to Alison Dowler of the CCE for getting my trip organized and booked.
Richard Millen
associate member of the Canadian Cinema Editors, Canada
Categories
Global Opportunity Report 2018
Global Report 2018: Seeking the Advancement for Canadian Editors
We are fortunate in Canada to have a consistently growing film and television industry.
Our creative artists have developed their skills on both domestically and internationally funded films and television series. When productions choose to travel to Canada to shoot, they do so as result of attractive tax incentives as well as the knowledge that Canadian crews are both talented and experienced.
We consistently celebrate how many foreign productions film in Canada, yet it is rarely mentioned that a significant percentage of those productions are not edited by Canadians.
Currently, it is unreasonably difficult for Canadian editors to be recognized by foreign producers and directors as candidates that merit serious consideration.
We aim to generate discussion around barriers to employment and encourage change in the policies that have kept Canadian editors from being considered by prominent foreign production companies.
This report is intended as a constructive tool to address these serious issues facing Canadian editors, and we hope it encourages further discussion on the matter.
MISSION
STATEMENT
The Global Opportunities Committee seeks fair access to opportunities for Canadian picture editors in Canada and the world. With the recommendations contained within this document, we aspire to create an environment that will allow Canadian editors to flourish.
REPORT
OVERVIEW
The Canadian Cinema Editors (C.C.E.), an organization of post-production professionals dedicated to promoting Canadian editors, recently commissioned a survey to determine:
whether its membership would like to encourage government agencies and unions that represent editors (the DGC in Ontario, Alberta, Saskatchewan, Manitoba, and Atlantic Canada, IATSE in B.C. and Quebec, ACFC in BC, and AQTIS in Quebec) to take a more active role in promoting Canadian editors to foreign producers, directors, and showrunners who film here
whether its membership was interested in pursuing opportunities in foreign markets such as the U.S.
The answer to both questions was an overwhelming yes. While Canada has enjoyed a production boom in major centres, this boom has not extended to Canada’s picture editors. Many of the foreign shows that shoot in Canada choose to edit in Los Angeles or abroad, resulting in lost opportunities for Canadian editors. The survey reflects a strong desire amongst Canadian editors to access those lost opportunities and overcome the many barriers to working on foreign productions.
It’s weird that productions from the U.S. will shoot in Toronto, go back to LA or NY for picture editing but then come back to Toronto for post sound. We need to find a way to keep them in the city for the full post-production package.
Respondent #67 Editor
Female, 25 – 34, 10 – 15 years in industry
I feel there is a bias against Canadian Editors. We need to be promoted. There is a lot of wasted talent!
Respondent #43 Editor
Female, 35 – 44, 10 – 15 years in industry
CURRENT
STATE OF
POST-PRODUCTION
IN CANADA
Canadians edited such critically-acclaimed series as The Handmaid’s Tale, American Gods, Hannibal, Orphan Black, Anne with an E, The Expanse, and Vikings.
In 2018, Canadian editors Wendy Hallam Martin and Julian Clarke won ACE’s (American Cinema Editors) Eddie award for their stellar work on The Handmaid’s Tale. Clarke was nominated for both an Academy Award and a BAFTA for District 9 in 2009.
Quebec editors Maxime Lahaie-Denis, Sylvain Lebel, Véronique Barbe, and Justin Lachance were nominated for an Emmy and an Eddie for their work on Big Little Lies.
In 2012, Toronto editor Don Cassidy won an Emmy for his work on the miniseries Hatfields & McCoys. Ron Sanders has been celebrated for his work on such films as A History of Violence and Eastern Promises; Richard Comeau for such films as the Oscar-nominated War Witch; and Mike Munn for the internationally-praised Stories We Tell.
Yet despite these successes, the statistics show that more needs to be done. While other below-the-line departments have flourished, this has not translated to comparable opportunities for editors.
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