Tickets on sale December 15th, 2025!
EditCon 2026
The Canadian Cinema Editors (CCE) is pleased to present EDITCON 2026, the ninth annual conference on the art of picture editing, which will take place between February 6th to 8th, 2026. The conference will host virtual events as well as in person events in Toronto, Montreal, Vancouver, Edmonton, Halifax and Winnipeg. 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 continues to demonstrate exceptional expertise in post-production — from editors and sound producers to VFX artists, our professionals remain at the forefront of global post production. Canadian post-production talent consistently sets the benchmark for quality, creativity, and innovation. This year, we are proud to highlight the significant impact of these contributions..
Post-production is where storytelling reaches its fullest expression — where raw footage is transformed into extraordinary cinematic experiences. EditCon 2026 celebrates the remarkable voices shaping the craft of post-production, both in Canada and abroad, and the outstanding work they bring to life.
This year’s event features a series of online and in-person discussion panels exploring the art and technique of editing across genres and mediums — from film and documentary to television and assisting. Participants are invited to connect, exchange ideas, and draw inspiration as we celebrate the creative power and global influence 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
IN CONVERSATION WITH SANDRA ADAIR, ACE
Join us for an in-depth conversation with Sandra Adair, ACE, the celebrated editor behind some of the most enduring and emotionally resonant films of our time. Best known for her long-standing collaboration with director Richard Linklater on films like BOYHOOD, BEFORE MIDNIGHT, SCHOOL OF ROCK, and DAZED AND CONFUSED, Adair brings a rare blend of instinct, rhythm, and narrative sensitivity to every frame.
In this exclusive EditCon podcast episode, Sandra revisits the creative joys and challenges of shaping character-driven stories over decades, shares her perspective on the evolving role of the editor in independent cinema, and reflects on what it means to nurture authentic performances in the edit suite. Whether crafting a 12-year episodic odyssey or discovering visual poetry in everyday moments, Adair’s work illuminates the editor’s power to translate time and truth on screen.
Academy Award nominee, Sandra Adair, ACE, has enjoyed an ongoing artistic collaboration with director Richard Linklater, having edited 24 films for him over the past 33 years. Some of their collaborative work includes the cult classic DAZED AND CONFUSED, BEFORE SUNRISE, BEFORE SUNSET AND BEFORE MIDNIGHT, and last year’s HIT MAN. Their latest collaboration is this year’s BLUE MOON. In 2014, Linklater’s BOYHOOD earned 6 Academy Award nominations, including Best Editing for Sandra. Sandra is a member of the Academy of Motion Picture Arts and Sciences, American Cinema Editors, and The Motion Picture Editor’s Guild.
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
SEVERANCE: THE INNIES OF EDITING
“Your outie likes TV series.”
From one of the most innovative drama series in recent years, we are thrilled to welcome the Emmy-nominated editing team behind SEVERANCE — Geoffrey Richman, Joe Landauer, and Keith Fraase. Together, they will share insights into their mysterious and essential work shaping the show’s complex world and emotional depth.
Moderated by Sarah Taylor, CCE, this panel will explore the art of storytelling through editing, diving into how the team built the psychological tension and intricate character arcs — both for the innies and outies — within and beyond the walls of Lumon.
Keith Fraase, ACE, is a professional Film & TV Editor based in New York. His notable feature film credits include the Academy Award nominated films The Tree of Life and Past LIves, as well as TO THE WONDER, KNIGHT OF CUPS, SONG TO SONG, VOYAGE OF TIME, CHAPPAQUIDDICK, A MOUTHFUL OF AIR, and MATERIALISTS. His documentary work includes Netflix’s DIRTY MONEY, NAOMI OSAKA, and AMEND; HBO’s LOVE HAS WON and the Emmy winning series 100 FOOT WAVE; and Amazon’s LONG STRANGE TRIP. He also worked on the acclaimed Apple TV series SEVERANCE, for which he was nominated for an Emmy for Outstanding Picture Editing.
