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Festival Toronto Youth Shorts

Festival Toronto Youth Shorts

Le CCE est un fier commanditaire du Festival Toronto Youth Shorts.

Niko Chu est le monteur de POSTER CHILD et il y a remporté le prix CCE du meilleur montage.

Félicitations à Niko et nous avons hâte de voir ce que l'avenir lui réserve.

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EditCon 2025

EditCon 2025

Retour sur l’EditCon 2025

Le CCE vient de conclure sa 8e édition de l’EditCon, avec trois formidables journées de tables rondes, de discussions en salles virtuelles et de réseautage, avec plus de 290 participant·es du Canada et de partout dans le monde. Nous avons tenu des événements dans cinq villes cette année : Toronto, Montréal, Edmonton, Vancouver et Halifax.

Il s’agissait de notre plus grande édition à ce jour avec 6 tables rondes virtuelles, 7 tables rondes en personne et 5 salles de discussion virtuelles, en plus de notre soirée quiz.

It wouldn’t be EditCon without wrapping up the weekend with a good old-fashioned giveaway, thanks to prize donations from our generous sponsors.

« Le montage c'est comme une passion...La découverte de tout un monde dans lequel on s'apprête à entrer. »
Arthur Tarnowski, ACE
Monteur, LES OISEAUX IVRES

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Abonnez-vous à nos balados pour ne pas manquer les épisodes qui relaieront les conférences de l’EditCon 2025.

Présenté en anglais

Conférence en français

En exclusivité : balado

dimanche le 1er janvier

Deadpool & Wolverine

Tune in for an exclusive behind-the-scenes conversation with Shane Reid & Dean Zimmerman, ACE, the talented editors behind Marvel’s massive box-office hit, DEADPOOL & WOLVERINE. This year we explore the creative process, challenges, and excitement of shaping these fan-favourite antiheroes on the big screen. Whether you’re a long time Marvel fan or curious about editing action, you won’t want to miss this insightful discussion about pacing, glistening abs, deleted scenes, and the unique dynamics of editing two of the most unpredictable heroes in cinema.

Shane Reid is a feature and commercial editor and partner of the award winning post house Exile Edit. Nominated for an Emmy and Cannes Lion in the commercial space he quickly became one of the industry’s most trusted short form editors. In 2016 Reid edited the feature documentary ONE MORE TIME WITH FEELING, directed by Andrew Dominik which chronicled musician Nick Cave recording his studio album Skeleton Tree while grieving the tragic loss of his son. 2024 will be quite the year for audiences to see Shane’s feature work as he has 3 films releasing, GHOSTBUSTERS, DEADPOOL & WOLVERINE and SATURDAY NIGHT.

Dean Zimmerman, ACE is the Award-winning editor of over 50 feature films and television episodes. Dean’s most recent collaborations include DEADPOOL & WOLVERINE, ALL THE LIGHT WE CAN NOT SEE, STRANGER THINGS, THE ADAM PROJECT and FREE GUY. Zimmerman’s collaboration with Producer/Director Shawn Levy dates back nearly 20 years and a dozen films, films that have cumulatively grossed several Billion dollars at the worldwide box-office. These collaborations include the NIGHT AT THE MUSEUM franchise, DATE NIGHT, REAL STEEL, THE INTERNSHIP and THIS IS WHERE I LEAVE YOU.

A multi-award-winning editor with over twenty years of experience, Sarah has helped shape countless narratives that have been seen around the world. She has cut a wide range of documentaries, television programs, shorts, and feature films which have been screened at festivals including Tribeca, TIFF, and Sundance, and broadcast on networks like CBC, BBC, PBS, APTN, and AMI. Sarah’s most recent work includes the feature length documentary The Lebanese Burger Mafia which premiered at HOT DOCS in 2023 and the feature film Hey Viktor! which premiered at Tribeca in 2023. Sarah has seamlessly transitioned into the world of podcasting and also hosts and edits interview-based shows such as BRAAAINS and THE EDITOR’S CUT, adding another dimension to her multifaceted storytelling expertise.

Les tables rondes (virtuel)

Vendredi le 7 février
Les tables rondes virtuelles seront mises en ligne

L’ENVERS DE L’ÉCRAN : FURIOSA

Step into the world of colour with the master behind FURIOSA, the much anticipated prequel to Mad Max: Fury Road. Multi-award winning colourist, Eric Whipp, will reveal the art and techniques of colour grading and how it brings the harsh, post-apocalyptic world to life. From creating a workflow across three countries, to the process for developing a film’s unique tone, we delve into the critical role colour plays in shaping the story. If you’re looking to deepen your understanding of how colour elevates a film’s mood and impact, this is a panel you won’t want to miss.

Eric Whipp is a distinguished colorist known for his exceptional work in film and television. With a keen eye for detail, he has contributed to a variety of notable projects, including the critically acclaimed film MAD MAX: FURY ROAD. His expertise in color grading played a vital role in enhancing the film’s striking visuals, helping to create its unique and immersive aesthetic. With a collaborative approach, Eric works closely with directors and cinematographers to bring their creative visions to life. His dedication to the craft and innovative techniques have solidified his reputation in the industry, making him a sought-after talent for filmmakers looking to elevate their storytelling through color.

DE ROBOTS À MÉTAMORPHES : NOS HÉROÏNES ANIMÉES

Animation is often stereotyped as a children’s genre. The truth is that it is a versatile medium for all ages: one that allows storytellers to experiment, push boundaries, and captivate audiences around the world. This year, CCE proudly presents a panel featuring the editors behind INSIDE OUT 2, THE WILD ROBOT, SPELLBOUND and NIMONA. We will discuss the creative process behind these titles and the particularities of working in the editor’s chair on animated feature films of this caliber.

