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Articles

2025 Leo Award Winners

2025 Leo Award Winners

LEO Awards 2021

Congratulations to our CCE members who won a 2025 Leo Award!

Best Picture Editing Motion Picture

  • Justin Li – Heretic

Best Picture Editing Dramatic Series

  • Jon Anctil, CCE & Christopher A. Smith – Murder in a Small Town – The Suspect

Best Picture Editing Feature Length Documentary

  • Greg Ng, CCE & Darian Lung (+1 editor) – Saints and Warriors

Best Picture Editing Information, Lifestyle or Reality Series

  • Jason Schneider & Alan Flett, CCE – Deadman’s Curse: Legend of the Lost Gold – The Return to the Lost Mine
Catégories
The Editors Cut

Episode 108: In Conversation with Dean Evans

Episode 108: In Conversation with Dean Evans

This episode was a panel that took place on October 9th, 2024.

In this conversation, host Sarah Taylor, CCE talks with film and tv editor Dean Evans. Dean shares his journey from a small-town kid in Saskatchewan to becoming a successful editor.

He discusses the importance of the MASTER THE WORKFLOW workflow in editing, his experiences working on the film DARK MATCH, and the collaborative nature of the editing process. They also discuss the fast-paced nature of web series DEPARTMENT OF PARANORMAL AFFAIRS, the significance of keeping up with technology in editing, and Dean reflects on a fulfilling career in film, emphasizing the value of relationships in the industry.

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The Editor’s Cut – Episode 030 – “What is Anti-Oppression? With Tenniel Brown”

Sarah Taylor [00:00:01]

Hello and welcome to The Editor’s Cut. I’m your host Sarah Taylor. At the CCE, we began our journey of self education with Anti-Oppression training in 2019. It was invaluable for us as it provided us with tools to assess how we as an organization could set a course of action to root our unconscious and systematic bias in our operations. This training is now a permanent part of our budget so future board members and volunteers can continue this work, and equity can be part of the fabric of our organization. We are offering a Lunch and Learn Introduction To Anti Oppressive Communication with Tenniel Brown on July 27. Today I’m lucky to be able to sit down with Tenniel Brown and discuss what Anti-Oppressive training is and what we can expect from this webinar. Tenniel Brown is a passionate anti-racist anti oppression and mental health speaker dedicated to improving the experiences of marginalized people in all institutional settings. She is the founder of the Centre For Anti-Oppressive Communication which specializes in providing anti oppressive, trauma-informed counseling, clinical supervision and organizational consulting, as well as customized workshops training and team retreats. I’m joined with Tenniel Brown, she is the founder of the Centre For Anti-Oppressive Communication based in Toronto. And we just want to have a little conversation about why anti oppression work is important in this and all days but specifically right now. So can you just tell us a little bit about your background and why you started the Center For Anti-Oppressive Communication.

Tenniel Brown [00:01:41]

My background is as a psychotherapist. So I spent I’ve spent many many years working with individuals and couples and families and groups helping them to access more of their well-being by addressing different mental health issues specifically trauma. One of the things that I specialize in addressing is racialized trauma. But also trauma that comes from folks that have experienced different types of oppression. And I think for most people that are called to this type of work it’s quite personal for me right. So often when you don’t see the work that you know needs to happen in the community taking place you create it. And so that was me. You know I think I saw that there was a need for organizations to have somebody come in and not just talk about diversity inclusion but talk about what happens when certain identities have power and that unbalance of power and how to actually address that in our communication. I knew that out in the community there were therapists and social workers that were wanting to do better work. You know work in the best practice way with clients that are black, racialized, queer, and trans, and had nowhere to go to get supervision and support. And finally I knew personally that there were so many folks that when they were ready to do therapy work they needed to see someone sitting across the office that looked like them or had a very similar lived experience and they just were not going to come unless that was the case. So all these things I knew was happening and nobody was doing it. And I said someone’s got to do something and that was me. I think what needs to come out of what’s happened in June is for folks to see black professionals and black community in in the in sort of like the the brilliance of what we do and it’s not uncommon that in many cases where we don’t see ourselves we create it. So yeah that was the spirit of and I think that when I started the organization I knew that it was important for there to be a place where folks from those different backgrounds could come and get that support and information. So it’s a real passion of mine. It is my baby and it’s so beautiful to see folks wanting this information during this time.

Sarah Taylor [00:04:01]

Yeah so important. Can you tell us what Anti-Oppression means and what someone can expect by taking an anti oppressive workshop?

Tenniel Brown [00:04:10]

Sure absolutely. So when you sort of break down the word anti oppression anti oppressive practice we take a look at that anti part and essentially that that just means opposition to oppression and then the practice part. So AOP… the practice part pertains to the context in which you are practicing opposition to oppression. So you can apply an anti oppressive lens to just about anything. And I’ve had the opportunity to work with organizations like Pride Toronto and work with your curators to apply an anti-oppressive lens to the way they do event organizing. I have applied an anti oppressive lens to the way I do therapy and clinical supervision with other therapists. You can apply an anti oppressive lens to teaching. You can apply it to student advising, you can apply it to just about anything. I’ve been working with fitness professionals looking at applying an anti oppressive lens to the way that they support folks that are on their fitness journey. So so it’s about looking at whatever practice whatever context you are working in and using that platform to be able to oppose oppression and all of its forms. So that’s essentially what it is.

