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 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.
Nick Houy, ACE, is a film editor based in New York. Before editing BARBIE, Houy edited both of Greta Gerwig’s previous Oscar-nominated films, LITTLE WOMEN, and LADY BIRD for which he was nominated for the ACE award in 2017. Houy also won the Emmy Award in 2017 for editing the miniseries, THE NIGHT OF. He was nominated for the Independent Spirit Award for editing MID90S in 2018, and in 2022 Houy edited the critically acclaimed Netflix documentary, STUTZ.
Sarah Taylor, CCE, a celebrated award-winning editor, is known for amplifying underrepresented voices through her work that has been showcased globally at TIFF, Tribeca, Sundance, Hot Docs, and the Imaginative Film Festival. Her talent spans across documentary, TV series, short and feature length films, making her a versatile force in storytelling. Beyond her editing expertise, she hosts THE EDITOR’S CUT and BRAAAINS podcasts.
Panels (Virtual)
VIRTUAL PANELS WILL BE RELEASEd
Assistant Editors: The Heart of Post Production
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.
Beth Biederman, editor with 17 years experience in Canada, New Zealand and Australia working on documentary, reality, current affairs and children’s programming. No matter the genre above all they strive to bring a sense of humour and realness to each story. When not editing you can find Beth biking, dancing or giving talks on important topics such as bagels. Credits include: CANADA’S DRAG RACE, BONDI VET, THE PROJECT, GABY’S FARM, STYLED and MY RESTAURANT IN INDIA.
Dean’s passion for visual storytelling has guided his more than 20 years in the film and television industry in the roles of editor and director. He began this journey creating experimental short films, performing arts shorts, and music videos. From there he entered the world of factual television working in various genres including competition, true crime and docuseries. The recipient of multiple production grants, and a CSA nomination for best editing, Dean is continually pursuing the next visual storytelling challenge.
Jonathan has been in the industry since 2001, both in Australia and Canada. He has cut everything from documentaries, animation, sports news, but his extensive experience has been in cutting reality TV. He has worked on many of the large format shows such as BIG BROTHER, DRAG RACE CANADA, TOP CHEF CANADA, THE AMAZING RACE CANADA and LOVE ISLAND and LOVE ISLAND GAMES. He is a 17 time CSA and 17 time CCE nominated editor and has won five consecutive CSA’s and five CCE Awards.
Lindsay Ragone is a Toronto-based editor with over 20 years of experience. She’s been nominated twice at the Canadian Screen Awards for her work on CANADA’S DRAG RACE and was an Emmy-nominee for the Scripted/Reality hybrid series THE QUEST on Disney Plus. Other recent credits include BLOWN AWAY for Netflix and ALL-ROUND CHAMPION for BYU.
With a keen eye for storytelling and a solid grip on the technical side of post-production, Zoya Rezaie, started her career in post-production with the NFB, spurring her fascination with factual programming by assisting various documentaries. Expanding her skill set, Zoya excelled as a social media editor, garnering over 50 million showcasing her diverse talents. Her career transitioned seamlessly into VFX editing, contributing to notable projects such as THE DESCENDANTS 2, FARGO’ SEASON 3, and CATCHER WAS A SPY. Uncovering a love for reality television, Zoya ascended from a junior editor on CANADA’S DRAG RACE to Story Editor to Judge Producer. She is also a Host-Producer on CANADA’S GOT TALENT utilizing her extensive post-production expertise to guide and support on-set talent.
In Person Events
Edmonton: Exploring Documentary
Join us in Edmonton, Alberta, for an enlightening afternoon as documentary editors share their insights and experiences. Explore the art of storytelling through the lens of editing and gain a deeper understanding of the creative process behind these captivating Alberta-made documentaries; THE LEBANESE BURGER MAFIA, SEND KELP, PUSH, BLIND AMBITION: WOP MAY and ARTHUR ERICKSON’S DYDE HOUSE.
Don’t miss this opportunity to connect with industry professionals and fellow enthusiasts in the Alberta film community.
With over 15 years of award-winning experience, Krystal strives to inspire, educate, and captivate her audiences through exceptional documentary editing. Born and raised in Edmonton, she developed a love for editing while studying Design & Motion Image at MacEwan University, and has since become a sought-after collaborator in the Alberta Film & TV industry. Her work has been featured on CBC, PBS, UnisTV, in film festivals and concert halls across Canada. Noteworthy projects include EQUUS: STORY OF THE HORSE, FRICK I LOVE NATURE, PUSH SEASON II and SEND KELP. In addition to being an editor, Krystal is francophone, a dancer, and mama.