Mary Blee est une monteuse d’expérience qui travaille chez DreamWorks Animation depuis vingt ans. Récemment, elle a fait le montage d’un film écrit et réalisé par Chris Sanders, ROBOT SAUVAGE, encensé par la critique. Précédemment, elle avait monté LE BÉBÉ BOSS : UNE AFFAIRE DE FAMILLE. Tout au long de sa carrière chez DreamWorks Animation, Blee a travaillé sur plusieurs franchises de DreamWorks, dont DRAGONS, LES CROODS, KUNG FU PANDA et BÉBÉ BOSS. Elle a eu le plaisir d’apporter sa contribution à six films de DreamWorks Animation ayant reçu une nomination pour meilleur film d’animation aux Oscars.

Susan Fitzer is the lead editor on Skydance Animation’s upcoming musical-fantasy film SPELLBOUND, debuting this fall 2024 on Netflix. Susan has worked as an editor on many classic animated features including HOW TO TRAIN YOUR DRAGON, ABOMINABLE, TURBO, CAPTAIN UNDERPANTS: THE FIRST EPIC MOVIE, and JIMMY NEUTRON: BOY GENIUS. Before entering the world of animation, Susan worked as a live-action assistant editor on three Robert Altman features (THE GINGERBREAD MAN, COOKIE’S FORTUNE, and DR. T AND THE WOMEN). She has performed at LA’s Improv Olympics and is a member of SAG, having provided voices for SHREK THE HALLS, FLUSHED AWAY, TURBO, and SPELLBOUND.

Maurissa Horwitz joined Pixar Animation Studios in April of 2021. She most recently worked as the lead editor on Pixar’s feature film INSIDE OUT 2. Before joining Pixar, Horwitz was the lead editor on the film NIMONA at Blue Sky Studios, prior to the studio’s closing. She also edited PLAYMOBIL: THE MOVIE, OPEN SEASON: SCARED SILLY, and has worked in editorial for over 20 years at companies including DreamWorks Animation, Sony Pictures Animation, and Disneytoon Studios. Horwitz attended Dartmouth College in New Hampshire. She currently resides in El Cerrito, CA with her husband Travis, and supermutt, Maggie.

Randy is a Film Editor who has worked in Feature Animation for the past 20 years, mostly at Blue Sky Studios where he worked on Horton Hears a Who!, Rio, The Peanuts Movie, and Spies in Disguise. His most recent project is Nimona, for Annapurna and Netflix. Prior to Animation, he worked in Live Action, assisting on such films as Men in Black 2 and Gangs of New York. Randy was born in New York and studied film at Emerson College. When he’s not working, he can be found hiking, watching movies, making–or talking about making about pizza, and hanging out with his two kids and their insane dog Dizzy.

Lesley is a Toronto based, award winning feature film and television editor who has worked almost exclusively in animation — a medium that she loves! She has been fortunate enough to work on many international hit shows including JOHNNY TEST, TOTAL DRAMARAMA, BIG BLUE, THE NUT JOB 2 , ARCTIC DOGS and SAUSAGE PARTY- FOODTOPIA.

LES ASSISTANT·ES-MONTEUR·EUSES : AU CŒUR DE LA POSTPRODUCTION (en anglais seulement)

Our first ever assistant editor panel for EditCon! Join us for not one, but two discussions with highly renowned and award-winning French and English-speaking assistant editors, led by Pauline Decroix. In French we’ll welcome assistants from THE DISHWASHER, GHOSTS and UNIVERSAL LANGUAGE. In English we will welcome assistants from BEACON 23, HOME SWEET ROME, PUSH and MOONSHINE. They’ll discuss the assistant journey, from working with editors on projects to the differences between remote and office workflows, and navigating day-to-day operations in between the edit suites.

Avec 16 ans d’expérience en tant qu’assistante-monteuse, Tara a pu développer ses compétences en travaillant sur une vaste gamme de téléséries et de téléfilms. Elle a collaboré à des séries dramatiques ainsi qu’à des séries jeunesse, jouant un rôle crucial auprès de plusieurs monteur·euses dans le développement d’un produit fini captivant. Elle aborde tous ses projets avec un esprit de coopération et d’engagement et elle est fière d’aider les monteur·euses à donner vie à leurs visions créatives.

Will Mitchell (Haudenosaunee) est un assistant-monteur ayant quatorze ans d’expérience dans l’industrie du film et de la télévision. Passionné par le travail effectué avec d’autres cinéastes issus des Premières Nations, il a à cœur d’incarner un modèle pour sa communauté d’Akwesasne.

Will was the first assistant editor for all 3 seasons of SORT OF, THE OFFICE MOVERS and is currently a first assistant on WAYWARD. Will graduated from Humber’s post-production program in 2010. He also has a degree in Film Studies from Brock University. Will grew up in the Mohawk Territory of Akwesasne in NY/Que/On and now lives in Toronto with his wife and two young children.

Blair Drover a passé vingt ans dans l’industrie de la musique, principalement en tant que producteur et ingénieur du son, tout en jouant avec la formation Audio/Rocketry et la chanteuse Marlaena Moore. En 2021, son intérêt pour le cinéma l’a porté vers le montage. Il a travaillé depuis en tant qu’assistant-monteur
on features such as THE LAST VIDEO STOP, DARK MATCH, and SOUL’S ROAD alongside CBC’s PUSH and Canada’s longest-running drama, HEARTLAND. Beyond his assistant editing roles, his editorial portfolio includes music videos, commercials, feature films, and docuseries, earning him a Rosie Award nomination for PAIN AND OFFERING.

Maria travaille dans l’industrie du cinéma à Halifax, en Nouvelle-Écosse, depuis 2013 et elle se voit comme une assistante-monteuse de carrière. Elle a obtenu son diplôme en cinéma numérique au Centre for Arts and Technology avant de travailler sur des projets comme MR. D, HOPE FOR WILDLIFE et MOONSHINE. Avec une dizaine d’années d’expérience en postproduction, elle priorise l’organisation et cherche constamment à développer ses compétences avec différents logiciels de montage. Maria a à cœur de soutenir le processus créatif et elle aime la nature collaborative de la salle de montage.