Sarah Taylor [00:05:29]

And so when someone takes courses like anti oppressive communication course or participates in your courses what can they expect to be talking about or learning?

Tenniel Brown [00:05:37]

Absolutely so I think one of the most important things is to sort of pull back a little bit of you know the cover on this because I think anti oppressive language is its own language. It’s like Spanish. And you see so many people getting themselves into some rather serious trouble these days because they actually don’t know the language they don’t understand… in some ways the harm of some of the things that they’re doing and saying the deep harm of that. You get a lot of people who don’t really know how to talk about these issues. And so you go into a shame spiral and you just don’t talk. You just get very quiet and I always argue that you know the silence piece is a part of how we got ourselves into this trouble as a human society in the first place. So what I offer is something for everybody. I think over the years what folks have said to me is is even somebody who’s maybe got a social work background and knows about anti oppressive practice when they come to one of my trainings they find that they are moved further along in their application of that perspective around “OK, well what does this mean when I’m interacting with somebody right here in a one on one context.” Other people that are completely brand new have never had the chance to learn any of this language or understand any of these concepts have said over the years that they felt like they left with a really good sense of what this topic is. But not just that practical skills. I’m all about practical skills. I want to offer things that folks can use tomorrow today and the next day and my mission is also for folks to leave his training and talk about it. Tell a friend, tell a colleague, tell a family member, and feel equipped to be able to engage in these conversations. So when someone is saying or doing something problematic, you have this confidence in the skills to be able to interpret what’s going on there and to be able to talk to them and to be able to address it. The other thing that I do is I couch everything that I do in my trainings in a self care and team care perspective. And I think this is very important. We have to look after our emotions. We have to look after ourselves and we have to look after each other. I always say you could be as anti oppressive as you want but if you haven’t had any lunch… if you haven’t eaten anything… you’re not good.

Sarah Taylor [00:07:57]

You’ve got the hangries!

Tenniel Brown [00:07:59]

Trust me, Anti-Oppressive work requires patience. It requires empathy. It requires compassion and self compassion. You will fall down a lot and I find you know and I talk a lot about cancel culture and don’t get me wrong really that could be its own podcast.

Sarah Taylor [00:08:19]

Totally. Especially in this industry.

Tenniel Brown [00:08:22]

Look we need to talk about this and I get why certain people are being canceled for sure. And yet as someone who does this work I recognize that I’m so thankful I wasn’t canceled because over the years I’ve done and said things before I knew before I took a course like this before I had an opportunity to learn what was problematic about my lens. I’m so thankful that I was able to make those mistakes in a safe environment and actually benefit from that and grow. So people get a safe environment to learn language and understand what is going on, what is oppression, if oppression is so bad why don’t we just stop this. Well I unpack that for folks. Why is this so complicated and why doesn’t this just stop. And then I provide practical skills for folks to be able to apply this to their lives and their communication. I think the other thing that I think folks get is not just sort of a general whatever, you’ll find that I’m really interested in applying it to film editors and what it is that you do on a regular basis and looking at how you can use your platform to be able to actually oppose oppression.

Sarah Taylor [00:09:31]

Yeah well it’s like it’s huge I know for myself we did anti oppression workshop as a board for the CCE. I’m in an interracial marriage and so I thought “Oh I know a lot.” Like I’ve been unpacking this stuff for a while and understanding in my own way. But also like kind of like how do I say it to my white uncle who is racist like how do I approach that. And by taking that one course, like you said I got so much more understanding of where people might come from and the language and I could approach it not by just being angry because anytime I’d hear anything I was like “You’re talking about my husband, you’re talking about my child! This is not OK!” And so it made a huge impact on me and I felt like I kind of knew some stuff but I realized that there was so much more to learn. And I think I’m still learning and it’s opened up even conversations I’ve had with my husband and my in-laws… and so I think people who are in my situation are like “no I’m cool I got I’m married to so-and-so or I have my best friend or whatever.” You grew up in your lens and there’s way more to learn and unpack.

Tenniel Brown [00:10:41]

Absolutely. Absolutely it’s so true. And I always say that absolutely positively nobody gets a pass on this.

Sarah Taylor [00:10:48]

100 percent.

Tenniel Brown [00:10:49]

At all. You know myself as someone who identifies as a black fem queer woman, you know folks would be like well you know you of course you couldn’t oppress. And it’s like yes we are all susceptible to experiencing oppression and we are all oppressors. So I have aspects of my identity that allow me to have privilege. And the thing about this is that if you’re not aware of those things that’s how you harm people that’s how you engage in micro aggressions. You know what I mean? That’s how you you know get striking up a conversation with someone about your latest renovation in your house when this person is still renting and doesn’t even have access. These are the types of things that you’re never protected from. Right. Like you’re not protected from that in a certain way. So it’s really important to remember that.