Joseph Landauer is a New York-based editor whose career spans indie gems to bigger studio projects. His feature credits include cult phenomenon TEETH, sci-fi comedy SAFETY NOT GUARANTEED, and THE MISEDUCATION OF CAMERON POST, which won the Grand Jury Prize at Sundance. His work with director Ry Russo-Young stands out as one of his most rewarding professional partnerships, working together on BEFORE I FALL, THE SUN IS ALSO A STAR , and the HBO documentary series NUCLEAR FAMILY, for which he served as executive producer and which earned an Independent Spirit Award nomination. More recently, he earned an Emmy nomination for his work on SEVERANCE.
Geoffrey Richman is the editor of MURDERBALL, SICKO, and THE COVE and TIME FREAK (all Academy Award nominated). THE COVE went on to win the Oscar, along with awards for producing, directing, writing, and editing. Geoff’s work includes a mix of narrative and documentary features and series. Credits include DON’T THINK TWICE, PALMER, KNIGHT OF CUPS, ESCAPE AT DANNEMORA, SEVERANCE, DESCENDANT, THE ORDER OF MYTHS, EATING ANIMALS, RACING EXTINCTION, BEFORE THE FLOOD, and the Sundance Grand Jury and Audience Award winner GOD GREW TIRED OF US. He has been awarded the Eddie Award three times, as well as Emmy nominations for his work on Severance and Tiger King. Geoff has mentored for the Sundance Documentary Edit & Story Lab and the Karen Schmeer Film Editing Fellowship, and taught classes at NYU, Motion Picture Editors Guild, and The Edit Center.
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.
ROOTED IN STORY: IDENTITY, LEGACY AND DECOLONIZATION
Three visionary documentary storytellers explore how the editor’s hand shapes narratives rooted in memory, identity, and the contested spaces of land and legacy.
Featuring Elad Tzadok (TREASURE OF THE RICE TERRACES), Ryan Mullins (YINTAH), and renowned editor Mary Stephen, CCE (PALIMPSEST: THE STORY OF A NAME), the panel will dive into the unique editorial challenges of crafting vérité-based, community-centred narratives. From remote rice terraces in the Philippines, to the frontline of land defense in northern B.C., to a quiet meditation on ancestral naming across continents, these films each required distinct approaches in balancing structure, ethics, and emotional truth.
Join us for an inspiring and practical look at the art of shaping multi-layered documentary narratives. Where place becomes a character, sound becomes testimony, and the cut becomes an act of cultural care.
Ryan is a CCE and Emmy award winning documentary editor/director from Montreal, Quebec. His directorial feature CHAMELEON won the Emerging Filmmaker award at Hot Docs. Since then, he has worked as an editor on I AM THE BLUES, INFLUENCE, MIDWIVES, SOFTIE, the latter of which won the Sundance documentary editing award. In 2024 he completed editing on YINTAH, which won the Rogers Audience Award at Hot Docs and BLINK, which won the 2025 Emmy for outstanding editing in documentary.
Born in Hong Kong, Mary graduated from Communications Arts at Concordia University. She was Eric Rohmer’s editor and music co-composer for 3 decades and worked extensively with fiction and documentary filmmakers from several continents as editor, script advisor or associate producer. She is a frequent mentor at training workshops, guest-teaches at film institutions and nominated for many editing awards. She directed VISION FROM THE EDGE: BREYTEN BREYTENBACH PAINTING THE LINES and the TIFF-premièred PALIMPSEST: THE STORY OF A NAME. She is a member of the Academy of Motion Picture Arts and Sciences, and a French Ministry of Culture’s Chevalier des arts et des lettres.
Elad is a Vancouver-based director, editor and co-founder of Scopitone Films. He’s a graduate of UBC’s Film Production Program, the TIFF Filmmaker Lab and Whistler Documentary Lab. Recent editing credits include TREASURE OF THE RICE TERRACES, LOST IN THE SHUFFLE, CORRECTIVE MEASURES, PORTRAITS FROM A FIRE, ALL JOKING ASIDE, BROIL, and SHE WHO MUST BURN. He also edited both seasons of THE DRIVE (CCE nominated best Webseries editing). Elad’s directorial work includes UNARCHIVED, the narrative short RUN and two Heritage Minutes: EDWIN BAKER, and MARY RITER HAMILTON.