Pauline Decroix est une monteuse primée basée à Toronto, avec près de 25 ans d'expérience au Canada et en France. Depuis qu'elle s'est installée ici, elle s'est fait un nom sur la scène canadienne. En 2020, elle a reçu son premier CSA pour meilleur montage sur le documentaire ON THE LINE. Pauline a également reçu le prix du meilleur montage dans un court métrage deux années de suite décerné par le CCE (2020 & 2021). Elle a récemment travaillé sur BEYOND BLACK BEAUTY, une nouvelle série d'Amazon, HOW TO FAIL AS A POPSTAR, meilleure websérie au CSA 2024, et sur SON OF A CRITCH.

LES ASSISTANT·ES-MONTEUR·EUSES : AU CŒUR DE LA POSTPRODUCTION (en français seulement)

Our first ever assistant editor panel for EditCon! Join us for not one, but two discussions with highly renowned and award-winning French and English-speaking assistant editors, led by Pauline Decroix. In French we’ll welcome assistants from THE DISHWASHER, GHOSTS and UNIVERSAL LANGUAGE. In English we will welcome assistants from BEACON 23, HOME SWEET ROME, PUSH and MOONSHINE. They’ll discuss the assistant journey, from working with editors on projects to the differences between remote and office workflows, and navigating day-to-day operations in between the edit suites.

Émilie is a passionate assistant based in Montréal, with genuine technical skills and creativity. She has worked on many TV series, including all seasons of 5e RANG and L’OEIL DU CYCLONE. She developed good relationships with the editors with whom she worked. She has collaborated on several TV series and movies with editor Isabelle Malenfant, including the films FABULEUSES and LE PLONGEUR and the TV series LE PHOENIX, POUR TOI FLORA, and DOUBLE JEU. This long-standing collaboration has allowed them to create a strong relationship built on trust and communication. She won the Assistant Editor Recognition Award at the CCE Awards 2024.

After earning a college degree in communication and literature, and dreaming of the theatre, Véronique decided to change courses and study at the Cégep de Jonquière’s school of media arts and technologies. She graduated in 2008 and enjoyed a wonderful internship at Radio-Canada, then joined the team at the now-closed STATION 29. It was during her time at the post-production studio that she fell in love with everything to do with assistant editing. It was also there that she connected with Muse Entertainment and its numerous editors, giving her the chance to work on many of their projects—an opportunity that saw her working not only in Montreal, but in Toronto and Los Angeles as well. Over the past year, she has worked on an impressive collection of projects, including co-production series SO LONG MARIANNE for Crave, THE STICKY for Amazon, and the fourth season of hit sitcom GHOSTS for CBS.

Jeannick has loved the art of cinema since childhood, which eventually led her to study media arts and technologies at the Cégep de Jonquière. She has flourished as an assistant editor for more than three years, working on several notable projects like the series IN MEMORIAM and, more recently, the feature films UNIVERSAL LANGUAGE and SHEPHERDS. From synchronization to picture lock, she is meticulous in her support for editors. Her technical savvy is paired with artistic sensibility, allowing her to bring a personal touch to every project. Jeannick is driven by her desire to tell stories that speak to the public… while squashing some technical bugs along the way!

Pauline Decroix est une monteuse primée basée à Toronto, avec près de 25 ans d'expérience au Canada et en France. Depuis qu'elle s'est installée ici, elle s'est fait un nom sur la scène canadienne. En 2020, elle a reçu son premier CSA pour meilleur montage sur le documentaire ON THE LINE. Pauline a également reçu le prix du meilleur montage dans un court métrage deux années de suite décerné par le CCE (2020 & 2021). Elle a récemment travaillé sur BEYOND BLACK BEAUTY, une nouvelle série d'Amazon, HOW TO FAIL AS A POPSTAR, meilleure websérie au CSA 2024, et sur SON OF A CRITCH.

LE CINÉMA CANADIEN EN 2024

We want to feature the editors of four Canadian films that are not only critically acclaimed in this year’s festival circles but also reflect the great community spirit behind their creation. Whether it’s the utterly independent visions of MATT AND MARA and UNIVERSAL LANGUAGE or the deeply necessary stories of the Indigenous community in ABERDEEN and THE STAND, this year’s Canadian films, in all their shapes and forms, are not short of boldness and style.

Sara Bulloch is an editor and filmmaker in Winnipeg, Canada. She’s edited films and series like ABERDEEN (premiered at TIFF2024), ALTER BOYS, SEEKING FIRE, ANCIENT BODIES, and many short films including I WOULD LIKE TO THANK MY BODY which won Audience Choice Award at Gimli Film Fest 2023. Short films she’s written/directed have screened with Toronto Jewish Film Fest, the8fest, Gimli Film Fest, and more. Her films often explore mental health, identity, and relationships. Her short film, HOT DOG GUY won a People’s Choice Award at Vox Popular Media Arts Fest 2022. She’s also a motion graphics artist and community organizer. From 2019-2023 she organized OurToba Film Network & Fest, a community group for women, non-binary and gender diverse Manitobans in film.

Xi Feng is a film editor based in Montreal. Having lived in China, Canada, and France, she has cultivated a unique blend of cultural and artistic sensitivity. Feng has worked as an editor on award winning films including CETTE MAISON, CAITI BLUES and most recently UNIVERSAL LANGUAGE, which won the inaugural Audience Award at the Directors’ Fortnight at Cannes and is Canada’s 2025 submission for the Oscars. Her filmography includes films premiered at major festivals such as Berlinale, Cannes, Sundance, TIFF, Vision du Réel, HotDocs, etc.

Nathalie Massaroni is a Winnipeg-based editor and post production supervisor of more than 400 hours of television. Since graduating from the University of Winnipeg’s film program, she has edited features and series including WINTERTIDE, ALTER BOYS, SEEKING FIRE, and ABERDEEN (which premiered at TIFF 2024). Nathalie has also edited other short form series and films such as D DOT H, TAILOR MADE, and I HURT MYSELF. If she’s not working on a computer, you can find Nathalie at the dance studio or sipping coffee with a cat on her lap.

