Tickets on sale December 16th, 2024!
EditCon 2025
The Canadian Cinema Editors (CCE) is pleased to present EDITCON 2025, the eighth annual conference on the art of picture editing, which will take place between February 7th to 9th, 2025. The conference will host virtual events as well as in person events in Toronto, Montreal, Vancouver, Edmonton and Halifax. We are also excited to have another EditCon exclusive podcast episode! This will be a special release on January 1st and will be available to everyone!
Canada boasts a remarkable array of skills in post-production – whether it’s editors, colourists, sound designers or VFX artists, we are at the cutting edge of global cinema. Canadian post-production professionals are setting the standard for quality, creativity and innovation, and this year we are here to showcase just how impactful our contributions are across the globe.
Post-production is where stories are truly made, where raw footage transforms into breathtaking experiences. So buckle up buttercup, because EditCon 2025 celebrates some of the most talented voices in the industry (from Canada and abroad) and the incredible work they helped craft. With online and in person discussion panels on editing across genres and mediums, from action to documentary, animation to assisting. Get ready to network, learn, and be inspired as we explore the power of post-production.
In addition to fascinating panels and a podcast, there will be a series of virtual breakout rooms as well as some exciting programming for our in person events. We will also have some amazing products to raffle off!
Podcast Exclusive
Deadpool & Wolverine
Tune in for an exclusive behind-the-scenes conversation with Shane Reid & Dean Zimmerman, ACE, the talented editors behind Marvel’s massive box-office hit, DEADPOOL & WOLVERINE. This year we explore the creative process, challenges, and excitement of shaping these fan-favourite antiheroes on the big screen. Whether you’re a long time Marvel fan or curious about editing action, you won’t want to miss this insightful discussion about pacing, glistening abs, deleted scenes, and the unique dynamics of editing two of the most unpredictable heroes in cinema.
Shane Reid is a feature and commercial editor and partner of the award winning post house Exile Edit. Nominated for an Emmy and Cannes Lion in the commercial space he quickly became one of the industry’s most trusted short form editors. In 2016 Reid edited the feature documentary ONE MORE TIME WITH FEELING, directed by Andrew Dominik which chronicled musician Nick Cave recording his studio album Skeleton Tree while grieving the tragic loss of his son. 2024 will be quite the year for audiences to see Shane’s feature work as he has 3 films releasing, GHOSTBUSTERS, DEADPOOL & WOLVERINE and SATURDAY NIGHT.
Dean Zimmerman, ACE is the Award-winning editor of over 50 feature films and television episodes. Dean’s most recent collaborations include DEADPOOL & WOLVERINE, ALL THE LIGHT WE CAN NOT SEE, STRANGER THINGS, THE ADAM PROJECT and FREE GUY. Zimmerman’s collaboration with Producer/Director Shawn Levy dates back nearly 20 years and a dozen films, films that have cumulatively grossed several Billion dollars at the worldwide box-office. These collaborations include the NIGHT AT THE MUSEUM franchise, DATE NIGHT, REAL STEEL, THE INTERNSHIP and THIS IS WHERE I LEAVE YOU.
A multi-award-winning editor with over twenty years of experience, Sarah has helped shape countless narratives that have been seen around the world. She has cut a wide range of documentaries, television programs, shorts, and feature films which have been screened at festivals including Tribeca, TIFF, and Sundance, and broadcast on networks like CBC, BBC, PBS, APTN, and AMI. Sarah’s most recent work includes the feature length documentary The Lebanese Burger Mafia which premiered at HOT DOCS in 2023 and the feature film Hey Viktor! which premiered at Tribeca in 2023. Sarah has seamlessly transitioned into the world of podcasting and also hosts and edits interview-based shows such as BRAAAINS and THE EDITOR’S CUT, adding another dimension to her multifaceted storytelling expertise.
Panels (Virtual)
VIRTUAL PANELS WILL BE RELEASEd
Behind the Screen: Furiosa
Step into the world of colour with the master behind FURIOSA, the much anticipated prequel to Mad Max: Fury Road. Multi-award winning colourist, Eric Whipp, will reveal the art and techniques of colour grading and how it brings the harsh, post-apocalyptic world to life. From creating a workflow across three countries, to the process for developing a film’s unique tone, we delve into the critical role colour plays in shaping the story. If you’re looking to deepen your understanding of how colour elevates a film’s mood and impact, this is a panel you won’t want to miss.
Eric Whipp is a distinguished colorist known for his exceptional work in film and television. With a keen eye for detail, he has contributed to a variety of notable projects, including the critically acclaimed film MAD MAX: FURY ROAD. His expertise in color grading played a vital role in enhancing the film’s striking visuals, helping to create its unique and immersive aesthetic. With a collaborative approach, Eric works closely with directors and cinematographers to bring their creative visions to life. His dedication to the craft and innovative techniques have solidified his reputation in the industry, making him a sought-after talent for filmmakers looking to elevate their storytelling through color.
Robots to Shapeshifters: Our Animated Heroines
Animation is often stereotyped as a children’s genre. The truth is that it is a versatile medium for all ages: one that allows storytellers to experiment, push boundaries, and captivate audiences around the world. This year, CCE proudly presents a panel featuring the editors behind INSIDE OUT 2, THE WILD ROBOT, SPELLBOUND and NIMONA. We will discuss the creative process behind these titles and the particularities of working in the editor’s chair on animated feature films of this caliber.
A DreamWorks Animation veteran of 20 years, editor Mary Blee most recently served as editor on the critically acclaimed feature film THE WILD ROBOT for writer/director Chris Sanders. Previously, she was the editor of THE BOSS BABY: FAMILY BUSINESS. Throughout her career with DreamWorks Animation, Blee has worked on multiple DreamWorks franchises, including HOW TO TRAIN YOUR DRAGON, THE CROODS, KUNG FU PANDA and THE BOSS BABY. She has had the pleasure of working on six DreamWorks Animation films nominated for a Best Animated Feature Film Academy Award.
Susan Fitzer is the lead editor on Skydance Animation’s upcoming musical-fantasy film SPELLBOUND, debuting this fall 2024 on Netflix. Susan has worked as an editor on many classic animated features including HOW TO TRAIN YOUR DRAGON, ABOMINABLE, TURBO, CAPTAIN UNDERPANTS: THE FIRST EPIC MOVIE, and JIMMY NEUTRON: BOY GENIUS. Before entering the world of animation, Susan worked as a live-action assistant editor on three Robert Altman features (THE GINGERBREAD MAN, COOKIE’S FORTUNE, and DR. T AND THE WOMEN). She has performed at LA’s Improv Olympics and is a member of SAG, having provided voices for SHREK THE HALLS, FLUSHED AWAY, TURBO, and SPELLBOUND.