Sarah Taylor [00:11:40]

Where should someone start if they’re like feeling overwhelmed they’re like wow I know that I need to make this change. I’ve seen all this information now on social media and I’m saying all the wrong things and like you said I’m just going to be quiet which is not the right thing to do. So where do they go and what should they focus on first to just like get into this mindset of making these changes?

Tenniel Brown [00:12:02]

That’s a great question. And what I would say is education. Not a coincidence right? So of course you know joining with you know your organization to offer this to the community because I think that’s step number one. I think we do need to have good information about… you need to educate yourself. I would say that it’s a really important first step to really listen, and I find even when you have more information and you have more training it even improves the way that you can listen because what you find is when you don’t have that knowledge there’s certain things that are sort of prevent you from even being open. So I find the training and the skills and the confidence that you get from doing the course like this allows you to even listen deeper right and understand more and I think that that’s step number one. I think that once… but don’t stay there! Because I think a lot of people oh I’m listening but really it’s just their guilt and shame. So yeah they’re still not doing anything but once you’ve had the chance to listen you now can start thinking more about your platform and I think that’s one of the most important thing for your listeners to know that if it’s like well I’m not a social worker I’m not a therapist what’s this got to do with me it’s like it has everything to do with you. You have a platform as a film editor and it’s important for you to acknowledge that there are big ways and small ways that you can make a difference. And we all have a responsibility. What’s happened in this world since COVID what’s happened in this world since June is we can no longer close our eyes to this. We have to look at this and all the years that we have stayed silent on this has been what’s caused the problem. So the reality is is that we all are called to use our platform to be able to address this to look around the room and be like who isn’t here? To look around your history of the films that you and different projects you’ve been involved in and being like how many of these people, how many of these stories featured stories that were outside of what we usually see? Right. And looking at the ways that you can use your platform and your influence to be able to make a change, so we’re all called to do that I don’t care if you’re a child care worker or a housekeeper do some working at a gas station, it literally doesn’t matter we’re all a part of this human society. We all have some sort of platform and so we all have a responsibility to do something. You know Sarah one of my favorite slogans that’s come out of the protest is “Silence is Violence.” I love that one because I know what happens when people don’t have education and knowledge. They go into a shame cycle they go into a guilt cycle and they go into fear and you know what happens there? Shh. And you know what, that doesn’t help anybody at all. So I recognize that these are difficult things for us to unpack but we all have a responsibility to use whatever platform we have to make a difference. So starting by educating yourself, listening a lot, and then that’s going to help you to be more open to what you can do. And then looking at your platform whether that be personal or professional to make a change.

Sarah Taylor [00:15:20]

That was perfect. Yeah. That’s huge. And even since I took my training and even just since I’ve done my own inner work I noticed like I wouldn’t pick certain shots anymore or there’ll be things in my edit where I’m like “that’s a stereotype” or “No that’s not going to work. We can’t do that we can’t have that.” And so I think if everybody’s doing that then what we’re seeing on screen can start changing.

Tenniel Brown [00:15:45]

Absolutely. Absolutely and there’s these you know there’s there’s big ways and then there’s little ways like you describe. So it’s it is about really curating your lens, right and making sure that you’re seeing more and I think training like this just helps you to really open up your lens. So you’re not just seeing directly what’s in front of you work to the side of you but it’s more of like a panoramic view which you folks really need in the work that you do.

Sarah Taylor [00:16:09]

100 percent. Yeah. Well I hope that our membership joins us. I know we’ve already been getting people RSVPing which is very exciting. On July 27 2020 to learn and to unpack and to take part and just hopefully we can continue to do stuff with you and just keep educating and making the changes we can make.

Tenniel Brown [00:16:28]

Yeah. Join us. Join us. Don’t hesitate folks. Be a part of this. I’m really looking forward to working with everybody. And you know what we’re gonna have fun. I know these topics are really heavy but we’re gonna have some fun and we’re really going to connect with each other as a community so I look forward to meeting everybody at this training.

Sarah Taylor [00:16:46]

Thank you so much for taking the time to chat with me today and I look forward to seeing you on the 27th and continuing my journey. So thank you for doing this for us and thank you for sharing your knowledge and your experience with the world. So thank you so much.

Tenniel Brown [00:16:59]

You’re so welcome. Thanks for having me.

Sarah Taylor [00:17:03]

Thank you so much for joining us today. And a big thank you goes to Tenniel Brown and a special thanks to Maureen Grant and Jane MacRae. If you’d like to connect with Tenniel, you can find her on Instagram @TennielBrown. If you’d like to bring Tenniel into your organization to learn more about anti oppressive work, you can check out her website at brownconsulting.com. I look forward to learning more from Tenniel on July 27 2020 at the CCE Lunch and Learn I hope to see you there. The CCE has been supporting BIPOC TV and FILM. BIPOC TV and FILM is a grassroots organization and collective of black, indigenous, and people of colour in Canada’s TV and film industry. From writers, directors, producers, and actors, to editors, crew members, and executives. Their members are a mix of emerging, mid-level, and established industry professionals. BIPOC TV and FILM is dedicated to increasing the representation of BIPOC both in front and behind the camera. If you would like to donate to BIPOC TV and FILM please head to their website at bipoctvandfilm.com. The CCE is taking steps to build a more equitable ecosystem within our industry and we encourage our members to participate in any way they can. 