Ajla Odobasic is a Bosnian-Canadian film editor based in Toronto. Her credits include MATT AND MARA, THE WHITE FORTRESS, the TFCA Best Canadian Film Award-winning ANNE AT 13000 FT, A.W: A PORTRAIT OF APICHATPONG WEERASETHAKUL, and the CSA-nominated HELLO DESTROYER. Her work has screened at several festivals and platforms including Locarno, TIFF, the Berlinale, MoMA, CBC Gem, and the Criterion Channel. Ajla teaches editing in Humber College’s Film and Television program.

Sarah Hedar is a Vancouver-based editor and story editor. Her patience and sense of humour keeps the challenges that so often bog down the creative process at bay. Sarah’s award-winning work on provocative and original films spans both documentary and narrative projects, from features to shorts. Her keen eye for visual storytelling reflects her belief in the power of community, and the importance of continuously reassessing the status quo while building a world filled with empathy and hope for a brighter future. Her work has screened at festivals across the globe, but most notably, Sundance, TIFF, and VIFF.

Kelly Boutsalis is the International Programmer, Canada for the Toronto International Film Festival. She’s also a freelance writer, and has written about film and television for the New York Times, NOW Magazine, Elle Canada, Flare, POV Magazine and more. She’s also written about lifestyle, design, and culture for publications including Vogue, Toronto Star, Chatelaine, VICE and Toronto Life. Originally from the Six Nations reserve, she lives in Toronto. She is on the board of imagineNATIVE and a member of the Toronto Film Critics Association.

L’ENVERS DE L’ÉCRAN : HALO

Come join us for a behind-the-scenes peek at the editing process of a few episodes from the live-action sci-fi series HALO! We’ll have a great panel where we’ll discuss with picture editors, Nicholas Wong, CCE, moderated by Roderick Deogrades, CCE about the creative process, workflow, and the challenges faced in shaping memorable action sequences known as ‘oners’ — those awesome moments that feel like one continuous take. If you’re curious about how action scenes with visual effects and sound design come together, or if you just love sci-fi, this is the perfect event for you! 

Nicholas Wong, CCE, est un monteur primé qui a touché à tous les formats, y compris les séries télévisées et les longs métrages. On peut voir son plus récent travail dans la première saison de BRILLIANT MINDS, dans HALO ainsi que dans LE TRANSPERCENEIGE. Il a aussi collaboré à THE EXPANSE, CODE 8, UTOPIA FALLS et BARONESS VON SKETCH SHOW. Nicholas vient de boucler le montage du film d’action NORMAL, effectué sur le plateau de tournage à Winnipeg et mettant en vedette Bob Odenkirk.

Roderick is an award-winning Picture and Sound Editor who has worked in the film industry for over 25 years. His experience in feature films, TV series and documentaries has established him as one of the industry’s most sought-after collaborators. On the picture side, he is known for his work on STILL MINE, VICTORIA DAY, and ONE WEEK. For television, he has edited THE EXPANSE, CHAPELWAITE, HIGH SCHOOL and HALO. He edited the acclaimed documentaries such as 100 FILMS & A FUNERAL, THE GHOSTS IN OUR MACHINE, DAVID & ME and SILAS. His sound work includes SPLICE, PASSCHENDAELE and SILENT HILL.

Événements en personne

samedi le 8 février

EDMONTON - DU MONTAGE À LA MUSIQUE : LA COLLABORATION QUI FAÇONNE LE CINÉMA ET LA TÉLÉVISION

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 a commencé sa formation en enregistrement audio à l’âge de 16 ans et il travaille dans le domaine depuis plus de 35 ans. Diplômé de l’Université MacEwan en musique et enregistrement, Johnny est à la fois un musicien et un ingénieur de son qui a cette capacité unique de percevoir le monde à travers le son. Avec ses treize prix de l’Alberta Motion Picture Industry et ses deux nominations aux prix Écrans canadiens, sa réputation de chef de file de l’audio n’est plus à faire. Il n’y a pas de projet auquel Johnny ne peut s’attaquer. Il a une profonde compréhension des éléments techniques et créatifs de la production audio et il a la capacité de trouver l’équilibre entre les deux.

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 - EN QUÊTE DE L’HISTOIRE

Faire du montage, c’est raconter des histoires. Et les histoires, c’est ce qui fait de nous des humains. Mais comment les monteur·euses trouvent, affinent et reconstruisent les histoires sur lesquelles nous travaillons? Quelles sont les différences et les similarités d’un genre à l’autre? Ne manquez pas cette discussion en profondeur touchant au montage de séries télévisées, de documentaires, de téléréalités et de longs métrages.

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.

téléréalité, allant de THE BACHELOR à LES ROIS DE LA RÉCUP. Kimberlee McTaggart travaille dans l’industrie canadienne du cinéma depuis plus de 25 ans. Elle a produit et réalisé, mais son premier amour est le montage. Elle a commencé sa carrière en tant que monteuse de documentaires, mais elle travaille maintenant principalement en fiction. Kim a monté plusieurs séries comme LEXX, MADE IN CANADA, THIS HOUR HAS 22 MINUTES, CALL ME FITZ, STUDIO BLACK, SEED, PURE, et DIGGSTOWn. Elle a remporté un prix Gemini pour le pilote de CALL ME FITZ et elle a reçu des nominations pour des prix Écrans canadiens pour son travail dans CALL ME FITZ et SEED, de même que pour le long métrage 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

Assistez à une conversation entre Peter Denes et Steve Taylor, CCE, qui parleront de leur montage du documentaire THE TRAGICALLY HIP : NO DRESS REHEARSAL. Cette série en quatre parties, récompensée d’un prix de la GCR, raconte l’histoire d’une bande de jeunes de Kingston, en Ontario, qui ont rien de moins que marqué l’histoire de la musique. Denes et Taylor reviendront sur cette tâche titanesque qui consistait à mettre en forme 40 ans de musique et de souvenirs pour en faire une histoire rock and roll qui a redéfini le Canada pour les Canadien·nes. Modération de par 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, est un monteur de plus de 150 films et émissions qui a remporté des prix Écrans canadiens, HotDocs, CCE, GCR et Gemini. Son travail est paru dans la collection Criterion et a été présenté dans la plupart des festivals internationaux, incluant la Berlinale, Sundance et le TIFF. Nick est professeur associé en production cinématographique à l’Université de Windsor. Ses recherches académiques explorent la relation entre le processus créatif et le rendu artistique en montage cinématographique. Nick détient une maîtrise ès arts en études médiatiques et un doctorat en beaux arts.