Maurissa Horwitz joined Pixar Animation Studios in April of 2021. She most recently worked as the lead editor on Pixar’s feature film INSIDE OUT 2. Before joining Pixar, Horwitz was the lead editor on the film NIMONA at Blue Sky Studios, prior to the studio’s closing. She also edited PLAYMOBIL: THE MOVIE, OPEN SEASON: SCARED SILLY, and has worked in editorial for over 20 years at companies including DreamWorks Animation, Sony Pictures Animation, and Disneytoon Studios. Horwitz attended Dartmouth College in New Hampshire. She currently resides in El Cerrito, CA with her husband Travis, and supermutt, Maggie.
Randy is a Film Editor who has worked in Feature Animation for the past 20 years, mostly at Blue Sky Studios where he worked on Horton Hears a Who!, Rio, The Peanuts Movie, and Spies in Disguise. His most recent project is Nimona, for Annapurna and Netflix. Prior to Animation, he worked in Live Action, assisting on such films as Men in Black 2 and Gangs of New York. Randy was born in New York and studied film at Emerson College. When he’s not working, he can be found hiking, watching movies, making–or talking about making about pizza, and hanging out with his two kids and their insane dog Dizzy.
Lesley is a Toronto based, award winning feature film and television editor who has worked almost exclusively in animation — a medium that she loves! She has been fortunate enough to work on many international hit shows including JOHNNY TEST, TOTAL DRAMARAMA, BIG BLUE, THE NUT JOB 2 , ARCTIC DOGS and SAUSAGE PARTY- FOODTOPIA.
Assistant Editors: The Heart of Post Production (presented in english)
Our first ever assistant editor panel for EditCon! Join us for not one, but two discussions with highly renowned and award-winning French and English-speaking assistant editors, led by Pauline Decroix. In French we’ll welcome assistants from THE DISHWASHER, GHOSTS and UNIVERSAL LANGUAGE. In English we will welcome assistants from BEACON 23, HOME SWEET ROME, PUSH and MOONSHINE. They’ll discuss the assistant journey, from working with editors on projects to the differences between remote and office workflows, and navigating day-to-day operations in between the edit suites.
With 16 years of experience as an assistant editor, Tara has honed her skills on a diverse array of episodic shows and made-for-TV movies. Her show experience ranges from scripted dramas to youth dramatic series and she has played a crucial role in supporting many editors to develop the final product that captivates audiences. She brings a collaborative spirit and dedication to each project and takes pride in helping editors bring their creative vision to life.
Will Mitchell (Haudenosaunee) is an assistant editor with 14 years of experience in the film and television industry. His passions include working with other First Nations film creators and being a role model for his community in Akwesasne.
Will was the first assistant editor for all 3 seasons of SORT OF, THE OFFICE MOVERS and is currently a first assistant on WAYWARD. Will graduated from Humber’s post-production program in 2010. He also has a degree in Film Studies from Brock University. Will grew up in the Mohawk Territory of Akwesasne in NY/Que/On and now lives in Toronto with his wife and two young children.
Blair Drover has spent twenty years in the music industry, focusing on music production and audio engineering while performing with acts such as Audio/Rocketry and Marlaena Moore. In 2021, his lifelong interest in cinema led him to film editing. He has since served as an assistant editor
on features such as THE LAST VIDEO STOP, DARK MATCH, and SOUL’S ROAD alongside CBC’s PUSH and Canada’s longest-running drama, HEARTLAND. Beyond his assistant editing roles, his editorial portfolio includes music videos, commercials, feature films, and docuseries, earning him a Rosie Award nomination for PAIN AND OFFERING.
Maria has been working in the film industry in Halifax, Nova Scotia, since 2013 and considers herself a Career Assistant Editor. With a degree in Digital Filmmaking from the Centre for Arts and Technology, she has worked on projects like MR. D, HOPE FOR WILDLIFE, and MOONSHINE. With a decade of experience in post-production, she prioritizes organization and continually developing skills across various editing software. Maria is passionate about supporting the creative process and enjoys the collaborative nature of the editing room.
Pauline Decroix is an award-winning Picture Editor based in Toronto with almost 25 years of experience in both Canada and France. Since she moved here, she has made a name for herself on the Canadian scene. In 2020, she received her first CSA for Best Editing on the documentary ON THE LINE. Pauline also won the CCE award for best editing in a short film two years in a row (2020 & 2021). She recently worked on BEYOND BLACK BEAUTY, a new Amazon series, HOW TO FAIL AS A POPSTAR, Best Web Series at the 2024 CSA, and on SON OF A CRITCH.
Assistant Editors: The Heart of Post Production (presented in French)
Our first ever assistant editor panel for EditCon! Join us for not one, but two discussions with highly renowned and award-winning French and English-speaking assistant editors, led by Pauline Decroix. In French we’ll welcome assistants from THE DISHWASHER, GHOSTS and UNIVERSAL LANGUAGE. In English we will welcome assistants from BEACON 23, HOME SWEET ROME, PUSH and MOONSHINE. They’ll discuss the assistant journey, from working with editors on projects to the differences between remote and office workflows, and navigating day-to-day operations in between the edit suites.
Émilie is a passionate assistant based in Montréal, with genuine technical skills and creativity. She has worked on many TV series, including all seasons of 5e RANG and L’OEIL DU CYCLONE. She developed good relationships with the editors with whom she worked. She has collaborated on several TV series and movies with editor Isabelle Malenfant, including the films FABULEUSES and LE PLONGEUR and the TV series LE PHOENIX, POUR TOI FLORA, and DOUBLE JEU. This long-standing collaboration has allowed them to create a strong relationship built on trust and communication. She won the Assistant Editor Recognition Award at the CCE Awards 2024.