Sarah Taylor, CCE, a celebrated award-winning editor, is known for amplifying underrepresented voices through her work that has been showcased globally at TIFF, Tribeca, Sundance, Hot Docs, and the Imaginative Film Festival. Her talent spans across documentary, TV series, short and feature length films, making her a versatile force in storytelling. Beyond her editing expertise, she hosts THE EDITOR’S CUT and BRAAAINS podcasts.
Weyme [way-mee] is an award winning, freelance video editor based in Edmonton, Alberta. Her range of experience includes corporate video, documentary, indie film and broadcast television projects. Weyme has been professionally editing since 2013 and has been part of several award-winning projects including: BLIND AMBITION: THE WOP MAY STORY (EIFF 2021), and was awarded Best Editor for an episode of the APTN docu-series RODEO NATION (AMPIA 2022) and the Storyhive short film ONE, ONE THOUSAND (AMPIA 2017). With her love of storytelling and digging for the truth, Weyme brings a fresh and unique voice to each project she works on.
Colin Waugh is an Alberta based documentary filmmaker and editor. As part of the creative team at Sticks & Stones, his work shares the stories of mountains, prairies, and the people who live there. Colin’s previous projects have received a CSC Award (2019), CCE Award (2020), 8 AMPIA Rosie Awards – including Best Documentary Over 30 Minutes (2023), and nominations at the Banff World Media Festival (2018) and Webby Awards (2018 and 2020). Beyond commercial and documentary work, Colin teaches an intro to video production course at MacEwan University.
Guy Lavallee is a music industry survivor, TV veteran, cat lover and award-winning documentary filmmaker. His previous films include MAKING THE TOUR, GENERATION NEXT, RIDE ANOTHER DAY, A MATTER OF PRIDE and the Edmonton Film Prize winning FAMILY EVER AFTER. He is currently in production on a feature length passion project music doc, GODS OF RADIO. In addition to his filmmaking pursuits, Guy is a creative producer for Bell Media, feature film programmer for CIFF, and is lead programmer for the NorthwestFest Documentary Festival, Rainbow Visions Film Festival and NorthwestFEARFest Genre Film Festival.
Montréal: In Conversation with Amélie Labrèche
Join us for a conversation with Amélie Labrèche, a prolific editor from Montreal whose recent filmography has taken wide recognition across Quebec and the world. From feature film NOÉMIE SAYS YES(NOÉMIE DIT OUI), RICHELIEU and YOU CAN LIVE FOREVER to short films GABY’S HILLS (GABY LES COLLINS) and DEAD CAT (CHAT MORT), she stands behind some of Quebec’s most prominent emerging filmmakers who got international attention at festivals. Highly in demand in the field, her recent work on award-winning TV show BEFORE THE CRASH (AVANT LE CRASH) also expands her career landscape. Let’s go deep into the inspiring mind behind all these stories.
Amélie Labrèche is an editor based in Montreal. She has edited 13 narrative feature films, including NADIA, BUTTERFLY by Pascal Plante, selected at the 2020 Cannes Film Festival, and various documentaries, series and short films. Recognized for her dedication to each projects, directors and producers appreciate her sensitivity, attention to detail, speed, sense of rhythm, rigour and sincere point of view allowing her to push the work to its apogee. A film buff, her desire is to deepen the creative process of editing and to contribute to profound and innovative works through the narrative and emotional power of film editing.
Xi Feng is a Chinese-Canadian 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 assistant editor and editor on several award winning documentaries, including CHINA HEAVYWEIGHT, which premiered at the 2012 Sundance Film Festival; and the Crystal Bear winning short film CLEBS (HOUNDS), premiered at the 2020 Berlinale Generation 14 plus section. She’s also an editor alumna of CFC 2019 and Berlinale Talents 2020.
Toronto: To Kill A Tiger: Mike Munn, CCE & Nisha Pahuja
Filmmaker Nisha Pahuja and editor Mike Munn, CCE take us through the experience of editing the multi-award-winning documentary TO KILL A TIGER. The film follows the local story of an Indian father courageously fighting for justice for his raped daughter, delving into the dynamics of a family, a small village, and the national legal system, while also addressing the broader themes of rape culture, victim blaming, and the silencing of women. Moderated by editor Nick Hector, CCE.
Mike has edited several award-winning scripted and documentary features, including STORIES WE TELL for director Sarah Polley, BATATA for Noura Kevorkian, winner of a 2023 Peabody Award, and TO KILL A TIGER for Nisha Pahuja, winner of the 2023 Canadian Screen and DGC Awards for best feature documentary and editing. As well, TO KILL A TIGER won the 2023 Canadian Cinema Editors award for documentary.