TORONTO - QUI SUIS-JE? RACONTER L’IDENTITÉ

Comment les questions de représentation et d’identité façonnent-elles l’art du montage cinématographique? Assistez à cette discussion entre les monteuses Lara Johnston (FELLOW TRAVELERS), Gloria Tong (BRIA MACK GETS A LIFE) et Fabiola Caraza (THE POPULARITY PAPERS), qui se questionneront au sujet de l’intersection du montage et de l’exploration cinématographique de l’appartenance ethnique, du genre et de la culture. Modération de 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 est une monteuse basée à Toronto et qui a touché tant aux séries dramatiques qu’aux longs métrages et aux téléfilms en tous genres. Elle a eu la chance de pouvoir travailler avec plusieurs producteur·trices·, réalisateur·trice·s et scénaristes réputé·es et célébré·es. Gillian est notamment connue pour son travail sur SANS ORIGINE : ORPHAN BLACK, ANNE WITH AN E et THE EXPANSE. Elle a remporté deux prix Écrans canadiens, un prix de la GCR et elle a reçu treize nominations. Elle travaille présentement sur WAYWARD, une nouvelle série exclusive à Netflix.

VANCOUVER - EN QUÊTE DE L’HISTOIRE

Faire du montage, c’est raconter des histoires. Et les histoires, c’est ce qui fait de nous des humains. Mais comment les monteur·euses trouvent, affinent et reconstruisent les histoires sur lesquelles nous travaillons? Quelles sont les différences et les similarités d’un genre à l’autre? Ne manquez pas cette discussion en profondeur touchant au montage de séries télévisées, de documentaires, de téléréalités et de longs métrages.

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 est une monteuse de cinéma basée à Vancouver qui se concentre sur le divertissement axé sur des valeurs positives. En début de carrière en cinéma et en télévision, elle s’est retrouvée devant la caméra avec un rôle de soutien dans DOCTEUR DOOGIE et des douzaines de marionnettes dans TEAM AMERICA : POLICE DU MONDE. Après avoir émigré au Canada en 2008, elle a de plus en plus travaillé derrière la caméra en approfondissant ses compétences techniques et en mettant son talent de raconteuse au service du montage. Mauri a contribué à donner forme à de nombreux longs métrages qui ont été vus partout à travers le monde, incluant le long métrage chinois SHENG HE SAI MOU SHA AN (FATAL VISIT), de même que deux collaborations avec l’artiste multimédia Althea Thauberger.

VANCOUVER - LA MAGIE DU CINÉMA SOUS LES DOIGTS DES MONTEUR·EUSES D’EFFETS SPÉCIAUX

Si les effets visuels constituent la magie du cinéma, alors les monteur·euses d’effets visuels sont les mages de la salle de montage. Mais qu’est-ce que cela signifie? En tant que pont entre le département du montage et les artistes d’effets visuels, comment les monteur·euses de VFX participent à la mise en récit et quel est leur rôle? Quel est leur point de départ et comment leur rôle a-t-il évolué?

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.

Salles de discussion (virtuel)

dimanche le 9 février

Qu’est-ce qu’une salle de discussion?

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: Gérer sa carrière à l’ère de l’hybride | 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 est membre de la GCR, du CCE, de l’Académie du cinéma et de la télévision et de l’Académie américaine de la télévision. Elle a travaillé sur des productions comme MURDERBOT, HALO, VIKINGS: VALHALLA, LA SORCIÈRE, MR. D et LE PAYS DE NOËL. Daisy a adopté le mode de travail hybride instauré par la pandémie, combinant des heures flexibles entre le bureau et le travail à distance grâce à des outils comme Jump Desktop. Si le travail à distance permet de réduire le stress et améliore la conciliation entre vie personnelle et travail, Daisy valorise également la collaboration en présentiel qui permet une bonne résolution de problème et une meilleure connexion. Cette nouvelle approche a grandement amélioré son bien-être psychologique, ce qui montre l’importance de la flexibilité dans l’industrie du divertissement.

Avec ou sans agent? Les deux côtés de la médaille | 12h40 HNE

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, CCEGreg 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.

Rejoignez Jane MacRae et Michel Arcand, CCE dans notre salle anglophone et Pauline Decroix et Annie Jean, CCE, dans notre salle francophone.

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.

Rejoignez Jane MacRae et Michel Arcand, CCE dans notre salle anglophone et Pauline Decroix et Annie Jean, CCE, dans notre salle francophone.

Pauline Decroix est une monteuse primée basée à Toronto, avec près de 25 ans d'expérience au Canada et en France. Depuis qu'elle s'est installée ici, elle s'est fait un nom sur la scène canadienne. En 2020, elle a reçu son premier CSA pour meilleur montage sur le documentaire ON THE LINE. Pauline a également reçu le prix du meilleur montage dans un court métrage deux années de suite décerné par le CCE (2020 & 2021). Elle a récemment travaillé sur BEYOND BLACK BEAUTY, une nouvelle série d'Amazon, HOW TO FAIL AS A POPSTAR, meilleure websérie au CSA 2024, et sur 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

Réécoutez le balado puis rejoignez Sean dans la salle de discussion pour poser toutes vos questions sur le montage de 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

Assistez au panel puis rejoignez Eric dans la salle de discussion pour poser toutes vos questions à propos de son travail sur FURIOSA : UNE SAGA MAD MAX.

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.

Billets de tirage des l'EditCon

Notre tirage annuel vous donne la chance de remporter les prix énumérés ci-dessous. Le tirage aura lieu pendant l’EditCon.