After earning a college degree in communication and literature, and dreaming of the theatre, Véronique decided to change courses and study at the Cégep de Jonquière’s school of media arts and technologies. She graduated in 2008 and enjoyed a wonderful internship at Radio-Canada, then joined the team at the now-closed STATION 29. It was during her time at the post-production studio that she fell in love with everything to do with assistant editing. It was also there that she connected with Muse Entertainment and its numerous editors, giving her the chance to work on many of their projects—an opportunity that saw her working not only in Montreal, but in Toronto and Los Angeles as well. Over the past year, she has worked on an impressive collection of projects, including co-production series SO LONG MARIANNE for Crave, THE STICKY for Amazon, and the fourth season of hit sitcom GHOSTS for CBS.
Jeannick has loved the art of cinema since childhood, which eventually led her to study media arts and technologies at the Cégep de Jonquière. She has flourished as an assistant editor for more than three years, working on several notable projects like the series IN MEMORIAM and, more recently, the feature films UNIVERSAL LANGUAGE and SHEPHERDS. From synchronization to picture lock, she is meticulous in her support for editors. Her technical savvy is paired with artistic sensibility, allowing her to bring a personal touch to every project. Jeannick is driven by her desire to tell stories that speak to the public… while squashing some technical bugs along the way!
Pauline Decroix is an award-winning Picture Editor based in Toronto with almost 25 years of experience in both Canada and France. Since she moved here, she has made a name for herself on the Canadian scene. In 2020, she received her first CSA for Best Editing on the documentary ON THE LINE. Pauline also won the CCE award for best editing in a short film two years in a row (2020 & 2021). She recently worked on BEYOND BLACK BEAUTY, a new Amazon series, HOW TO FAIL AS A POPSTAR, Best Web Series at the 2024 CSA, and on SON OF A CRITCH.
This Year in Canadian Film
We want to feature the editors of four Canadian films that are not only critically acclaimed in this year’s festival circles but also reflect the great community spirit behind their creation. Whether it’s the utterly independent visions of MATT AND MARA and UNIVERSAL LANGUAGE or the deeply necessary stories of the Indigenous community in ABERDEEN and THE STAND, this year’s Canadian films, in all their shapes and forms, are not short of boldness and style.
Sara Bulloch is an editor and filmmaker in Winnipeg, Canada. She’s edited films and series like ABERDEEN (premiered at TIFF2024), ALTER BOYS, SEEKING FIRE, ANCIENT BODIES, and many short films including I WOULD LIKE TO THANK MY BODY which won Audience Choice Award at Gimli Film Fest 2023. Short films she’s written/directed have screened with Toronto Jewish Film Fest, the8fest, Gimli Film Fest, and more. Her films often explore mental health, identity, and relationships. Her short film, HOT DOG GUY won a People’s Choice Award at Vox Popular Media Arts Fest 2022. She’s also a motion graphics artist and community organizer. From 2019-2023 she organized OurToba Film Network & Fest, a community group for women, non-binary and gender diverse Manitobans in film.
Xi Feng is a film editor based in Montreal. Having lived in China, Canada, and France, she has cultivated a unique blend of cultural and artistic sensitivity. Feng has worked as an editor on award winning films including CETTE MAISON, CAITI BLUES and most recently UNIVERSAL LANGUAGE, which won the inaugural Audience Award at the Directors’ Fortnight at Cannes and is Canada’s 2025 submission for the Oscars. Her filmography includes films premiered at major festivals such as Berlinale, Cannes, Sundance, TIFF, Vision du Réel, HotDocs, etc.
Nathalie Massaroni is a Winnipeg-based editor and post production supervisor of more than 400 hours of television. Since graduating from the University of Winnipeg’s film program, she has edited features and series including WINTERTIDE, ALTER BOYS, SEEKING FIRE, and ABERDEEN (which premiered at TIFF 2024). Nathalie has also edited other short form series and films such as D DOT H, TAILOR MADE, and I HURT MYSELF. If she’s not working on a computer, you can find Nathalie at the dance studio or sipping coffee with a cat on her lap.
Ajla Odobasic is a Bosnian-Canadian film editor based in Toronto. Her credits include MATT AND MARA, THE WHITE FORTRESS, the TFCA Best Canadian Film Award-winning ANNE AT 13000 FT, A.W: A PORTRAIT OF APICHATPONG WEERASETHAKUL, and the CSA-nominated HELLO DESTROYER. Her work has screened at several festivals and platforms including Locarno, TIFF, the Berlinale, MoMA, CBC Gem, and the Criterion Channel. Ajla teaches editing in Humber College’s Film and Television program.
Sarah Hedar is a Vancouver-based editor and story editor. Her patience and sense of humour keeps the challenges that so often bog down the creative process at bay. Sarah’s award-winning work on provocative and original films spans both documentary and narrative projects, from features to shorts. Her keen eye for visual storytelling reflects her belief in the power of community, and the importance of continuously reassessing the status quo while building a world filled with empathy and hope for a brighter future. Her work has screened at festivals across the globe, but most notably, Sundance, TIFF, and VIFF.
Kelly Boutsalis is the International Programmer, Canada for the Toronto International Film Festival. She’s also a freelance writer, and has written about film and television for the New York Times, NOW Magazine, Elle Canada, Flare, POV Magazine and more. She’s also written about lifestyle, design, and culture for publications including Vogue, Toronto Star, Chatelaine, VICE and Toronto Life. Originally from the Six Nations reserve, she lives in Toronto. She is on the board of imagineNATIVE and a member of the Toronto Film Critics Association.
Behind the Screen: Halo
Come join us for a behind-the-scenes peek at the editing process of a few episodes from the live-action sci-fi series HALO! We’ll have a great panel where we’ll discuss with picture editors, Nicholas Wong, CCE, moderated by Roderick Deogrades, CCE about the creative process, workflow, and the challenges faced in shaping memorable action sequences known as ‘oners’ — those awesome moments that feel like one continuous take. If you’re curious about how action scenes with visual effects and sound design come together, or if you just love sci-fi, this is the perfect event for you!
Nicholas Wong, CCE is an award-winning editor, whose work spans a variety of formats, including television series and features. His latest work can be seen on the first season of BRILLIANT MINDS, HALO and SNOWPIERCER. His past credits include THE EXPANSE, CODE 8, UTOPIA FALLS and BARONESS VON SKETCH SHOW. Nicholas has just wrapped editing on set in Winnipeg for the action film NORMAL, starring Bob Odenkirk.
