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.
BONUS podcast episode!
Heated Rivalry
We are excited to release a BONUS podcast episode for EditCon. Join the editors from one of the most talked about tv shows HEATED RIVALRY. Véronique Barbe, CCE & Arthur Tarnowski, CCE talk with Sarah Taylor, CCE about what it was like to work on the show.
Panels (Virtual)
VIRTUAL PANELS WILL BE RELEASEd
7am EST – All virtual panels will be released.
**ALL panel videos will be available until February 16th, 2026
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
Locations (full details on the Ticket Pages)
Toronto: 11:45am (Innis Town Hall: 2 Sussex Ave, Toronto)
Vancouver: 10:30am (IATSE 891 Annex: 1640 Boundary Road, Burnaby)
Edmonton: 11:30am (The Creative Hive: 16819 111 Ave NW, Edmonton)
Winnipeg: 12:30pm (Film Training Manitoba – 245 McDermot Ave, Winnipeg)
Montréal: 12:45pm (National Institute of Image and Sound (L’inis) : 301 Boul. de Maisonneuve E, Montreal)
Halifax: 1:30pm (Nova Scotia Community College Ivany Campus: 80 Mawiomi Pl, Dartmouth)
toronto- In Conversation with Cathy Gulkin, CCE
Join us for an inspiring conversation with acclaimed filmmaker Cathy Gulkin, CCE, whose remarkable career spans both the analogue and digital eras of documentary storytelling. We will explore her journey, her process, and her profound impact on Canadian documentary cinema.
The career of veteran filmmaker Cathy Gulkin, CCE spans the analogue and digital eras. She is best known for her editing of the Genie award-winning FORBIDDEN LOVE (1992) and the Donald Brittain Award-winning GUANTANAMO’S CHILD (2015) for which she also won Best Documentary Editing Awards (Atlantic Film Festival, Directors Guild of Canada and Canadian Cinema Editors). Gulkin has also won awards for CRY OF THE ANCESTORS (1996), YOU ARE HERE (2018), and EVERY CHILD MATTERS (2020) and has been nominated for many others. She has edited over 50 documentary films and TV programmes.
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.
Toronto- editing in comedy
Great comedy tells the truth. Everyday hardships can produce compelling stories and laughter. In SON OF A CRITCH, we follow Mark’s adventures coming of age in Newfoundland in the 80’s. LATE BLOOMER follows Jasmeet Dutta’s ambitions as a content creator who balances family expectations within Canadian society. In OFFICE MOVERS, the Saunders brothers and their inexperienced crew attempt to run a moving company with disastrous results for both furniture and office walls. Please join us in a conversation with picture editors Pauline Decroix, Baun Mah, and Jordan Hayles as they recount their experiences and challenges in telling these stories through comedy.
Pauline Decroix is an award-winning Picture Editor based in Toronto with 25 years of experience in both Canada and France. Throughout her career, Pauline has worked across a broad range of genres and styles, though narrative stories and documentaries remain her central passions. In 2020, she received her first Canadian Screen Award for Best Editing on the documentary ON THE LINE. She also won the Canadian Cinema Editors award for best editing in a short film two years in a row (2020 & 2021). More recently, she has been nominated several times for her work on the TV series SON OF A CRITCH, and in 2025, she received her first Director’s Guild of Canada Award for her work on the NFB documentary THE NEST, directed by Julietta Singh and Chase Joynt.
Baun is an award-winning editor whose work has spanned multiple genres –including the CBS sitcom DMV, Jasmeet Raina’s LATE BLOOMER, the AMC+ horror anthology SLASHER, CANADA’S DRAG RACE, and LEARN TO SWIM, a dramatic feature that was nominated for Best International Feature at the 2023 NAACP Image Awards. Baun’s also served as a director/producer on BIG BROTHER CANADA and his award-winning short documentary A CHINK IN THE ARMOUR. He’s currently working on the third season of LATE BLOOMER and finds it ironic that cutting scenes all these years has done nothing to improve his ability to cut carbs.