The main title sound design was created by Jane Tattersall. Additional ADR recording by Andrea Rusch. Original music provided by Chad Blain. This episode was mixed and mastered by Tony Bao. If you’ve enjoyed this podcast, please rate and review us on Apple Podcasts and tell your friends to tune in. Til next time I’m your host Sarah Taylor.

Outtro

The CCE is a non-profit organization with the goal of bettering the art and science of picture editing. If you wish to become a CCE member please visit our website www.cceditors.ca. Join our great community of Canadian editors for more related info.

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2025 Gémeaux Award Nominations.

2025 Gémeaux Award Nominations

2025 Templates

Congratulations to our CCE members who were nominated for a 2025 Gémeaux Award!

MONTAGE MEILLEUR MONTAGE : FICTION

  • Justin Lachance, CCE – IXE-13 : LA COURSE À L’URANIUM « Épisode 8 » 
  • David Di Francesco – SOCIÉTÉ DISTINCTE « Épisode 1 – La disparition » 

MEILLEUR MONTAGE : SÉRIE DOCUMENTAIRE OU AFFAIRES PUBLIQUES 

  • Alexandre Beaudoin (+2 monteurs) – VIE$ DE RÊVE « Épisode 1 » (Sphère Média)
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Vancouver Short Film Festival Nominations

2025 VSFF Award Nominations

2025 Templates

Congratulations to our CCE members who were nominated for the Vancouver Short Film Festival, Best Editing Award!

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  • Saeed Vahidi – Hatch
  • Nathalie Massaroni – Tailor Made
  • Kyle Sanborn – The Ornament
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2025 Canadian Screen Award Winners

2025 Canadian Screen Award Winners

CSA Logo

Congratulations to our CSA Winners!

Meilleur montage, drame 

  • Greg Ng, CCE & Roderick Deogrades, CCE (+1 editor) – BONES OF CROWS – TO BE SEPARATED

Meilleur montage, documentaire 

  • Peter Denes – THE TRAGICALLY HIP: NO DRESS REHEARSAL – PART TWO: ON THE VERGE

Meilleur montage, téléréalité ou concours

  • Kailey Birk, Elianna Borsa, Jonathan Dowler, CCE, Michael Emberley, Wesley Finucan, Al Manson, CCE, Jeff Perry, Lindsay Ragone, Mike Scott & Nathara Imenes (+14 editors) – BIG BROTHER CANADA – EPISODE 18

Meilleure montage, humoristique

  • Baun Mah – LATE BLOOMER – THE TURBAN

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  • Xi Feng – UNIVERSAL LANGUAGE | UNE LANGUE UNIVERSELLE

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  • Maureen Grant, CCE – MY DEAD MOM – SHANA TO
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2025 Leo Nominations

2025 Leo Nominations

LEO Awards 2021

Congratulations to our CCE members who were nominated for a 2025 Leo Award!

Best Picture Editing Motion Picture

  • Justin Li – Can I Get a Witness?
  • Justin Li – Heretic
  • Greg Ng, CCE & Graham Fortin – Longlegs

Best Picture Editing Television Movie

  • Cindy Au Yeung – The Groomsmen: Second Chances

Best Picture Editing Dramatic Series

  • Greg Ng, CCE Allegiance – Safe Harbors
  • Jamie Alain, CCE -Allegiance – Dawn to Dawn
  • Jon Anctil, CCE & Christopher A. Smith – Murder in a Small Town – The Suspect
  • Lara Mazur, CCE – Sight Unseen – Runaway Bride
  • Jon Anctil, CCE – The Chicken Sisters – It’s Just Junk, Y’all

Best Picture Editing Feature Length Documentary

  • Greg Ng, CCE & Darian Lung (+1 editor) – Saints and Warriors

Best Picture Editing Short Documentary

  • Mauri Bernstein – Cooler Heads Prevailed

Best Picture Editing Documentary Series

  • Georgia Milroy & Alec MacNeil Richardson – In Cold Water: The Shelter Bay Mystery – Down Under

Best Picture Editing Information, Lifestyle or Reality Series

  • Jason Schneider & Alan Flett, CCE – Deadman’s Curse: Legend of the Lost Gold – The Return to the Lost Mine
  • Brian Mann, CCE (+1 editor) – Rocky Mountain Wreckers – Heavyweight Battle
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Articles Communiqué de presse

Nominations pour les prix CCE 2025

Nominations pour les prix CCE 2025

Les Monteurs et monteuses de cinéma canadien sont heureux⋅euses d’annoncer les nominations pour les prix CCE 2025. Rejoignez-nous le jeudi 29 mai 2025 pour une soirée de célébration de l’excellence en montage à l’hôtel Delta de Toronto avec Richard Crouse.

Les billets seront en vente à partir de ce vendredi! Félicitations à toutes les personnes en nomination!