Roderick is an award-winning Picture and Sound Editor who has worked in the film industry for over 25 years. His experience in feature films, TV series and documentaries has established him as one of the industry’s most sought-after collaborators. On the picture side, he is known for his work on STILL MINE, VICTORIA DAY, and ONE WEEK. For television, he has edited THE EXPANSE, CHAPELWAITE, HIGH SCHOOL and HALO. He edited the acclaimed documentaries such as 100 FILMS & A FUNERAL, THE GHOSTS IN OUR MACHINE, DAVID & ME and SILAS. His sound work includes SPLICE, PASSCHENDAELE and SILENT HILL.
In Person Events
Edmonton- From Cut to Score: How Collaboration Shapes Film and TV
Post production is all about collaboration! Join a talented panel of editors, sound designers, and composers as they reveal the behind-the-scenes magic that brings films to life. From the precision of sound design to the emotion of the score, learn how every element comes together to create unforgettable cinematic experiences. Don’t miss the chance to hear from the experts and see how teamwork transforms great ideas into compelling stories on the screen!
Charlene Rule has edited a diverse portfolio spanning museum installations, unscripted shows, music videos, and award-winning documentaries. Her first documentary, FRAMES premiered at Tribeca and also showed at the Museum of Modern Art, New York. Recent work includes FOUR STRINGS GOOD, the documentary commemorating the British sessions bassist Mo Foster, which has just premiered at the DocNRoll festival in London. She has also contributed to notable projects like THE ALZHEIMER’S PROJECT, SAME SEX AMERICA, and LEVI: BECOMING HIMSELF. Charlene’s work has appeared on networks including A&E, AMI, CBC, Discovery+, FoxSports1, HBO, Max, Showtime, Sundance Channel, and VICE.
Hans Olson is an editor with a passion for observational storytelling. He has worked on three films directed by Tasha Hubbard – SINGING BACK THE BUFFALO, NÎPAWISTAMÂSOWIN: WE WILL STAND UP and BIRTH OF A FAMILY. His documentary editing credits also include SIKSIKAKOWAN: THE BLACKFOOT MAN, ARAB WOMEN SAY WHAT?! and KÍMMAPIIYIPITSSINI: THE MEANING OF EMPATHY. Hans studied screenwriting at Langara College and is an alumnus of the Canadian Film Centre (Directors’ Lab) and Berlinale Talents. He has volunteered with the Nordlys Film & Arts Festival since its inception in 2010.
John McMillan is an award-winning composer, producer, and educator. He is a Ph.D. candidate at the University of Westminster in London, UK, and is currently serving as Head of Songwriting with the Department of Music at MacEwan University in Edmonton. From an early age, John has been interested in the art of storytelling through film. This fascination, coupled with a love of music composition, songwriting, music technology and recording, has led to his career in music for visual media. Select screen credits include SINGING BACK THE BUFFALO, CRACKED: THE PERPLEXING WORLD OF EGG DONATION, THE GOOD VIRUS, WOCHIIGII LO: END OF THE PEACE, BLIND AMBITION: THE WOP MAY STORY, IRONMAN III and ASSASSIN’S CREED BLACK FLAG. John is most passionate about his musical contributions to the Canadian documentary film industry.
Johnny began his sound recording education at the age of 16 and has been working with audio professionally for more than 35 years. With a diploma in Music and Recording Arts from MacEwan University, he is both a musician and audio engineer, with the unique ability to receive the world through sound. The recipient of thirteen Alberta Motion Picture Industry Awards, two Canadian Screen Award Nominations, his position as a premiere audio authority is well established. There is no project Johnny is not equipped to tackle. He has a strong understanding of the technical and creative elements involved in audio production, and he has the skill to balance both.
A multi-award-winning editor with over twenty years of experience, Sarah has helped shape countless narratives that have been seen around the world. She has cut a wide range of documentaries, television programs, shorts, and feature films which have been screened at festivals including Tribeca, TIFF, and Sundance, and broadcast on networks like CBC, BBC, PBS, APTN, and AMI. Sarah’s most recent work includes the feature length documentary The Lebanese Burger Mafia which premiered at HOT DOCS in 2023 and the feature film Hey Viktor! which premiered at Tribeca in 2023. Sarah has seamlessly transitioned into the world of podcasting and also hosts and edits interview-based shows such as BRAAAINS and THE EDITOR’S CUT, adding another dimension to her multifaceted storytelling expertise.
Halifax- FINDING THE STORY
Editing is storytelling, and telling stories is what makes us human. But how do editors find, refine, and reconstruct the stories upon which we work? What differences and similarities exist across genres? Join us for an in-depth discussion spanning scripted television, documentary, reality and feature editing.
Amy Mielke is an accomplished feature film editor based in Halifax, Nova Scotia, whose work has earned awards and international festival recognition. Her feature credits include NIGHT BLOOMS, DAWN, HER DAD, AND THE TRACTOR, FREEDOM SWELL, BYSTANDERS, LAKEVIEW, and TO THE MOON, showcasing her versatility across genres and her commitment to compelling storytelling. Amy’s thoughtful approach to every frame continues to set her apart as a standout talent in feature film editing.
Wes Paster is an editor that resides in Wolfville, Nova Scotia. Six years ago he moved there with his family from Los Angeles thinking he could survive off of remote work. That’s worked out pretty well. He usually cuts reality shows. Emmy-Nominated four times for EXTREME MAKEOVER: HOME EDITION, he has worked on many reality shows from THE BACHELOR to SALVAGE KINGS.
Kimberlee McTaggart has been working in the Canadian film industry for over 25 years. She has produced and directed, but editing is her first love. She began her career editing documentaries, but is now mainly in the world of drama. Kim has edited several dramatic series such aS LEXX, MADE IN CANADA, THIS HOUR HAS 22 MINUTES, CALL ME FITZ, STUDIO BLACK, SEED, PURE, and DIGGSTOWN. She won a Gemini for the CALL ME FITZ pilot and was nominated for a Canadian Screen Award for her work on both CALL ME FITZ and SEED, as well as the feature film BLACKBIRD.
Sarah Byrne is a versatile, creative picture editor who has worked in both the mainstream and independent film communities of Nova Scotia for over 20 years. She started her career on the cult hit Trailer Park Boys, and has been a passionate collaborator on broadcast documentaries, half-hour comedy series and independent feature films ever since. In 2022, she was the recipient of the Best Atlantic Editor award (AIFF) for her work on Jackie Torren’s feature length documentary BERNIE LANGILLE WANTS TO KNOW WHAT HAPPENED TO BERNIE LANGILLE. Her recent editing work includes THIS HOUR HAS 22 MINUTES and the half-hour comedy series THE TRADES.