Jordan Hayles is an Award-winning Film & Television Editor, hailing from Scarborough. From editing multiple genres, spanning from Lifestyle, Sports, Documentary, and Narrative, he stubbornly refuses to be boxed into one category when it comes to what is possible to create in his career. This is evidenced by his work appearing across networks like VICE, NBC, CBC, CTV, Crave, and with the Toronto teams owned by Maple Leafs Sports & Entertainment. Mentorship is also something that Jordan takes pride in, by helping others see the possibilities of working in Post Production; maintaining that we can all do something to affect positive change.
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.
Vancouver- soft skills in the edit suite
Storytelling skills, check. Technical skills, sure, however, what do you do in the edit suite once you’ve got the gig? There’s a lot that goes into editing that isn’t actually… editing. How do you work with your Director? How do you address notes from Producers or networks? What happens when there’s a fire to put out and you have to keep your cool? Should we be considered licensed therapists? Join us in a panel that dives into the “Soft Skills” editors naturally gain over the course of a career.
Aynsley Baldwin has been a Vancouver-based editor and member of the local post production community since 2005. Her recent works include Kate Kroll’s biopic LUNATIC: THE LUNA VACHON STORY (Canadian Film Festival, Fantastic Fest, and Festival du Nouveau Cinéma 2025), Jennifer Chiu’s CLAN OF THE PAINTED LADY (Vancouver International Film Festival, DOK Leipzig 2025), and SUPERNATURALS, an APTN docuseries directed by Sean Stiller and Kerriann Cardinal. Aynsley has also worked extensively as a VFX editor with Image Engine VFX, an award-winning Vancouver studio, on several projects including LOGAN, GAME OF THRONES, SPIDER-MAN: FAR FROM HOME, THE MANDALORIAN, and AHSOKA.
Lawrence Le Lam is an editor / director / filmmaker from Richmond, BC, with an affinity for music-driven stories. His recent editing on Solara Thanh Binh Dang’s short film RIPE (CHIN) was a part of the official selection for the 50th Toronto International Film Festival (2025). Lawrence was CSA-nominated for Best Editing in Feature Documentary for Ying Wang’s 2019 Docu-thriller THE WORLD IS BRIGHT, which was the winner of the Sea to Sky Award, 38th Vancouver International Film Festival, and Emerging Canadian Filmmaker Award, Hot Docs (2020). He’s currently in post-production for his first feature film, THE CHINATOWN DINER.
Anna Chiyeko Shannon is a non-binary mixed-race filmmaker. They are fourth-generation Japanese-Irish-Danish-Czech Canadian, and live with chronic migraines and ADHD. After graduating from the University of British Columbia with a BFA in Film Production in 2020, Shannon has been primarily editing. They balance hours at Bunch of Carrots Productions Ltd. with various freelance projects that range from short to feature length. Notably two feature documentaries Shannon edited, THE CHEF & THE DARUMA and INAY, were programmed and won awards at VIFF 2024. Currently, Shannon is stepping back into directing with their Telus Originals short documentary, MEMORIES THAT AREN’T MINE.
Patrick Carroll is a film and television editor. He edited the feature documentary LETTER FROM MASANJIA, which was nominated for a Canadian Screen Award and earned him a CCE nomination for Best Documentary Editor. He also received a CCE nomination for his work on RISE & SHINE BENEDICT STONE. His credits span documentary series (HIGHWAY THROUGH HELL, VERY BAD MEN), narrative projects (BLUE SKIES, BRINGING CHRISTMAS HOME), and factual TV (RUST VALLEY RESTORERS, LOVE IT OR LIST IT). As a director, he won the A&E Short Film Award for I’M THAT FOOL, and his film RUN STACK OVERFLOW premiered at AmDocs in Palm Springs.
vancouver- Editing Animated Film and TV in Vancouver
Vancouver has long been a major animation hub…. it’s the birthplace of REBOOT! More recently it’s been home to such projects as SPIDEY AND HIS AMAZING FRIENDS, OCTONAUTS- ABOVE & BEYOND and SAUSAGE PARTY, FOODTOPIA and many, many more. How does the editing process differ from live action to animation? What is the state of animation in Vancouver in 2026?
Rachel Guergis is currently an editor at Atomic Cartoons, where she works on the popular animated television series, SPIDEY AND HIS AMAZING FRIENDS, a collaboration with Disney and Marvel Studios. After graduating from Vancouver Film School in 2016, she went on to edit numerous live action projects, including music videos, shorts, and documentaries. In 2021, she had a chance to pursue her passion for animation and has been working on Spidey with her dream team ever since! Rachel has been nominated for six CCE Awards, and most recently the SPIDEY edit team received a 2025 Emmy nomination for Outstanding Editing!