Nick Hector, CCE, BFE, ACE 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.
Assistant Editors: The Heart of Post Production (presented in english)
For our second year we have our assistant editor panels for EditCon! Join us for not one, but two discussions with highly renowned and award-winning French and English-speaking assistant editors. In French we’ll welcome assistants from MISS BOOTS, FLORENT VOLLANT : INNU and HEATED RIVALRY . In English we will welcome assistants from DAVEY & JONESIE’S LOCKER, DISCO’S REVENGE and LOVE ISLAND USA. 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.
Alexander DeSouza is an Indian-Canadian 1st Assistant Picture Editor, Editor and Director. An assistant editor with 8 years of experience in both documentary and narratives, Alexander has worked on shows such as The Z-SUITE, SURREAL ESTATE S2 , SUZE and LILITH FAIR. In 2025, Alexander received the CCE Assistant Editor’s Recognition Award for his work on the CSA nominated documentary, DISCO’S REVENGE. He recently made his television editing debut on the spin-off series THE NEXT STEP: CHEER FOR CBBC.
Emily Gilhooley spent five years at Boat Rocker working as an editor in their digital department. After leaving, she joined the DGC working as a scripted editor on shows such as THE NEXT STEP, MEDIA STAMPED, and ANNA’S OCCASIONS, to name a few. Wanting more experience in reality, Emily joined the BIG BROTHER CANADA team as an edit assist for its final 2 seasons, as well as LOVE ISLAND USA for the last 3 seasons, and just finished up on season 2 of LOVE ISLAND GAMES.
Lester Lubuguin is a Toronto-based film and television Assistant Editor with over 14 years of experience. His work spans across unscripted television and documentaries, including AIR CRASH INVESTIGATION and CRYSTAL PITE: ANGELS’ ATLAS, as well as feature films such as STOLEN BY THEIR FATHER and acclaimed scripted dramas like THE HANDMAID’S TALE. Known to never stay in his own lane, Lester decided that sitting in front of the Avid wasn’t enough—so he wrote and directed his own short film, Eden, which came out in 2025. With a versatile skill set, he’s well-versed with the ins and outs of production—from pre to post—and brings both his expertise and a dash of creativity to every project he is a part of.
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. She is dedicated to telling stories that imagine new ways of being and belonging. Her recent projects include FROM, THE HANDMAID’S TALE, and THE TESTAMENTS.
Assistant Editors: The Heart of Post Production (presented in French)
For our second year we have our assistant editor panels for EditCon! Join us for not one, but two discussions with highly renowned and award-winning French and English-speaking assistant editors. In French we’ll welcome assistants from MISS BOOTS, FLORENT VOLLANT : INNU and HEATED RIVALRY . In English we will welcome assistants from DAVEY & JONESIE’S LOCKER, DISCO’S REVENGE and LOVE ISLAND USA. 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.
Andréanne has been an assistant editor for more than 10 years, working primarily in film and on fictional TV series. She is also a musician with a keen eye (and ear) for detail and a knack for sound design—one of her favourite parts of her work. She has a reputation for thoroughness and versatility, as well as professionalism and excellent listening skills. She has worked on productions like the series SOCIÉTÉ DISTINCTE and the movie MISS BOOTS, both of which have been selected and nominated for numerous festivals and galas in Quebec and beyond.
Sara is a documentary assistant editor for Nikan Productions, an indigenous production company. They discovered their passion for editing at 15 years old while experimenting with after effects on their old family computer and eventually decided to study film. In 2024, after working for Nikan as a production assistant during their studies, they started doing assistant editing work for them. They work closely with the editors while also managing multiple projects that are on different post-production stages at the same time, from ingesting to the online stage.
Geneviève Roberge has been an assistant editor for film and television for more than 15 years. She loves seeing storyboards come to life as the creative process unfolds. She balances technical precision with creative flair and loves working on projects that push her to her limits. She throws herself entirely into every production she works on and is known for her dedication, attention to detail, and ability to collaborate. Her latest projects include Philippe Falardeau’s, A THOUSAND SECRETS, A THOUSAND DANGERS and Jacob Tierney’s HEATED RIVALRY.