Films edited by Mike have played at Cannes, Berlin, Venice, Telluride and Sundance, with 13 features accepted into TIFF. Sarah Polley’s STORIES WE TELL was short listed for the documentary Oscar as well as being voted in TIFF and CBC polls as one of the 10 best Canadian films of all time.
Nisha Pahuja is an Emmy-nominated filmmaker based in Toronto. Her latest film, TO KILL A TIGER, had its world premiere at TIFF where it won the Amplify Voices Award for Best Canadian Feature Film. Since then, it’s won 21 awards including Best Documentary Feature, Palm Springs International Film Festival and three Canadian Screen awards. The film grew out of a long career of addressing various human rights issues, notably violence against women in India. In 2015, she won the Amnesty International media award for Canadian journalism after making a short film about the Delhi bus gang rape for Global News. Pahuja’s other past credits include the multi-award-winning THE WORLD BEFORE HER, the series DIAMOND ROAD and BOLLYWOOD BOUND.
Nick Hector, CCE, BFE, is a Canadian Screen, HotDocs, Canadian Cinema Editors, Directors Guild of Canada, and Gemini Award-winning documentary film editor, producer, and professor. His research explores the possibilities of constructed narrative in observational documentary and actuality drama. Nick’s work has been included in the Criterion Collection and screened at most major international festivals, including the Berlinale, Sundance, and TIFF. He is perhaps best known for his work on the feature documentaries DYING AT GRACE, FORCE OF NATURE, SHARKWATER EXTINCTION, and PREY. Nick is an Associate Professor of film production at the University of Windsor’s School of Creative Arts.
Vancouver: What are you afraid of? An exploration of horror, suspense, and tension.
What makes movies scary? Why are we compelled to watch them? How do editors influence and manipulate our experience of horror, suspense, and tension? Does editing scary films give you nightmares? Join us for a round table discussion with:
Jon Anctil, CCE (50 STATES OF FRIGHT, VAN HELSING, TWO SENTENCE HORROR STORIES)
Cindy Au Yeung (JONAH, SHADOW OF THE ROUGAROU)
Graham Kew (SATAN WANTS YOU, THE AGE OF A.I., PUNK)
Justin Li (THE TERROR, SNOWPIERCER, LUCKY HANK)
Trevor Mirosh (DAY OF THE DEAD, V FOR VENGEANCE, TRUE JUSTICE)
Nicole Ratcliffe, CCE (CREEPSHOW, TWO SENTENCE HORROR STORIES, VIRGIN RIVER)
Cindy Au Yeung is a Vancouver-based editor with over seven years of experience in both scripted and documentary content. Even though she didn’t sleep well for weeks after watching Hereditary, she does enjoy horror films and thrillers. Her recent horror-related works include an independent sci-fi thriller
JONAH, an APTN Lumi web-series SHADOW OF THE ROUGAROU, and a short film ITSY BITSY SPIDER. Cindy’s additional projects range from producing and editing stand-up comedy shows to her own documentary projects featuring Asian-Canadian musicians. Outside of work, Cindy serves as a Board of Director at the Vancouver Post Alliance and is the co-chair of the Diversity & Inclusion committee.
Justin is a CCE award-winning film editor based in Vancouver with a diverse portfolio in film and TV, including contributions to shows like LUCKY HANK, DIRK GENTLY’S HOLISTIC DETECTIVE AGENCY and THE TERROR all on AMC, and ANOTHER LIFE, the second season of SNOWPIERCER, and THAI CAVE RESCUE, all on Netflix. Currently immersed in the world of feature films, Justin is collaborating on the A24 project HERETIC with directing duo Scott Beck & Bryan Woods.
Jon is an award-winning editor based in Vancouver who’s found joy, creativity, and glory working across a wide range of genres and formats. A graduate of Capilano University’s School of Motion Picture Arts, Jon clawed his way up through the ranks of the editing department and has happily plopped himself in the Big Chair editing on shows like VAN HELSING, 50 STATES OF FRIGHT, TWO SENTENCE HORROR STORIES, and FAKES.
Graham Kew crafts compelling and emotionally-driven documentaries. Selected credits include SATAN WANTS YOU, exploring the origins of the Satanic panic; WOMEN WHO ROCK, a tribute to iconic female musicians; and PUNK,a deep dive into the history of punk culture. His work extends to AGE OF AI, discovering the cutting edge of artificial intelligence, and I AM RICHARD PRYOR, a nuanced depiction of the iconic comedian. In SOMEONE LIKE ME, he wove together the story of 11 strangers uniting to help a gay youth escape life-threatening violence in Uganda. His CV’s most unsettling horror project is THE REAL HOUSEWIVES OF VANCOUVER.