Chris Holmes is an editor with more than two decades of experience across animation, documentary, and unscripted television. His animation credits include Lead and Supervising Production Editorial roles on Netflix’s OCTONAUTS franchise, contributing to the editorial team behind OCTONAUTS: RING OF FIRE, which earned a 2023 Children’s & Family Emmy nomination for Outstanding Editing. His broader career spans award-winning documentary work and series for CBC, HGTV, W Network, and Slice. Chris is currently working as the Lead Editor and Supervisor on PBS’s new preschool series PHOEBE & JAY.
Vanessa is a Vancouver based film and television editor. With over 15 years of experience, she combines her love of animation and creative flair to bring animated series and feature films to life. Her most recent credits include the series SAUSAGE PARTY: FOODTOPIA, KUNG FU PANDA: THE DRAGON KNIGHT and the feature film THE WILLOUGHBYS.
Kevin Pavlovic is a Vancouver-based, award-winning editor with over 25 years in animation. His film credits include editing the R-rated cult-hit SAUSAGE PARTY and THE ADDAMS FAMILY, and Co-Directing THE ADDAMS FAMILY 2. With a career rooted in animation, he has held roles ranging from in-betweener, animator, and compositing artist, to picture editor on major studio productions. He brings a deep understanding of animation pipelines and editorial craft and continues to contribute to Vancouver’s vibrant animation community. Beyond the cutting room, he champions the creative community, previously serving as Executive Director of the Crazy8s Film Society. He currently co-hosts the CCE’s monthly networking meet-up, The Animation Café.
Winnipeg- In Conversation with Matthew Hannam
Join us in welcoming Winnipeg’s very own Matthew Hannam as he explores his journey from assistant editor in the prairies to award-winning picture editor in LA. During this conversation, Matthew will discuss what it was like finding his footing in the world of picture editing and what connections and choices he made that brought him to work on films such as IRON CLAW and WHITE NOISE. We will also open the doors to the topic of “should I stay or should I go” – a common question amongst many creatives who are established in smaller cities yet curious as to what else is out there.
Matthew Hannam is a film and television editor from Winnipeg, Canada. He attended the Canadian Film Centre in Toronto where his career started. He now lives and works in LA.
Nathalie Massaroni is a Winnipeg-based editor and post production supervisor of more than 400 hours of television. She has edited features and series including WINTERTIDE, ALTER BOYS, and ABERDEEN (which premiered at TIFF 2024). Nathalie has also edited other short form award-winning series and films such as TAILOR MADE, D DOT H, CLEM, and I HURT MYSELF. She was recently part of the Canadian Academy’s Women in Post Program and is on the board for the CCE as the Regional Chair for Western Canada. 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.
Halifax- In Conversation with Brett Sullivan, CCE
Join us for an engaging conversation with Brett Sullivan, CCE, as he recounts his journey from assistant editor during the pivotal shift from film to non-linear editing, to cutting his first feature, BLOOD & DONUTS, on 35mm film. Brett will delve into his creative process and the challenges he faced transitioning from Picture Editor to Director, including the surprising lessons he learned moving from the quiet of the edit suite to the bustling studio floor with large crews and multiple departments.
Brett began his career in Toronto as a PA—mainly carrying things—before discovering the far more comfortable world of film editing. He worked his way up during the early days of non-linear systems in the ’90s and was editing a dramatic series by 26. Brett has cut both series and features, film and digital. Eventually, his experience in the editing suite opened the door to directing, a Director’s residency at the CFC. He has since directed a variety of series and feature projects, contributing to well-known series like FLASHPOINT and ORPHAN BLACK as both Director and Editor. A few years back, Brett relocated from Toronto to Nova Scotia, as he continues to develop original ideas while enjoying a new chapter in a quieter setting. He continues to carry things… just closer to the ocean.
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.