Meilleur montage d’une série d’animation préscolaire
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Bec Cranswick, Sophia Loffreda, Rachel Guergis & Dean Hannas – SPIDEY AND HIS AMAZING FRIENDS: EP. 323 – TOO MANY ZOLAS/ELECTRO’S GLOW SHOW
Chris Holmes, Tanner Adams, Chris Avery & Sean Avery – OCTONAUTS- ABOVE & BEYOND: EP. 10 – ALPINE SWIFT
Marc Brenzil – ROSIE’S RULES: EP. 140 – ROSIE MAKES THE RULES/IGGY’S DINO CAKE
Paul Hunter, CCE & Katie Tomchishen – NATURE CAT’S NATURE MOVIE SPECIAL EXTRAORDINAIRE
Paul Hunter, CCE & Katie Tomchishen – SUPERBUNS: EP. 134 – A STICKY SITUATION

 

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Ellery Vandooyeweert – THE DEATH OF JAMES
Greg Canning, Tom Masterman, Ryan Jobling & Leland Miller – CAMP SNOOPY: EP. 12 – THE CHEWING GUM DILEMMA
Mary Dorich & John Logan – TOTAL DRAMA ISLAND REBOOT: EP. 213 – SOAR LOSERS
Tom Berger – OPEN SEASON, CALL OF NATURE: EP. 19A – WHAT A CHINOOK
Vanessa Seecharran & Jeff Seibenick – SAUSAGE PARTY, FOODTOPIA: EP. 107 – SEVENTH COURSE

 

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Commandité par : Boris FX

Andrew Gurney & Michael Tersigni, CCE – THE AMAZING RACE CANADA: EP. 1005 – I SMELL LIKE A CARCASS
Beth Biederman – CANADA’S DRAG RACE: EP. 502 – GREETINGS QUEENLINGS
Jeff Perry – BLOWN AWAY: EP. 406 – THE KIDS ARE ALRIGHT
Kailey Birk – CANADA’S DRAG RACE CANADA VS THE WORLD: EP. 204 – READING BATTLES
Peter Topalovic – CANADA’S DRAG RACE: EP. 501 – GO OFF QUEEN

 

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Commandité par : Rolling Pictures

Brendan Mills – SWAN SONG
Hubert Hayaud – THE MAN I LEFT BEHIND
Marie-Pier Grignon – OKURIMONO
Mike Munn, CCE – ANY OTHER WAY- THE JACKIE SHANE STORY
Ryan Mullins – YINTAH


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Anouk Deschênes – L’ARTIFICE
Carole Larsen, CCE & Swapna Mella, CCE – NO WAY TO DIE
David Valiquette – 6 MOIS POUR APPRENDRE LE FRANÇAIS
Kara Blake – AM I THE SKINNIEST PERSON YOU’VE EVER SEEN?
Louis Moulin – CHIEN DE SANG


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Andres Landau & Yong Eui Zong – THE KNOWING EP. 102: STEALING CHILDREN
Georgia Milroy & Alec MacNeill Richardson – IN COLD WATER, THE SHELTER BAY MYSTERY: EP. 101 – DOWN UNDER
Kailey Birk – HOW I GOT HERE: EP. 206 – VIETNAM: PEARLS OF THE DRAGON
Peter Denes – THE TRAGICALLY HIP: NO DRESS REHEARSAL: EP. 102 – ON THE VERGE
Roderick Deogrades, CCE – WE’RE ALL GONNA DIE (EVEN JAY BARUCHEL): EP. 206 – THE END OF JAYS

Meilleur montage d’une émission style de vie
Commandité par : Les Monteurs et Monteuses de cinéma canadien 

Francis Cana – BREAKING NEW GROUND: EP. 101 – PARLOR
Justin Ingraldi & Jeff Fowler – CELEBRITY IOU: EP. 807 – ZACH BRAFF SCRUBS IN FOR A SPECIAL OPERATION
Lindsay Ragone – TRIXIE MOTEL- DRAG ME HOME: EP. 101 – OH HONEY! I’M HOME!
Peter Hordylan – CELEBRITY IOU: EP. 706 – ROSARIO DAWSON
Tom N. – MADE FOR TV WITH BOMAN MARTINEZ-REID: EP. 101 – REALITY DATING


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Charles Boisseau, Léonie Tremblay-Clavette, Alexandre Dionne & Philippe Beauchemin – LA SOIRÉE MAMMOUTH 2024
Fabiola Caraza – THE POPULARITY PAPERS: EP. 126 – THE WONDERFUL WIZARD OF MAPLEVIEW PART 2
Jane MacRae – GANGNAM PROJECT: EP. 101 – PILOT
Lindsay Ragone – ALL-ROUND CHAMPION: EP. 601 – ARCATHLON
Mike Reisacher – THE POPULARITY PAPERS: EP. 123 – NOTES ON A VANDAL

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Arthur Tarnowski, CCE – SISTERS AND NEIGHBOURS (NOS BELLES SOEURS)
Cam McLauchlin, CCE & Blair McClendon – THE LAST SHOWGIRL
Carina Baccanale – MLLE BOTTINE
Justin Li – HERETIC
Sandy Pereira – YOUNG WERTHER

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Commandité par: IATSE 891

Alvin Campana – ROMANCE WITH A TWIST
Gloria Tong – FRIDAY NIGHT SEXT SCANDAL
Gordon Rempel, CCE – GILDED NEWPORT MYSTERIES- MURDER AT THE BREAKERS
Jason Irvine – AURORA TEAGARDEN – A LESSON IN MURDER
Michael Doherty, CCE – WYNONNA EARP- VENGEANCE