Merci à nos commanditaires

Platine

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Argent

Bronze

Thank you to our board & volunteers:

Comité des l'EditCon CCE

Adam van Boxmeer

Xi Feng

Nick Hector, CCE

Daisy Maclean

Malcolm Mistry

Alejandro Tello

James Tracey

Bénévole

Idriss Askour

Shavari Barfiwala

Mac Dale

Roderick Deogrades, CCE

Jonathan Dowler, CCE

Merci à toute l’équipe du CCE :

Responsable des opérations du CCE :

Alison Dowler

Spécialiste des communications du CCE :

Samantha Ling

À propos de l’EditCon

7-9 février 2025

Online, Toronto, Montréal, Vancouver, Edmonton, Halifax

Catégories
The Editors Cut

Episode 106 – BLEEDING LOVE with Autumn Dea

Episode 106: BLEEDING LOVE with Autumn Dea

Episode 106 - BLEEDING LOVE with Autumn Dea

Today’s episode is a conversation with Autumn Dea.

She shares her journey into editing, her early interest in storytelling, the transition from advertising to long-form editing, and her experiences working on the film BLEEDING LOVE which was directed by Emma Westenberg starring Ewan McGregor and Clara McGregor. We discuss the emotional aspects of editing, the importance of collaboration with directors, and the challenges faced in the editing process.

Autumn Dea is a film, television, and commercial editor from Los Angeles, CA. Originally hailing from the Philadelphia, PA area, Dea graduated from Virginia Commonwealth University’s School of the Arts, with a Bachelor of Arts degree in film and a double minor in media studies and psychology. Dea’s unique editorial background has allowed her to work with various high-profile artists and actors, including Beyonce, Lizzo, Ewan McGregor, and Jay Duplass. Her most recent feature film BLEEDING LOVE, directed by Emma Westenberg and starring Ewan McGregor and Clara McGregor, world premiered at SXSW 2023. The film has already garnered industry praise and was chosen as one of the must-see films of the festival by Deadline’s SXSW 2023 Hotlist. Her most recent documentary feature film, LOVE, LIZZO (HBO Max), directed by Doug Pray and starring Grammy Award-winning musician and vocalist Lizzo, premiered on HBO Max in November 2022. Previously, her feature film, SHITHOUSE (IFC), directed by Cooper Raiff, won the Grand Jury Award for Best Narrative Feature at SXSW 2020 and was named Vanity Fair’s 10 Best Movies of 2020. Her work in television has also received accolades including an Emmy award for THE FUTURE OF AMERICA’S PAST (PBS), and inclusion in the Tribeca Film Festival for the documentary feature THE DEATH OF MY TWO FATHERS (PBS), directed by Sol Guy.

À écouter ici !

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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Articles Communiqué de presse

The Canadian Cinema Editors announces the recipients of the 2025 Lifetime Achievement Award and Career Achievement Award 

Les Monteurs et Monteuses de cinéma canadien révèlent les lauréats du Prix d’excellence soulignant l’œuvre d’une vie et du Prix pour une carrière exceptionnelle - Communiqué de presse 2025

Toronto, 7 avril 2025 – The Canadian Cinema Editors (CCE) is pleased to announce that Jeff Warren, CCE and Yves Langlois, CCE (1941-2024), are the recipients of the 2025 Lifetime Achievement Award. Gregor Hutchison (1958 – 2020) is the recipient for the Career Achievement Award. The CCE will present these awards at the 15th Annual CCE Awards on May 29th, 2025 at the Delta Hotel in Toronto.

Our full list of CCE Award nominees will be announced on April 14!  Please visit notre site internet pour plus d’informations.

Prix d’excellence soulignant l’œuvre d’une vie

Jeff Warren, CCE

Jeff Warren a travaillé comme monteur de cinéma pigiste au Canada depuis plus de 45 ans. Il a touché tant aux longs métrages qu’aux séries dramatiques et aux documentaires.

Over the years Jeff worked with many of Canada’s top directors including Norma Bailey (THE SHELDON KENNEDY STORY), John Candy (HOSTAGE FOR A DAY), John Fawcett (THE BRIDGE), Sturla Gunnarsson (SUCH A LONG JOURNEY), Colleen Murphy (DESIRE), Don McBrearty (THE INTERROGATION OF MICHAEL CROWE), Sudz Sutherland (HOME AGAIN), John Walker (A DRUMMER’S DREAM), Larry Weinstein (THE 13TH MAN), David Wellington (DEAD AVIATORS), Peter Wellington (JOE’S SO MEAN TO JOSEPHINE), Nettie Wild Blockade and Gary Yates (HIGH LIFE).

En plus d’être monteur, Jeff a agi comme mentor au Canadian Film Centre et il a donné des conférences et des ateliers à l’Université York, à l’Université métropolitaine de Toronto (anciennement Ryerson) et au Confederation College. Il a remporté deux prix Hot Docs, trois prix Gemini, quatre prix GCR et un prix Genie, tous pour meilleur montage. Il a reçu bien d’autres nominations, dont une pour un prix Emmy aux É-U.

Prix d’excellence soulignant l’œuvre d’une vie

Yves Langlois, CCE (1941 - 2024)

With a career spanning over six decades, Yves Langlois was one of Canada’s most talented, prolific, and sought-after film and television editors. Born in Montreal in 1941, he began his artistic journey at the National Film Board (NFB) in the early 1960s and went on to edit over 125 films and television series.

Artiste doué et maître conteur, Langlois a collaboré avec certains des cinéastes les plus renommés du Canada et du monde entier, notamment Gilles Carle, Jean-Jacques Annaud , Claude Chabrol, Christian Duguay, Yves Simoneau et Philippe Borsos.

A mentor to many, Langlois remained a humble and discreet man but was always eager to share the remarkable stories from his editing experiences. His dedication to his craft never wavered, even after relocating to France. There, he continued editing with director Josée Dayan (FRED VARGAS, CAPITAINE MARLEAU) until his passing last October at the age of 84.