Taylor Olson (he/they) is a queer filmmaker living with invisible disabilities. A CSA nominee, Olson made his feature directorial debut with BONE CAGE, which received critical acclaim, swept the FIN Atlantic International Film Festival, and won over 30 awards globally. The film competed at Camerimage and the Beijing International Film Festival before earning two CSA nominations for Adapted Screenplay and Supporting Actress. Olson’s second feature, LOOK AT ME, premiered at the Slamdance Film Festival, where he won Best Performance at the Canadian Film Fest. In 2024, he directed his third feature, WHAT WE DREAMED OF THEN. For television, Olson has directed THIS HOUR HAS 22 MINUTES, three seasons of DISRUPT, a series for Swearnet, and two short-form comedies, KING & PAWN and 2GETHER 4EVER.
Montréal- Editing Reality
Reality TV—a genre with well-known series like The Real World, Pignon sur rue, La Course destination monde, and Survivor—has been a staple on our screens for more than 30 years. Millions of people tune in to these shows each day; they feed meme culture and tap into the universal guilty pleasure that is gossip. Unlike traditional television, the stories on reality TV are not written by screenwriters, but rather by a team of people, including editors. Editors work tirelessly behind the scenes, using tools like music and pacing to make sure viewers can enjoy the action while growing attached to characters. See what these wizards of Québec storytelling have to say about their work.
Joanne Codère is a post-production editor and director who has specialized almost exclusively in reality TV for almost 8 years. She got her start in 2012 working on the second season of L’AMOUR EST DANS LE PRÉ, then worked in different styles of shows including CÉLIBATAIRES AU MENU, À TABLE AVEC MON EX, L’ENTREVUE, LES CHEFS! (which she has been editing for 10 seasons and been nominated twice for Gémeaux Awards), and LE LOT DU DIABLE (which earned her a 2017 Gémeau Award for best editor). She has been a post-production director on the hit show LES TRAÎTRES for the past two years.
Juliette Guérin is an editor who has been in love with documentaries and reality TV since 2012. Her body of work is varied, ranging from social documentaries like GUERRIÈRES, AMOUR ET DIFFÉRENCES, ADAPTÉS, and ENGAGEZ-MOI, to true crime (PRÉSUMÉ INNOCENT season 3) and cinematic documentaries (CHAMPIONS, PICHÉ RETURNS TO THE RING). She is also credited in season 2 of the fiction series FÉMININ/FÉMININ. Since 2018, she has helped edit a number of popular reality series like SURVIVOR, MASTERCHEF, LES TRAÎTRES, OCCUPATION DOUBLE, STAR ACADÉMIE, SORTEZ-MOI D’ICI!, and L’ÎLE DE L’AMOUR. She especially enjoys that style of show for its energy and collaborative nature.
From his days of stealing his dad’s VHS camcorder to filming his friends, to his current work in television, Alexandre has always seen editing as an important way of creating unique, singular moments. While his studies at UQAM and participation in numerous short film festivals originally led to an interest in cinema, his 2010 work on OCCUPATION DOUBLE introduced him to the world of reality TV. Above all, he loves the potential of the participants and the real emotions they are experiencing. The genre is also a wonderful way to tell stories, using unconventional editing to transform an ordinary moment into an epic adventure! Alexandre now has more than 15 years of experience under his belt; while he is primarily known for his work on OCCUPATION DOUBLE, he has also worked on shows like LAST ONE LAUGHING, SORTEZ-MOI D’ICI, and QUEL TALENT!. He is currently a post-production director and while he’s generally found behind the keyboard, he’s always happy to share his passion with other editors.
Marie-Eve Proulx is a Montreal native with a degree in communications (cinema profile) from UQAM. She has more than 20 years of experience working on magazine and reality TV shows, as well as documentaries. Over the course of her career, she has worked on popular shows like LOFT STORY, UN SOUPER PRESQUE PARFAIT, TAXI PAYANT: L’ESCOUADE, and PIGNON SUR RUE. She’s a curious and passionate person who’s always looking for the best way to tell stories and evoke emotions on screen.
David Émond-Ferrat has been responsible for editing fiction series like LE 422 (a Gémeaux Awards nominee) and APRÈS LE DÉLUGE. He has directed and edited the first two seasons of SURVIVOR QUÉBEC, as well as the third season, which is coming out this spring. Other achievements include directing and editing the second season of SORTEZ-MOI D’ICI! and the first two seasons of PHILO POP, an award-winning philosophy series that earned him a Gémeau Award as best director. He is well known for his ability to magnify realism while bringing a touch of fiction to the documentary style of reality TV.
Raised on STAR TREK: THE NEXT GENERATION, Justin’s original plan was to push flashy buttons on a Starship as an actor. Fortunately, he found his calling pushing colourful keyboard buttons in a dark room as an editor. His work has been seen ‘round the world in festivals such as Sundance, Berlinale, SXSW, TIFF, Locarno as well as the small screens of HBO, Netflix, FX, Hulu, Crave, SRC, TVA, and Télé-Québec.
Toronto- Tragically Hip: No Dress Rehearsal
Join us for a conversation with Peter Denes and Steve Taylor, CCE, as they discuss their editing of the opus documentary THE TRAGICALLY HIP: NO DRESS REHEARSAL. This DGC Award-winning, four-part series tells the story of a bunch of scrappy kids from Kingston, Ontario, who went on to make music history. Denes and Taylor will reflect on the mammoth task of shaping 40 years of music and memories into a rock and roll story that defined Canada to Canadians. Moderated by Nick Hector, CCE, BFE.
Peter Denes is an award-winning picture editor with two decades of experience in both documentary and scripted content. His work has premiered at TIFF, VIFF, SXSW, and Hot Docs, streamed on Prime, Hulu, and Showtime, and aired on PBS, Vice, A&E, BBC, and more. He brings a cinematic and thoughtful approach to storytelling, influenced by his passion for art, music, and design. Recent projects include THE TRAGICALLY HIP: NO DRESS REHEARSAL, winner of the People’s Choice Documentary Award at this year’s TIFF, and the critically acclaimed THE KIDS IN THE HALL: COMEDY PUNKS.