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Commandité par : City of Toronto

Amélie Labrèche – BAIL BAIL
Ashley Gilmour – ON A SUNDAY AT ELEVEN
Brendan Mills – ARE YOU SCARED TO BE YOURSELF BECAUSE YOU THINK THAT YOU MIGHT FAIL?
Maria Bykina – THORN (CÌ)
Myriam Magassouba – À TOI LES OREILLES

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Arthur Tarnowski, CCE – THE STICKY: EP. 106 – APEX
Baun Mah – RUN THE BURBS: EP. 312 – VAS DEPHRENS
Baun Mah – LATE BLOOMER: EP. 104 – THE TURBAN
Myriam Coulombe – LE RETOUR D’ANNA BRODEUR: EP. 104 – COCKTAILS MOLOTOV
Stein Myhrstad – WILD CARDS: EP. 101 – THE INFINITY THIEF


Meilleur montage d’une série dramatique ou d’une minisérie
Commandité par : Purple Dog Post

David Di Francesco – SOCIÉTÉ DISTINCTE: EP. 101 – LA DISPARITION
Isabelle Desmarais – IN MEMORIAM: EP. 101
Jorge Weisz, CCE – CROSS: EP. 103 – THE GOOD BOOK
Justin Lachance, CCE – IXE-13: EP. 8 – LE POINT DE RUPTURE
Lisa Grootenboer, CCE – CHUCKY: EP. 308 – FINAL DESTINATION
Nicholas Wong, CCE – SNOWPIERCER: EP. 402 – THE STING OF SURVIVAL


Meilleur montage d’une websérie ou d’un contenu numérique
Sponsored by : Les Monteurs et Monteuses de cinéma canadien

Ashley Brook, Kyle Cucco & David Schmidt – CANADIANA: EP. 310 – THE GRISLY HISTORY OF THE RIDEAU CANAL
Becky Swannick – EVERYBODY’S MEG – MEG WORKS OUT
Charles Boisseau – LA DERNIÈRE COMMUNION: EP. 102 – LA CONVERSION
Jean-Philippe Gagnon – COBAYE: EP. 303 – NICO PART À LA CHASSE À L’ORIGNAL
Zoé Guèvremont – DISCRÈTES: EP. 3 – C’EST QUOI L’PLAN?

Prix d’excellence soulignant l’œuvre d’une vie 
Commandité par : Les Monteurs et Monteuses de cinéma canadien
Jeff Warren, CCE and Yves Langlois, CCE (1941-2024)


Prix pour une carrière exceptionnelle 
Commandité par : Les Monteurs et Monteuses de cinéma canadien
Gregor Hutchison (1958 – 2020)


Prix du mérite étudiant 
Commandité par : Take 5 Productions
À venir début mai 


Prix d’excellence pour un·e assistant·e-monteur·euse 
Commandité par : Insight Productions
À venir début avril

Merci à nos commanditaires

Catégories
Articles

2025 Canadian Screen Award Nominations

2025 Canadian Screen Award Nominations

CSA Logo

Congratulations to our CCE members who were nominated for a 2025 Canadian Screen Award!

Meilleur montage, drame 

  • D. Gillian Truster, CCE – SIGHT UNSEEN – TESS
  • Greg Ng, CCE & Roderick Deogrades, CCE (+1 editor) – BONES OF CROWS – TO BE SEPARATED
  • John Nicholls, CCE – LAW & ORDER TORONTO: CRIMINAL INTENT – THE MINNOW AND THE SHARK 
  • Wendy Hallam Martin, CCE – LAW & ORDER TORONTO: CRIMINAL INTENT – THE KEY TO THE CASTLE
  • Véronique Barbe, CCE – SO LONG, MARIANNE – THE CHELSEA HOTEL

Meilleur montage, émission factuelle

  • Andrew King – BOLLYWED – OPENING JITTERS
  • Clark Masters (+5 editors) – HOUSE OF ALI – A JERSEY SHORE MOMENT

Meilleur montage, documentaire 

  • Ania Smolenskaia – PLASTIC PEOPLE: THE HIDDEN CRISIS OF MICROPLASTICS
  • Cathy Gulkin, CCE – NUKED
  • Ken Yan – HAIRY TALES
  • Peter Denes – THE TRAGICALLY HIP: NO DRESS REHEARSAL – PART TWO: ON THE VERGE
  • Ryan Monteith – HARDER BETTER FASTER STRONGER

Meilleur montage, téléréalité ou concours

  • Al Manson, CCE, Jonathan Dowler, CCE, Jeff Perry, Curtis Rogers (+14 editors) – CANADA’S ULTIMATE CHALLENGE – THE HANDSHAKE
  • Curtis Rogers (+4 editors) – BEST IN MINIATURE – TAKE IT OUTSIDE – THE FINALE
  • Kailey Birk, Elianna Borsa, Jonathan Dowler, CCE, Michael Emberley, Wesley Finucan, Al Manson, CCE, Jeff Perry, Lindsay Ragone, Mike Scott & Nathara Imenes (+14 editors) – BIG BROTHER CANADA – EPISODE 18
  • Mike Scott (+4 editors) – TOP CHEF CANADA – THE FEAST OF TORONTO