Edmonton- WRITING AND EDITING FOR DOCUMENTARY
Join us for an in-depth conversation on the creative relationship between writing and editing in documentary storytelling. Drawing from their diverse experiences across feature docs, series, and shorts, the panel will explore how story is shaped in the edit suite, from structure and character development to voice, ethics, and collaboration with directors and writers. Panelists will share practical insights, real-world examples, and strategies for navigating story challenges, making this session valuable for editors, filmmakers, and storytellers working in non-fiction.
Krystal Moss is an award-winning film & television editor known for her exceptional creativity, collaboration, and problem-solving skills. Her editing work spans television series, short films, and feature documentaries in both English and French. Most recently, Krystal edited the 3x Rosie Award-winning short doc, SEND & RECEIVE, which premiered at CIFF 2025. Other recent credits include THE NATURE OF THINGS 101 on CBC, MOON NOONK EDOUARD for the NFB, and an episode of HORSE WARRIORS S2 on APTN. When she is not in the edit suite, Krystal is in the classroom – sharing her screen industry experience and enthusiasm with NAIT’s Narrative Cinema Students.
I am a First Nations woman of Anishinaabe and German-Canadian descent, and a member of Roseau River Anishinabe First Nation in Manitoba. Influential themes in my work have included Indigenous arts, knowledge, storytelling, and justice. There is a synergy in all these themes that I am passionate about, they are reviving, reclaiming, and renewing. I currently produce at BearPaw Media and Education and as an independent filmmaker. As a producer, director and editor with over a decade of experience, I have worked on broadcast media series, non-profit causes and short artistic projects. No More Kîyâm and (Re)claiming Indian Status, that I produced and directed, won Best Educational Production at the Alberta Film and Television Awards in 2023 and 2021 respectively.
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.
MONTRéal - SEEKING MEANING: EDITING EXISTENTIAL STORIES
Join us for an in-depth conversation on the creative relationship between writing and editing in documentary storytelling. Drawing from their diverse experiences across feature docs, series, and shorts, the panel will explore how story is shaped in the edit suite, from structure and character development to voice, ethics, and collaboration with directors and writers. Panelists will share practical insights, real-world examples, and strategies for navigating story challenges, making this session valuable for editors, filmmakers, and storytellers working in non-fiction.
Myriam Magassouba is a film editor who works with documentaries and fiction alike. The films she has edited have been featured and won prizes at numerous Canadian and international film festivals, including Sundance, Locarno, SXSW, TIFF, and Visions du Réel. Her work has also earned nominations for the Canadian Screen Awards, the Prix Iris, and the CCE Awards, winning the latter. In 2025, she was responsible for editing five feature films: FOLICHONNERIES (FOLLIES), J’AI PERDU DE VUE LE PAYSAGE (I LOST SIGHT OF THE LANDSCAPE), AILLEURS LA NUIT (ELSEWHERE AT NIGHT), CHRONIQUES D’UNE VILLE (CHRONICLE OF A CITY), and LA MÉCANIQUE DES FRONTIÈRES (THE MECHANICS OF BORDERS).
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.
Film editor for over twenty years, Elric Robichon was trained at the intersection of documentary and fiction. After honing his craft at the National Film Board of Canada, he went on to collaborate with filmmakers from diverse backgrounds, utilizing a wide range of perspectives and cinematic approaches. His work, recognized at TIFF, Canneseries, Hot Docs, as well as at the Gémeaux Awards and Québec Cinéma, is distinguished by its precision and a sustained attention to the human dimension of storytelling. In 2025, he edited LOVELY DAY by Philippe Falardeau and NESTING by Chloé Cinq-Mars.
Matthieu has always loved cinema; it inspired him to leave behind his science studies to pursue his passion for storytelling. After attempts at becoming a musician and a writer, he found his calling in editing, relishing the way it allows him to play with time, music, and emotion. Over his 20-year career, he has poured his heart into his career, which has allowed him to work with some of Québec’s top humorists (LIKE-MOI!, LÉO, INSPIREZ-EXPIREZ, BYE BYE 2025) and learn more about himself. In 2025, he co-edited his first two feature-length films: LES FURIES (THE FURIES) and DEUX FEMMES EN OR (TWO WOMEN), the latter of which won a Special Jury Award at Sundance.