Steve Taylor, CCE is a multi-award winning documentary editor with twenty years in the industry. His work has premiered at festivals around the world including TIFF and Hot Docs and he has been nominated for 14 editing awards with 6 wins, including Canadian Screen, Director’s Guild of Canada, and Canadian Cinema Editors. His projects have also won an International Emmy and a Peabody. Working on TRAGICALLY HIP: NO DRESS REHEARSAL alongside editor Peter Denes and director Mike Downie was a dream for Steve. It was one of those rare unicorn projects where everything came together to create something magic.
Nick Hector, CCE, BFE is a Canadian Screen, HotDocs, Canadian Cinema Editors, Directors Guild of Canada, and Gemini Award-winning film editor of more than 150 films and programs. His work has been included in the Criterion Collection and screened at most major international festivals, including the Berlinale, Sundance, and TIFF. Nick is an Associate Professor of film production at the University of Windsor. His scholarly research explores the relationship between the craft process and artistic outcomes in documentary film editing. Nick holds a Master of Arts in Media Education and a Doctorate in Fine Art.
Toronto- Who Am I? Crafting Stories on Identity
How do issues of representation and identity shape the art and craft of film editing? Join editors Lara Johnston (FELLOW TRAVELERS), Gloria Tong (BRIA MACK GETS A LIFE), and Fabiola Caraza (THE POPULARITY PAPERS) as they discuss the intersection of film editing and cinematic explorations of race, class, gender, and culture. Moderated by D. Gillian Truster, CCE.
Lara Johnston is a Toronto-based film and television editor. Her most recent credits include FELLOW TRAVELERS and BRILLIANT MINDS, and she has worked for such filmmakers as Patricia Rozema, Ron Nyswaner, and Brian De Palma. She was nominated for a CSA for Patricia Rozema’s MOUTHPIECE,, and won the CCE and DGC Feature Editing awards for that film, and most recently won the DGC editing award for her work on FELLOW TRAVELERS. She holds a BA in Cinema Studies from the University of Toronto and an MFA in Documentary Media from Ryerson University.
Fabiola Caraza is a Picture Editor of over 15 years. She has edited short and feature films, television and web-series. Born and raised in Mexico, Fabiola has a passion for travel and has lived, worked and studied in New York, Vancouver, Saskatoon and Toronto. She has garnered over 35 editing credits, DGC and CCE nominations, and had her work exhibited at film festivals around the world, including TIFF, the Moscow Biennale, and the Cannes Film Festival. Her next production, THERE WERE WITCHES will return her to her native country as lead Producer and Editor. She was a participant in this last year’s cohort of Women in Post with the Academy of Canadian Film and Television.
Gloria Tong is an award-winning editor based in Toronto. She kicked off her career in broadcast television, working as an editor, then producer-editor for MuchMusic and E! under CHUM/CTV/Bell Media. After completing the Editor’s Lab at the Canadian Film Centre, she began cutting scripted television and films including UNDER THE CHRISTMAS TREE, Lifetime’s first lesbian Christmas movie, which earned a DGC nomination for Best Editing in an MOW. Recent credits include FRIDAY NIGHT SEXT SCANDAL (DGC nominated for Best Editing in MOW) DON’T EVEN and BRIA MACK GETS A LIFE which premiered at Tiff in 2023, was nominated for a CSA and won a DGC award for Best Editing in Comedy.
Gillian is a Toronto-based editor with a diverse career editing drama series, feature films, and MOWs in a variety of genres. She has had the good fortune of working with many prominent and celebrated producers, directors, and screenwriters. Gillian is best known for her work on ORPHAN BLACK, ANNE WITH AN E, and THE EXPANSE. She has won two CSA awards, a DGC award, and has earned thirteen award nominations. She is currently working on WAYWARD, a new limited series for Netflix.
Vancouver- Finding the Story
Editing is storytelling, and telling stories is what makes us human. But how do editors find, refine, and reconstruct the stories upon which we work? What differences and similarities exist across genres? Join us for an in-depth discussion spanning scripted television, documentary, reality and feature editing.
Lisa Binkley began her career after having studied theatre and film production at U.B.C. and Capilano University. Lisa was recognized when she received a Canadian Screen Award for her editing of the mini-series, HUMAN CARGO. Her work on the critically acclaimed series, THE L WORD has given Lisa the opportunity to work with such directors as Marleen Gorris (Academy Award Winner –ANTONIA’S LINE), Moisés Kaufman (THE LARAMIE PROJECT), Helen Shaver (VIKINGS), Lynne Stopkewich (KISSED), and Kimberly Peirce (BOYS DON’T CRY). Lisa is a full member of IATSE 891, ACFC West and a voting member of the Academy of Television Arts & Sciences. In 2008, she was inducted as a full member of the Canadian Cinema Editors.
Jamie Alain, CCE, is a Vancouver based film and television editor. He is currently in production on season three of SILO after having cut three episodes of season two. Previous projects include LUCKY HANK, WARRIOR NUN, and DIRK GENTLY’S HOLISTIC DETECTIVE AGENCY.
Ted Tozer is a Vancouver based editor with over 20 years experience in factual storytelling, He has been nominated for a Canadian Screen Award and has won a Leo for his editing on RUST VALLEY RESTORERS. Recent credits include Pamela’s COOKING WITH LOVE, YUKON RESCUE, RUST VALLEY RESTORERS and PAMELA’S GARDEN OF EDEN.
Tanya has been writing and editing documentaries for over 20 years, and she’s most passionate about stories that can evoke social change or give a glimpse into another world through intimate verité footage. Tanya recently completed 500 DAYS IN THE WILD, following Dianne Whelan’s 24,000km non motorized journey along the longest trail in the world. Tanya has won Leos for her work on BRITISH COLUMBIA: AN UNTOLD HISTORy and AITAMAAKO’TAMISSKAPI NATOSI: BEFORE THE SUN. Other notable works include DO YOU REALLY WANT TO KNOW? and WILD HORSE REDEMPTION with Academy-award winning director John Zaritsky, and biopics I AM JACKIE O and JOHNNY CASH AMERICAN REBEL.
Mauri Bernstein is a Vancouver-based motion picture editor with a focus on life-affirming entertainment. Her early career is distinguished as a performer in film and television spanning from a supporting role on DOOGIE HOWSER, MD to dozens of puppets in TEAM AMERICA, WORLD POLICE. After emigrating to Canada in 2008, her work increasingly shifted behind the camera as she expanded her technical capacities and applied her storytelling prowess to editing. Mauri has helped shape numerous feature-length projects airing around the world including a narrative feature in Chinese, FATAL VISIT, as well as collaborating on two works with Multi-Media Artist, Althea Thauberger.