Meilleure montage, humoristique

  • Baun Mah – LATE BLOOMER – THE TURBAN
  • Baun Mah – RUN THE BURBS – PHRIGHT NIGHT
  • Gloria Tong – DON’T EVEN – STINKY AND THE MAN’S BATTLE OF THE BANDS 1998
  • Kyle Martin, CCE – LETTERKENNY – LIVE AT MODEAN’S
  • Pauline Decroix – SON OF A CRITCH – GO INTO THE LIGHT

Best Picture Editing, Children’s or Youth

  • Andrea Novoa (+1 editor) – THE FABULOUS SHOW WITH FAY AND FLUFFY – I LOVE MY NAME!

Meilleur montage

  • Anna Catley – PAYING FOR IT
  • Anna Catley – WE FORGOT TO BREAK UP
  • Christopher Donaldson, CCE – THE SHROUDS
  • Jorge Weisz, CCE – SHARP CORNER
  • Xi Feng – UNIVERSAL LANGUAGE | UNE LANGUE UNIVERSELLE

Meilleur montage dans un long métrage documentaire

  • Marie-Pier Grignon – OKURIMONO

Meilleur montage, émission ou série Web 

  • Becky Swannick – EVERYBODY’S MEG – MEG WORKS OUT
  • Maureen Grant, CCE – MY DEAD MOM – SHANA TOVA
Catégories
Articles Communiqué de presse

Canadian Cinema Editors and the Comité des treize launch The Editor’s Taskbook: Responsibilities and Best Practices

Canadian Cinema Editors and the Comité des treize launch The Editor’s Taskbook: Responsibilities and Best Practices

The Canadian Cinema Editors (CCE) and the Comité des treize are proud to announce the release of The Editor’s Taskbook: Responsibilities and Best Practices, a comprehensive guide designed to empower film and television editors, assistant editors, producers, and their teams. This groundbreaking document has been over four years in the making, and serves as both a reference and a tool for fostering collaborative, efficient, and creative editorial environments.

From pre-production to final delivery, The Editor’s Taskbook outlines every stage of the editing process in detail. It addresses critical topics such as staffing, contracts, workflows, and ergonomic best practices, ensuring that professionals across the industry can approach their projects with clarity, confidence, and creativity.

“We hope that this guide will help editors, assistant editors, producers, and their teams to create rich environments where creativity can flourish,” reads the Preamble. “It describes the key steps in the editorial team’s workflow, and can be used to determine the time needed for each stage in the editing process and identify the role of each team member. Use it. Adapt it. Share it.”

Monteurs en mouvement logo

Un effort de collaboration pour une industrie en changement

The Taskbook represents a unique collaboration between several organizations dedicated to supporting editors. The Canadian Cinema Editors, a national association advocating for professional development and recognition of editors, partnered with Montreal-based Comité des treize, known for their focus on supporting francophone editors. Together, they have crafted a guide that addresses the nuances of editorial work in Canada’s diverse production landscape. Additional content was generously provided by Monteurs en mouvement, and some sections have been adapted from existing guidelines (the American Cinema Editors’ Best Practices Guide for Post Production, and the Best Practices For Post-Production Archives by the Visual Research Society of Canada). The Taskbook has been endorsed by the Directors’ Guild of Canada, IATSE 891 (BC), AQTIS 514 IATSE (Quebec), and TEMPO, the international film editors’ organization with over 9000 members.

Screenshot 2025-02-07 at 2.34.41 PM

“This project is the result of extensive collaboration and consultation with editors across Canada,” said Lesley Mackay Hunter, President of CCE. “In addition to being a guidebook for editors, it is also an advocacy tool that helps educate producers on the crucial role editors and their assistants play in the filmmaking process.”

Editor Annie Jean of the Comité des treize added, “When we set about creating this guide, our motivation was quite simple: it was a desire to share, to ensure that all our colleagues could enjoy the best possible working conditions. By recognizing the complexity of our profession and the scope of our responsibilities, we wanted to provide everyone with the best possible arguments for negotiating their contracts, while respecting the integrity of our profession.”

Key Highlights of The Editor’s Taskbook

  • Getting Started: A thorough overview of foundational considerations, including guild membership, contract negotiations, and setting up an ideal workplace—whether on-site or remote.
  • Flux de travail en montage : conseils détaillés pour les monteur·euses et assistant·es-monteur·euses concernant la préparation, l’assemblage, le montage et la finition. Ces sections mettent l’emphase sur le travail d’équipe et la communication efficace entre les différents rôles.
  • Ergonomic Best Practices: Generously supplied by Montréal-based Monteurs en mouvement, a dedicated section on creating a healthy editing environment, featuring insights on workspace setup, equipment, and techniques to maintain physical well-being during long hours of work.
  • Gestion du matériel d’archive : en coopération avec la branche québécoise de l’Association des recherchistes en audiovisuel du Canada, ces lignes directrices abordent la manipulation des archives, incluant la recherche et le suivi, pour les projets documentaires et non scriptés.