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.
This Year in Canadian Film
Canadian independent films, with their unique funding structures, have fostered a new wave of distinct cinematic voices. From coast to coast, Canadian film editors have shaped a diverse array of stories that reflect the country’s rich tapestry of characters, narratives, and forms. Many of these films have shone on international stages and in theatres across the nation.
We are thrilled to welcome three prolific editors: Kurt Walker, behind the multi-award-winning BLUE HERON; Amélie Labrèche, known for the dreamy and theatrical LE TRAIN; and Brendan Mills, editor of the TIFF-selected 100 SUNSET.
Amélie Labrèche is an editor based in Montreal. She has edited 17 narrative feature films, including NADIA BUTTERFLY by Pascal Plante, selected at the 2020 Cannes Film Festival, and various documentaries, series, short films and music videos. In 2023, she participated in Berlinale Talents. 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. Over the years, her work has received several nominations and awards. Among these, she was awarded with co-editor Olivier Higgins for Best Editing in a Documentary for WANDERING, A ROHINGYA STORY at the Quebec Cinema Awards in 2021.
Brendan Mills is a Canadian film editor whose work has premiered on the stages of Cannes, Venice, TIFF, Sundance and more. Working across narrative and documentary, his nuanced eye is informed by both worlds of storytelling. Brendan’s feature credits include LUCKY LU, 100 SUNSET, SWAN SONG, THE MAIDEN, and TITO.
Kurt Walker is a director, picture editor, and assistant editor from Vancouver/ As a director, he makes movies concerned with place, connection, and time. In 2014, his debut film HIT 2 PASS won doclisboa’s Universidade Lusíada Award for Best International Competition Film. His latest film, I THOUGHT THE WORLD OF YOU, was dubbed “A truly beautiful lyrical essay” by Guy Maddin. The film also won top awards at Festival du Nouveau Cinéma and Torino’s Seeyousound Film Festival. Most recently, he edited Sophy Romvari’s award-winning debut feature BLUE HERON.
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.
Behind the Screen: Youngblood
Go behind the scenes with YOUNGBLOOD picture editor Matt Lyon, CCE and supervising sound editor Jesse Gillingham as they discuss the process behind reimagining the hockey cult classic.
Discussion includes:
- The benefits and challenges of offline editing with 5.1 audio
- Crafting authentic sports action from a picture and sound perspective
- Behind the scenes examples of building the edit in Media Composer and ProTools
- How the picture and sound departments collaborate, from prep to final delivery
- Demystifying the turnover process. What happens to the picture editor’s audio after it gets handed off to the sound post team?
Matt Lyon, CCE is a versatile film and television editor who is equally at home cutting genre, comedy and arthouse. A DGC Award winner and two-time CCE Award nominee, Matt’s feature credits include Writer/Director Eli Roth’s upcoming ICE CREAM MAN, Hubert Davis’ re-imagining of the hockey classic YOUNGBLOOD, Brad Anderson’s THE SILENT HOUR. and the number one Netflix film CODE 8: PART II. Matt loves sharing his knowledge and runs a popular sound editing workshop for picture editors. He is currently chair of the CCE mentorship committee.
A seasoned supervising sound and dialogue editor with 13 years in film and television, Jesse has shaped audio for standout Canadian hits like WILD CARDS and PRIVATE EYES, Apple’s CIRCUIT BREAKERS, and the eagerly awaited YOUNGBLOOD remake. Known for his thoughtful approach and attention to detail, Jesse works closely with filmmakers to elevate storytelling through sound and ensure each moment lands with clarity and impact.
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:
Gina Binetti
Mikaela Bodin
Adam van Boxmeer
Xi Feng
Daisy Maclean
Alejandro Tello
Volunteer:
Idriss Askour
Mac Dale
Jonathan Dowler, CCE
Tooba Rahim
Rachna Shah
Jamison Staines
Thank you to our CCE Staff:
CCE Operations Manager:
Alison Dowler
CCE Communications Assistant:
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