Vancouver- VFX EDITING: Making Movie Magic with VFX Editors
If visual effects are the magic of movies, then the VFX editors are the ones making magic happen in the edit suite. But what does that entail? As the bridge between editorial and VFX artists, how do VFX editors support the storytelling process and what do they do? Where did they come from and how has the position evolved?
Gary Lam is a 25 year veteran First Assistant Editor and Visual Effects Editor based out of Vancouver and Los Angeles, whose credits include District 9, Elysium, Terminator: Dark Fate, and Violent Night, as well as Neill Blomkamp’s Oats Studios as a Post Production Producer. He was most recently a VFX editor on Netflix’s feature film Lift, starring Kevin Hart. He is also in his 10th year as an elected co-chair of the I.A.T.S.E. local 891 Editing Department.
Warren made his start in the film industry in 1998 and has spent his time finishing projects as a VFX Editor and Assistant Editor ever since. Over the years he’s had the opportunity to play a key role in the storytelling process on a number of notable projects with a wide range of local editors, directors, and producers, as well as some of the top names in Hollywood and abroad. Warren’s most notable recent credit was VFX Editor on the series SHOGUN, where upon release, it was met with high praise from both critics and viewers, ultimately breaking TV history with a record shattering 25 Emmy nominations resulting in 18 wins. SHOGUN has since gone on to earn a multitude of other awards and has taken a spot among the best of the best in series television.
Bob Dewald has spent 15 years working various roles in editing departments, gleaning tricks of the craft from his many collaborators. He recently completed additional editing on the feature HERETIC for A24 and Directors Scott Beck and Bryan Woods. Other career highlights include editing on TERROR: INFAMY for AMC, FLOWERS IN THE ATTIC: THE ORIGIN and FIFTY STATES OF FRIGHT produced by Sam Raimi.
Kelsy, a 20 year veteran of the VFX and animation industry, is a firm believer in doing her part to create a more progressive and diverse professional community and to help pave the way for the next generation of filmmakers. She volunteers her time to several professional organizations and is an active mentor within the community. Kelsy is the Executive Producer at Mr. Wolf VFX in Vancouver. While there, she oversees a very talented team of artists and production staff as they produce top calibre visual effects for the likes of HBO, Netflix, Disney, Amazon, and the rest of the usual suspects. Kelsy is a very proud enabler of both creative talent and technical innovators.
Breakout Rooms (Virtual)
What is a breakout room?
Hosted by post-production professionals these rooms offer the opportunity for participants to engage and ask questions on specific topics. Each session will run consecutively, so you won’t need to choose! You can attend them all if you want.
Zoom, Discord, Slack: Managing Your Career in the Hybrid Era | 12PM EST
Remote editing was rare a decade ago. In the post-COVID workplace, it’s becoming the new normal. What does assistant editing look like in the hybrid era? What tools, workflows, and protocols are best for working remotely? Join assistant editors Daisy MacLean (HALO, RANSOM) and Shelley MacLean (ORPHAN BLACK, THE HANDMAID’S TALE) as they discuss success career strategies in contemporary hybrid editing.
Shelley MacLean is a Toronto-based 1st Assistant Picture Editor, with a background in Film Studies from Concordia University, Montreal. Her experience as both Assistant Editor and VFX Editor in Post-Production spans 15 years working on Feature Films, Reality, Documentary Series, Unscripted and Scripted projects. Shelley’s passion for Assistant Editing is inspired by the technological aspects of post-production and motivated by supporting and collaborating with Editors. Her goals are to implement and execute efficient workflows for Editors, to ensure a smooth editing process and establishing a productive environment for the Post-Production team. Outside of Assistant Editing, Shelley is a tennis enthusiast, loves horror films and is fascinated with disease ecology.
Daisy MacLean is a member of the DGC, the CCE, the Academy of Canadian Cinema and Television, and the American Television Academy. She has worked on productions like MURDERBOT, HALO, VIKINGS: VALHALLA, THE VVITCH, MR. D and CHRISTMAS LAND. Daisy embraces the hybrid work model introduced post-pandemic, combining flexible in-office and remote work through tools like Jump Desktop. While remote work reduces stress and promotes work-life balance, she values in-person collaboration for problem-solving and connection. This new approach has significantly improved her mental well-being, underscoring the importance of flexibility in the entertainment industry.
Agent and No Agent: A Tale of Two Editors | 12:40 PM EST
Should you have an agent? Can you succeed without one? What are their benefits and are there any pitfalls to signing with one? If you’re at the stage of your career where you’re beginning to consider an agent but still can’t decide if it’s the right move, you’re not alone. Join editors Xi Feng (CAITI BLUES, CETTE MAISON) and Greg Ng as they discuss the pros and cons of artistic representation.
Xi Feng is a film editor based in Montreal. Having lived in China, Canada, and France, she has cultivated a unique blend of cultural and artistic sensitivity. Feng has worked as an editor on award winning films including CETTE MAISON, CAITI BLUES and most recently UNIVERSAL LANGUAGE, which won the inaugural Audience Award at the Directors’ Fortnight at Cannes and is Canada’s 2025 submission for the Oscars. Her filmography includes films premiered at major festivals such as Berlinale, Cannes, Sundance, TIFF, Vision du Réel, HotDocs, etc.
Greg Ng, CCE, is a film and television editor based in Vancouver, B.C. and is a proud member of the Canadian Cinema Editors. Greg tries to maintain a balanced diet of both narrative and documentary editing, and periodically writes about himself in the third person. Some recent credits include LONGLEGS, BONES OF CROWS, and I’M JUST HERE FOR THE RIOT.
*SNEAK PEEK* The Editor’s Taskbook: Responsibilities and Best Practices (English) | 1:20 EST
The CCE and the Comité des treize are proud to present The Editor’s Taskbook: Responsibilities and Best Practices, a comprehensive guide that has been over four years in the making. From pre-production to final delivery, the Taskbook outlines every stage of the editing process in detail, addressing critical topics such as staffing, contracts, workflows, and ergonomic best practices. In this breakout room, Jane MacRae, Pauline Decroix, Annie Jean, CCE and Michel Arcand, CCE will provide an overview of the Taskbook and discuss how it can be used to empower editors and assistants in all genres and budget levels.