A Tool for the Industry’s Future

Designed as both a practical handbook and a resource for ongoing education, The Editor’s Taskbook offers invaluable tools to streamline workflows and help set realistic schedules. Its modular structure allows users to tailor the guide to suit the specific needs of their projects and teams.

“We envision this guide as a living document,” said the authoring committee. “As the industry evolves, so too can the Taskbook. We encourage editors and teams to adapt it to their unique circumstances and share their insights to keep our community strong.”

Availability

The Editor’s Taskbook: Responsibilities and Best Practices is available for download as of today on the le site internet du CCE

À propos des Monteurs et Monteuses de cinéma canadien (CCE)
Le CCE est un organisme à but non lucratif voué à la promotion et à la reconnaissance de l’art du montage au Canada. Grâce à son activisme, son mentorat et ses événements, le CCE soutient une vibrante communauté de monteur·euses et d’assistant·es-monteur·euses.

About the Comité des treize
Based in Montreal, the Comité des treize is an organization of editors that works to champion the art and profession of editing within the francophone film and television industry. The group fosters collaboration and innovation among its members.

Pour toute demande d’information ou d’entrevue, veuillez contacter :
Alison Dowler
Responsable des opérations au CCE
alison@cceditors.ca

Catégories
Articles Communiqué de presse

Les Monteurs et Monteuses de cinéma canadien présentent leur 8e conférence annuelle, l’EditCon 2025

Les Monteurs et Monteuses de cinéma canadien présentent leur 8e conférence annuelle, l’EditCon 2025

Les Monteurs et monteuses de cinéma canadien (CCE) sont heureux et heureuses de présenter l' EDITCON 2025, la huitième conférence annuelle sur l’art du montage qui se tiendra du February 7th to 9th, 2025La conférence comportera des événements virtuels de même qu’en présentiel à Toronto, Montréal, Vancouver, Edmonton et Halifax. Nous sommes aussi enthousiastes à l’idée de présenter un épisode de notre balado exclusif à l’EditCon! Il sera lancé tout spécialement le 1er janvier et accessible à tous et toutes!

Canada boasts a remarkable array of skills in post-production – whether it’s editors, colourists, sound designers or VFX artists, we are at the cutting edge of global cinema. Canadian post-production professionals are setting the standard for quality, creativity and innovation, and this year we are here to showcase just how impactful our contributions are across the globe.

C’est en postproduction que les histoires sont réellement créées, quand les images brutes se combinent pour livrer une expérience à couper le souffle. Alors accrochez-vous bien, parce que l’EditCon 2025 célèbre certains des plus grands talents de l’industrie (du Canada et d'ailleurs) et le travail incroyable auquel ils ont contribué. Avec des tables rondes en ligne et en personne, le travail des monteur·euses et des assistant·es-monteur·euses sera scruté sous tous ses angles, du film d’action au documentaire en passant par l’animation. Préparez-vous à réseauter, à apprendre et à être inspiré·es par le pouvoir de la postproduction.

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!

Parmi les invité·e·s, nous recevrons :

  • Mary Blee – LE ROBOT SAUVAGE
  • Sara Bulloch – ABERDEEN
  • Blair Drover – PUSH
  • Xi Feng – UNE LANGUE UNIVERSELLE
  • Susan Fitzer – ELLIAN ET LE SORTILÈGE
  • Sarah Hedar – THE STAND 
  • Maurissa Horwitz – SENS DESSUS DESSOUS 2
  • Émilie Lemieux – LE PLONGEUR
  • Jeannick Martins-Desjardins – UNE LANGUE UNIVERSELLE
  • Nathalie Massaroni – ABERDEEN
  • Véronique Mélançon – GHOSTS : FANTÔMES À LA MAISON
  • Will Mitchell – HOME SWEET ROME
  • Ajla Odobasic – MATT AND MARA           
  • Maria Psaila – MOONSHINE
  • Shane Reid – DEADPOOL & WOLVERINE
  • Tara Robinson – BEACON 23
  • Randy Trager – NIMONA
  • Eric Whipp – FURIOSA : UNE SAGA MAD MAX
  • Nicholas Wong, CCE – HALO
  • Dean Zimmerman, ACE – DEADPOOL & WOLVERINE

Les billets seront en vente à partir du 16 décembre 2024.     

À propos des Monteurs et Monteuses de cinéma canadien (CCE)

Le CCE est un organisme sans but lucratif bilingue animé par la passion de ses membres de la communauté de la postproduction de partout au Canada. Le CCE est voué à combler les besoins de ses membres toujours plus nombreux·ses en créant un environnement d’apprentissage, de communauté et d’inclusivité. Le CCE a aussi été créé pour donner une vitrine à nos talents de classe mondiale, qui sont à l’avant-plan de l’industrie cinématographique canadienne et internationale. Suivez-nous sur X (Twitter), Facebook, LinkedIn et Instagram. www.cceditors.ca 

Contact médias :

Alison Dowler : Responsable des opérations

Canadian Cinema Editors – alison@cceditors.ca

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Avec la participation du gouvernement du Canada.
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