Born and raised in Vancouver, Nicole graduated from the Foundation Film Program at the Vancouver Film School in 1997 and went straight into post production as an assistant editor for a local film production company. She began Editing on the Sci Fi drama Gene Roddenberry’s ANDROMEDA and has consistently worked in scripted drama on major US and Canadian television series and MOW’s such as ENDGAME, YOU ME HER, THE BLETCHLEY CIRCLE SAN FRANCISCO, TWO SENTENCE HORROR STORIES, and most recently CREEPSHOW and season 5 of VIRGIN RIVER for Netflix.
Trevor Mirosh, ACE, is a Canadian born picture editor specializing in action and thriller films. He has been creatively influenced by Thelma Schoomaker’s editing style in films like RAGING BULL and THE DEPARTED. He also has a fetish for monster-in-the-house films from watching JAWS and Jordan Peele/Guillermo del Toro films. Trevor had an auspicious start to his editing career being mentored by long-time film editor Dede Allen (BONNIE AND CLYDE, DOG DAY AFTERNOON and THE BREAKFAST CLUB). Whatever the project, Trevor relishes his role in shaping the final product.
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.
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.
BARBIE: Nick Houy, ACE | 12pm EST
Re-listen to the podcast and then join Nick in the Breakout Room to ask any questions you have about what it was like to edit BARBIE!
Nick Houy, ACE, is a film editor based in New York. Before editing BARBIE, Houy edited both of Greta Gerwig’s previous Oscar-nominated films, LITTLE WOMEN, and LADY BIRD for which he was nominated for the ACE award in 2017. Houy also won the Emmy Award in 2017 for editing the miniseries, THE NIGHT OF. He was nominated for the Independent Spirit Award for editing MID90S in 2018, and in 2022 Houy edited the critically acclaimed Netflix documentary, STUTZ.
With a little help from my agent | 12:40pm EST
Tired of fighting your own battles and curious of what it is like to have an agent? Or perhaps you already have one but are wondering if you are making the most out of it? How do you find the right fit, what are the advantages, and how can you utilize the resources?
Jane MacRae and Roderick Deogrades, CCE will be here to discuss the different aspects of representation and how to build a strong relationship with your agent.
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.
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.
Assistant Editing: The GAP Map | 1:20pm EST
Join Assistant Editors Victoria Cho and Adam van Boxmeer as they look back on their time assisting on Netflix’s GINNY & GEORGIA Season 2. They’ll discuss their time working together and their assistant journeys since, from working with common editors on separate projects to the differences between remote and office workflows and their impacts on training assistants.
Adam van Boxmeer has been assisting for the last 6 years on various scripted formats from 10-minute children’s television to hour-long episodic and feature films. He began his career at Sinking Ship where he was first introduced to heavy-VFX workflows on their live action shows ODD SQUAD: MOBILE UNIT, ENDLINGS, and GHOSTWRITER. Most recently he assisted on the shows GINNY AND GEORGIA and THE LAKE which he wrapped in March 2023.
Victoria Cho is an assistant film and television editor with a background in the literary arts. She blends together an easy-going spirit with a driven work ethic and thrives on collaboration and teamwork. She is dedicated to telling stories that imagine new ways of being and belonging. In 2022, she completed the DGC-Ontario Guild Apprenticeship Program as a trainee on GINNY AND GEORGIA and I WOKE UP A VAMPIRE. Her most recent credits include I HATE PEOPLE, PEOPLE HATE ME and ORPHAN BLACK: ECHOES.
Parents in post (english) | 2pm EST
Ever wondered how parents in post juggle work and home life? How do they handle a busy workload, an even busier home life and the expectations from colleagues for timelines that don’t always align with family time! We can’t do it all, but we try our best!
Join Kathryn Dickson and Eugene Weis in our English Room and ask them how they do it.