Langlois’s work earned him numerous accolades, including a Genie Award (QUEST FOR FIRE), a Gémeaux Award (HE SHOOTS, HE SCORES), a Gemini Award (MILLION DOLLAR BABIES), as well as several nominations. He helped shape the performances of some of cinema’s most legendary actors, including Marlon Brando, Sophia Loren, Tony Curtis, Isabelle Huppert, Jodie Foster, Ben Kingsley, Brian Cox and many others. At the 1997 Montreal premiere of The Assignment, one of his longtime collaborators, Donald Sutherland, who appeared in six films edited by Langlois, praised his immense talent, saying, “Yves, you make us all better.”

Prix pour une carrière exceptionnelle

Gregor Hutchison (1958 - 2020)

Gregor Hutchison a toujours été passionné de cinéma, de science-fiction, de nouvelles technologies et de bande dessinée. Alors qu’il étudiait à l’Université Western Ontario, il a suivi des cours de cinéma et ce fut le coup de foudre. Il est ensuite passé à l’Université métropolitaine de Toronto (anciennement Ryerson) où il a obtenu un second baccalauréat, cette fois en production filmique.

Il a débuté sa carrière chez Nelvana, dans le département du montage, et à part quelques incursions du côté de l’analyse de scénarios, Gregor a consacré l’entièreté de sa prolifique carrière à la postproduction. Son très long CV inclut des centaines de projets, dont des longs métrages de fiction et d’animation, des émissions télé et des miniséries. Il a entre autres collaboré à RESIDENT EVIL, HATFIELDS AND MCCOYS, SILENT HILL et OPÉRATION NOISETTES. Gregor est décédé alors qu’il travaillait sur LOCKE & KEY, un projet dont il était extrêmement fier, comme tant d’autres auxquels il a contribué.

He thrived in the collaborative nature of post-production, loving both the creative and technical aspects. Always keen to adopt new techniques and technologies, he fostered a passion for innovation. He formed many lifelong friendships with editors and post-production teams throughout his career. As a respected and influential post-production supervisor, Gregor’s impact on the industry will always be remembered.

À propos du Prix d’excellence soulignant l’œuvre d’une vie
Cet honneur est remis à un·e monteur·euse·s qui a su élever l’art du montage, qui a apporté une solide contribution à la communauté du montage et fait preuve d’une réelle passion pour son métier.

À propos du Prix CCE pour une carrière exceptionnelle
Cette reconnaissance est présentée à une personne membre de la communauté élargie du cinéma qui a été d’un grand soutien aux monteur.euse.s canadien.ne.s et à cette profession en général tout au long de sa carrière.

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.

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Contact médias :
Alison Dowler : Responsable des opérations
Canadian Cinema Editors – alison@cceditors.ca

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The Editors Cut

Episode 105 – EditCon 2024: Exploring Documentary

Episode 105 - EditCon 2024: Exploring Documentary

Series Sponsor:
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Today's episode is a panel from EditCon 2024 that took place in Edmonton, Alberta-- EXPLORING DOCUMENTARY.

Krystal Moss, Weyme Teeter, Colin Waugh and Sarah Taylor, CCE share their insights and experiences and explore the art of storytelling through the lens of editing and talk about their creative process behind the captivating Alberta-made documentaries; THE LEBANESE BURGER MAFIA, SEND KELP, PUSH, BLIND AMBITION: WOP MAY and ARTHUR ERICKSON’S DYDE HOUSE.

This panel was moderated by Guy Lavallee, a documentary filmmaker and festival programmer.

À écouter ici !

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Que voulez-vous entendre sur L'art du montage?

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Crédits

Un grand Merci à

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Hosted and Produced by

Sarah Taylor

Design sonore du générique d'ouverture

Jane Tattersall

ADR Recording by

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Lauréate d'un prix Emmy 2024

Lauréate d'un prix Emmy 2024

2024 emmy winner

Félicitations à Lindsay Ragone, lauréate d'un prix Emmy (avec 3 autres monteur·euses) pour All Round Champion.

Editing for a Multiple Camera Live Action Program
Lindsay Ragone (+ 3 editors) – All Round Champion

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Articles

15th Annual CCE Awards

2025 CCE Awards
jours
heures
minutes
Cérémonie
The Awards will take place on May 29th, 2025 at the Delta Hotel in Toronto.

Ticket sales have closed.

Please email Alison (alison@cceditors.ca) to see if any tickets are available.

Liste des finalistes

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

Commandité par: Annex Pro

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

Commandité par: Les Monteurs et Monteuses de cinéma canadien

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

Commandité par: DGC National

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

Commandité par: Rolling Pictures

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

Sponsored by: City of Toronto

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

Commandité par: 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?

Commandité par: Les Monteurs et Monteuses de cinéma canadien

Aaron Timizar, Sarah Landreville, Victor Dumouchel & Esteban Berger – ATM EST DE RETOUR (Cégep de Jonquière)

Adrienne Eagleson – A TICKET HOME (Sheridan College)

Aidan Vachon – COSMONAUT (Sheridan College)

Julie Bor & Gabrielle Côté – DES GENS VIVENT ICI (Université du Québec à Montréal)

Monark Arora – DOSA (Centennial College)

Commandité par: Take 5 Productions

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

Sponsored by: DGC Ontario

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

Sponsored by: Boris FX

Arthur Tarnowski, CCE, ACE – 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

Sponsored by: Vanguarde Artists Management

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

Commandité par: Les Monteurs et Monteuses de cinéma canadien

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

Commanditée par: IATSE 891

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

Sponsored by: Purple Dog Post

Arthur Tarnowski, CCE, ACE – 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

Sponsored by: Coma Edits

Alexander Desouza – DISCO’S REVENGE

Lester Lubuguin – DAVEY & JONESIE’S LOCKER

Mary Juric – 40 ACRES

Thomas Therrien – RUBBLE & CREW

Véronique Mélançon – GHOSTS

Commandité par: Insight Productions

Récipiendaires des prix hommage

Jeff Warren a travaillé comme monteur de cinéma pigiste au Canada depuis plus de 45 ans. Il a touché tant aux longs métrages qu’aux séries dramatiques et aux documentaires.