Join Jane MacRae and Michel Arcand, CCE in our English Room and Pauline Decroix and Annie Jean, CCE, in our French Room.
Jane was 10 years old when she started her first editing gig by hooking up two VCRs to cut the commercials out of her favourite TV shows. Since then, she’s been fortunate enough to find some folks to trust her with their own projects, and she now has over 15 years’ experience in feature films and series. She has been nominated for three CCE Awards and two Canadian Screen Awards for editing, and her work has screened at festivals around the world. She loves to aim for projects across all genres, and can usually be talked into working when she should be taking time off.
Michel Arcand’s career as an editor has spanned more than 40 years, earning him a unique place in the Canadian cinema community amongst the artists and professionals whose careers he has watched emerge and mature. Michel Arcand is part of that elite group of artisans and creators whose reputation transcends borders. His work, too, is internationally recognized, with movies like Tomorrow Never Dies: James Bond #18, Sunshine, and The Sixth Day being enjoyed by hundreds of thousands around the world. Generous with his time and wealth of experience, he is a founding member of the Comité des Treize, an independent group whose mission is to unite editors of all stripes to promote the field and restore its prestige. Arcand has long been a freelancer, which likely fuels his drive to ensure better working conditions not just for himself, but also for his fellow editors. His mission to support his community led him to sit on the Board of Directors of the Academy of Canadian Cinema.
*SNEAK PEEK* The Editor’s Taskbook: Responsibilities and Best Practices (French) | 1:20 EST
The CCE and the Comité des treize are proud to present The Editor’s Taskbook: Responsibilities and Best Practices, a comprehensive guide that has been over four years in the making. From pre-production to final delivery, the Taskbook outlines every stage of the editing process in detail, addressing critical topics such as staffing, contracts, workflows, and ergonomic best practices. In this breakout room, Jane MacRae, Pauline Decroix, Annie Jean, CCE and Michel Arcand, CCE will provide an overview of the Taskbook and discuss how it can be used to empower editors and assistants in all genres and budget levels.
Join Jane MacRae and Michel Arcand, CCE in our English Room and Pauline Decroix and Annie Jean, CCE, in our French Room.
Pauline Decroix is an award-winning Picture Editor based in Toronto with almost 25 years of experience in both Canada and France. Since she moved here, she has made a name for herself on the Canadian scene. In 2020, she received her first CSA for Best Editing on the documentary ON THE LINE. Pauline also won the CCE award for best editing in a short film two years in a row (2020 & 2021). She recently worked on BEYOND BLACK BEAUTY, a new Amazon series, HOW TO FAIL AS A POPSTAR, Best Web Series at the 2024 CSA, and on SON OF A CRITCH.
Annie Jean made her debut in film in the late 80’s in Montreal. She started out as assistant editor, mainly in fiction, working on, among others, Léolo by Jean-Claude Lauzon and Mouvements du désir by Léa Pool. She also worked at sound editing on a number of films and on post-synchronization for Denys Arcand’s Jésus de Montréal and as dialogue editor in Pierre Falardeau’s Octobre. For over 28 years she has been chief editor on a vast number of documentaries and fictions. Her recent work has been concentrated on independent documentary productions. Her films have been recognized in festivals, both abroad and in Canada. Some of her most notable contributions are Grabrielle Roy by Léa Pool, What remains of us, by Hugo Latuluppe and François Prévost, Nous autres, les autres by Jean-Claude Coulbois, The Phantom of the Operator by Caroline Martel, My Father’s Studio by Jennifer Alleyn, Alphée of the Stars by Hugo Latulippe, My Real Life, by Magnus Isacsson, Ziva Postec, the editor behind the film Shoah by Catherine Hébert or The Forbidden Reel by Ariel Nasr. The films on which she worked have won over forty awards in various national and international film festivals. Annie has received three Genie Awards for her work on What remains of us, for La part d’ombre, and also for Ziva Postec, the editor behind the film Shoah. She also recieved an IRIS awards for best editing for her work on Ziva Postec, the editor behind the film Shoah. Over the years she has taught film editing in various institutions like L’Institut national du son et de l’image (INIS) in Montreal.
Deadpool & Wolverine - Shane Reid | 2:00 PM EST
Re-listen to the podcast and then join Shane in the Breakout Room to ask any questions you have about what it was like to edit DEADPOOL & WOLVERINE!
Shane Reid is a feature and commercial editor and partner of the award winning post house Exile Edit. Nominated for an Emmy and Cannes Lion in the commercial space he quickly became one of the industry’s most trusted short form editors. In 2016 Reid edited the feature documentary ONE MORE TIME WITH FEELING, directed by Andrew Dominik which chronicled musician Nick Cave recording his studio album Skeleton Tree while grieving the tragic loss of his son. 2024 will be quite the year for audiences to see Shane’s feature work as he has 3 films releasing, GHOSTBUSTERS, DEADPOOL & WOLVERINE and SATURDAY NIGHT.
Furiosa - Eric Whipp | 2:40 PM Est
Watch the panel and then join Eric in the Breakout Room to ask any questions you have about what it was like to work on FURIOSA!
Eric Whipp is a distinguished colorist known for his exceptional work in film and television. With a keen eye for detail, he has contributed to a variety of notable projects, including the critically acclaimed film MAD MAX: FURY ROAD. His expertise in color grading played a vital role in enhancing the film’s striking visuals, helping to create its unique and immersive aesthetic. With a collaborative approach, Eric works closely with directors and cinematographers to bring their creative visions to life. His dedication to the craft and innovative techniques have solidified his reputation in the industry, making him a sought-after talent for filmmakers looking to elevate their storytelling through color.
CCE EditCon Raffle
Our annual raffle features the fabulous prizes listed below. The draw will take place during EditCon.
- 1 Davinci Resolve Editor Keyboard
- 2 x 1 Davinci Resolve Speed Editor
- 3 x 1 year subscription to Boris FX Suite
- 2 x 1 year Adobe Creative Cloud subscription
Thank you to our board & volunteers:
CCE EditCon Committee:
Adam van Boxmeer
Xi Feng
Nick Hector, CCE
Daisy Maclean
Malcolm Mistry
Alejandro Tello
James Tracey
Volunteer:
Idriss Askour
Shavari Barfiwala
Mac Dale
Roderick Deogrades, CCE
Jonathan Dowler, CCE
Thank you to our CCE Staff:
CCE Operations Manager:
Alison Dowler
CCE Communications Specialist:
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