A graduate in film studies from the Université du Québec à Montréal, Marie-Pier is best known for her work as a film editor (SOLO, AFTERWARDS). In the summer of 2022, she directed her first short film, L’ÉTÉ DES CHALEURS (produced by Nemesis Films), which went on to tour festivals worldwide, including a stop at the prestigious Telluride Film Festival. She loves poutine, reheated microwave coffee, and Garou.
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.
Blue moon: sandra adair | 12PM EST
Re-listen to the podcast and then join Sandra in the Breakout Room to ask any questions you have about what it was like to edit Blue Moon!
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.
Movement in the Edit Suite: Lindsay Harpham | 12:40 PM EST
Stuck at your desk for endless hours? Join Lindsay Harpham for a short, practical session on bringing movement into the edit suite. Learn simple stretches you can do throughout the day, along with equipment-free exercises to keep your body energized and your mind sharp.
Lindsay Harpham is a Vancouver-based Kinesiologist, contemporary artist, educator, and choreographer whose work bridges professional dance and high-performance sport. Originally from Saskatchewan, she has performed internationally with companies such as Red Sky Performance, Larchaud Dance Project, ACE Dance Theatre, and Gadfly. She co-founded wherewe collective, offering training programs including the summer intensive where we CONNECT. Alongside her creative work, Lindsay trains athletes through Ignite Performance and supports dancers and rehabilitation programs at Performance Clinic, blending refined movement awareness with athletic performance demands. She also delivers seminars for art companies and coaches, focusing on movement literacy, injury prevention, and sustainable training practices.
https://www.lindsayharpham.com/
Meet the afc: leah erbe | 1:20 EST
Discover the support that’s here for you. The AFC, a charity dedicated to supporting people working in Canada’s entertainment industry. In this session, Leah Erbe (she/her), Program Manager at The AFC, will introduce the programs, services, and supports available to help you navigate life and work in our sector – from emergency financial assistance and mental health resources to financial wellness and career sustainability initiatives. Don’t miss this chance to learn how The AFC can support your well-being and help you thrive in your career.
Leah is the Program Manager at The AFC. In 2008, she joined The AFC as the coordinator of the Emergency Financial Aid program. Since moving to Program Manager in 2016, she has overseen the expansion of The AFC’s programming and implemented urgent responses to large-scale emergencies such as COVID-19. Leah has a BA in linguistics and cultural studies from McGill and has previously worked as a musician and singer/songwriter. She is partial to horror movies.
cutting through genres: erin deck, cce | 2:00 EST
Discover how to successfully transition between genres and avoid being confined to a single format. Join Erin Deck, CCE in the Breakout Room for an insightful discussion on creative flexibility.
Erin Deck, CCE is an award-winning Film and Television editor with over 20 years of experience in the industry. With a career that spans Toronto, Los Angeles, and Mexico City, Erin has worked on a diverse range of projects, bringing her expertise to some of the most successful shows in television. Beginning her career as an assistant editor, Erin gained invaluable experience working alongside top-tier editors, giving her a deep understanding of both the technical and creative aspects of today’s digital landscape. Throughout her career, Erin has tackled the creative challenge of editing a wide range of TV shows and Feature length film such as MOTORHEADS, GINNY & GEORGIA, BEACON 23, ALTER CARBON, SNOWPIERCER, INTO THE BADLANDS and LETTERKENNY, showcasing her versatility and ability to help craft compelling narratives. Erin is dedicated to creating a calm, collaborative, and fun environment for directors, showrunners, and producers. Her enthusiasm for storytelling is matched by her commitment to ensuring every project reaches its full potential.
Youngblood: Matt Lyon, CCE & Jesse Gillingham | 2:40 PM Est
Watch the panel and then join Matt & Jesse in the Breakout Room to ask any questions you have about what it was like to work on YOUNGBLOOD!
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.
CCE EditCon Raffle
Our annual raffle features the fabulous prizes listed below. The draw will take place during EditCon.
Congratulations to our Raffle Winners!
- 2 x Davinci Resolve Studios - Sophie Dumesny & Catherina Thomas
- 2 x Blackmagic Cloud Store Mini 16TB - Dana Hachwa & Véronique Barbe
- 3 x 1 year subscription to Boris FX Suite - Zoé Guèvremont, Tom Strnad & Marco Audino
- 2 x 1 year Adobe Creative Cloud subscription - Vanessa Seecharran & Xi Feng
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
Paul Hunter, 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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