Eugene Weis is an award winning film editor. His keen sense of storytelling has allowed him to craft films tackling important social issues (CATEGORY: WOMEN) as well as covering some of the most prolific pop icons in history (REVIVAL69). Eugene’s work has gone on to receive numerous awards and accolades including a nomination for a CSA (WHO THE F**K IS ARTHUR FOGEL) and two nominations from the CCE (HOWIE MANDEL: BUT ENOUGH ABOUT ME and METAMORPHOSIS). Tackling such a diverse range of films (OUR DANCE OF REVOLUTION), Eugene strives for excellence on each project he works on (DON’T TRY THIS AT HOME: THE JEFF WITTEK STORY) and is committed to bringing an unbiased approach to his storytelling (PAIN WARRIORS). Eugene most recently completed the upcoming film BAM BAM, THE SISTER NANCY STORY
For more than 20 years, Kathryn has proven herself to be an industrious, creative storyteller, and post-production supervisor who has the versatility to jump from factual programming to reality, to experiential reality-docs and even old-school documentary, without losing her mind (unverified). Kathryn comes to a post-supervisory role after many years in the cutting room on almost every different kind of show you can imagine. Most recently, Kathryn has been the post-production supervisor for FULLY AND COMPLETE; The Tragically Hip doc series for Amazon Prime, and will soon be returning to her role as post-production supervisor for BIG BROTHER CANADA, one of the biggest and longest-running competition shows in Canada.
Parents in post (French) | 2pm est
Ever wondered how parents in post juggle work and home life? How do they handle a busy workload, an even busier home life and the expectations from colleagues for timelines that don’t always align with family time! We can’t do it all, but we try our best
Join Catherine Legault and Arthur Tarnowski, CCE, in our French Room and ask them how they do it.
Arthur Tarnowski, ACE, CCE is a prolific, award winning editor whose work ranges from auteur cinema to popular comedies – with a penchant for action films. His feature credits both in French and in English span many genres and include; TESTAMENT, IRENA’S VOW, DRUNKEN BIRDS, BEST SELLERS, THE DECLINE, THE HUMMINGBIRD PROJECT, THE FALL OF THE AMERICAN EMPIRE, THE TROTSKY, BRICK MANSIONS, DEADFALL, WHITEWASH and COMPULSIVE LIAR. His television work includes THE STICKY, 19-2, BAD BLOOD, BEING HUMAN, MOHAWK GIRLS, THE MOODYS and VIRAGE. He has also created over 150 film trailers, including some of the biggest Box-office hits in his native Quebec.
Catherine Legault is an award-winning documentary filmmaker and film editor. She graduated from Film Production at Concordia University’s Mel Hoppenheim School of Cinema, in Montreal. Over the past 20 years, she has worked on several films that have screened internationally in theatres, festivals, and on television. Her collaborations have included PilgrIMAGE, by Peter Wintonick and Mira Burt-Wintonick, Mort subite d’un homme-théâtre, by Jean-Claude Coulbois, Fair Sex, by Martin Laroche, Family Demolition by Patrick Damien, My Mother’s Letters, by Serge Giguère, and Rebels on Pointe and FANNY: The Right to Rock, by Bobbi Jo Hart. Recipient of two Gémeaux awards for her TV series editing work, she received the Iris award for Best Documentary Editing at the Gala Québec Cinéma for Family Demolition, in 2017. She was nominated again for My Mother’s Letters and Fanny: The Right to Rock. In 2019, Catherine directed her first feature documentary, Sisters: Dream & Variations, which was awarded at the IndieFEST Film Awards in five categories, including editing, and at the Gala Québec Cinéma for Best Documentary Original Score. Catherine is currently in post-production for her next film, LARRY (they/them), which will be released in 2024.
ART X AI: Valentine Goddard | 2:40pm EST
No AI generated answers here! Join Valentine Goddard in the Breakout Room to ask all your Artificial Intelligence related questions.
A lawyer and an artist, Valentine Goddard is a member of Canada’s AI Advisory Council and a UN expert on AI policy and governance. Valentine is the Founder and Executive Director of AI Impact Alliance, an interdisciplinary organization that integrates art-based approaches to the study of the social implications of AI. She provides analyses of emerging AI regulations and policies; designs programs that link civic engagement, knowledge mobilization and policy innovation. Her curatorial best practices aim to facilitate Responsible AI. She is a Mozilla Creative Media Awardee and is leading the Art Impact AI Coalition, where close to 2,000 signatories are demanding to be at the table of generative AI regulation.
CCE EditCon Raffle
Our annual raffle features the fabulous prizes listed below. The draw will take place during EditCon.
- 1 Davinci Resolve Editor Keyboard - Graham Kew
- 2 x 1 Davinci Resolve Speed Editor - Sharvari Barfi & Yuen Violet
- 3 x 1 year subscription to Boris FX Suite - Adriane German, Mike Munn & Steven Budd
- 2 x 1 year Adobe Creative Cloud subscription - Christian Jacobsen & Sarah Taylor
- 2 x 1 year AVID Media Composer subscription - Chris Lazar & Patrick Carroll
- 2 x 1 year CCE Membership - Malcolm Taylor & Mikaela Bodin
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