Over the years Jeff worked with many of Canada’s top directors including Norma Bailey (THE SHELDON KENNEDY STORY), John Candy (HOSTAGE FOR A DAY), John Fawcett (THE BRIDGE), Sturla Gunnarsson (SUCH A LONG JOURNEY), Colleen Murphy (DESIRE), Don McBrearty (THE INTERROGATION OF MICHAEL CROWE), Sudz Sutherland (HOME AGAIN), John Walker (A DRUMMER’S DREAM), Larry Weinstein (THE 13TH MAN), David Wellington (DEAD AVIATORS), Peter Wellington (JOE’S SO MEAN TO JOSEPHINE), Nettie Wild Blockade and Gary Yates (HIGH LIFE).

En plus d’être monteur, Jeff a agi comme mentor au Canadian Film Centre et il a donné des conférences et des ateliers à l’Université York, à l’Université métropolitaine de Toronto (anciennement Ryerson) et au Confederation College. Il a remporté deux prix Hot Docs, trois prix Gemini, quatre prix GCR et un prix Genie, tous pour meilleur montage. Il a reçu bien d’autres nominations, dont une pour un prix Emmy aux É-U.

With a career spanning over six decades, Yves Langlois was one of Canada’s most talented, prolific, and sought-after film and television editors. Born in Montreal in 1941, he began his artistic journey at the National Film Board (NFB) in the early 1960s and went on to edit over 125 films and television series.

Artiste doué et maître conteur, Langlois a collaboré avec certains des cinéastes les plus renommés du Canada et du monde entier, notamment Gilles Carle, Jean-Jacques Annaud , Claude Chabrol, Christian Duguay, Yves Simoneau et Philippe Borsos.

A mentor to many, Langlois remained a humble and discreet man but was always eager to share the remarkable stories from his editing experiences. His dedication to his craft never wavered, even after relocating to France. There, he continued editing with director Josée Dayan (FRED VARGAS, CAPITAINE MARLEAU) until his passing last October at the age of 84.

Langlois’s work earned him numerous accolades, including a Genie Award (QUEST FOR FIRE), a Gémeaux Award (HE SHOOTS, HE SCORES), a Gemini Award (MILLION DOLLAR BABIES), as well as several nominations. He helped shape the performances of some of cinema’s most legendary actors, including Marlon Brando, Sophia Loren, Tony Curtis, Isabelle Huppert, Jodie Foster, Ben Kingsley, Brian Cox and many others. At the 1997 Montreal premiere of The Assignment, one of his longtime collaborators, Donald Sutherland, who appeared in six films edited by Langlois, praised his immense talent, saying, “Yves, you make us all better.”

Gregor Hutchison a toujours été passionné de cinéma, de science-fiction, de nouvelles technologies et de bande dessinée. Alors qu’il étudiait à l’Université Western Ontario, il a suivi des cours de cinéma et ce fut le coup de foudre. Il est ensuite passé à l’Université métropolitaine de Toronto (anciennement Ryerson) où il a obtenu un second baccalauréat, cette fois en production filmique.

Il a débuté sa carrière chez Nelvana, dans le département du montage, et à part quelques incursions du côté de l’analyse de scénarios, Gregor a consacré l’entièreté de sa prolifique carrière à la postproduction. Son très long CV inclut des centaines de projets, dont des longs métrages de fiction et d’animation, des émissions télé et des miniséries. Il a entre autres collaboré à RESIDENT EVIL, HATFIELDS AND MCCOYS, SILENT HILL et OPÉRATION NOISETTES. Gregor est décédé alors qu’il travaillait sur LOCKE & KEY, un projet dont il était extrêmement fier, comme tant d’autres auxquels il a contribué.

He thrived in the collaborative nature of post-production, loving both the creative and technical aspects. Always keen to adopt new techniques and technologies, he fostered a passion for innovation. He formed many lifelong friendships with editors and post-production teams throughout his career. As a respected and influential post-production supervisor, Gregor’s impact on the industry will always be remembered.

Cérémonie

Join us on Thursday, May 29th, 2025 for an evening celebrating excellence in editing at the Delta Hotel in Toronto.
La réception commence à 18 h et le souper est servi à 19 h 30.
OUVERT

Ticket Sales have now closed.  Please email Alison (alison@cceditors.ca) if you would like to see if any tickets are available.

Il n’y aura pas de vente de billets à la porte puisque tous les repas doivent être commandés à l’avance.

——

La réception commence à 18 h et le souper est servi à 19 h 30.

——

Aux membres du CCE qui sont en nomination – we have a SPECIAL price for you, please email Alison Dowler (alison@cceditors.ca) pour plus de détails. 

Si vous n’êtes pas membres des Monteurs et Monteuses de cinéma canadien (CCE) mais que vous aimeriez le devenir (et profiter du tarif membre ou membre en nomination à l’achat d’un billet), CLIQUEZ ICI.

À noter : Si vous n’êtes pas membres des Monteurs et Monteuses de cinéma canadien (CCE) mais que vous êtes intéressé∙e·s à le devenir (et à profiter du tarif membre à l’achat d’un billet)  

Commanditairesveuillez écrire à Alison Dowler (alison@cceditors.ca) pour obtenir vos billets. 

Célébrer les assistant·es-monteur·euses


Vous trouverez ici les noms des assistant·es-monteur·euses qui ont contribué aux projets en nomination cette année :

Mark Allison
Dante Antognetti
Frédéric Bernard
Alex Balchi
Kirk Best
Myriam Boileau
Roxanne Bonneterre
Patrick Borgers
Simon Box
Todd Buttenham
Louis Casado
Alex Corej
Elliott Coulture
Andreanne Cousineau
Cassidy Croft
Amy Davis
James Davis
Philippine DeSars
Jeannick Desjardins
Joanne Drouin Laplante
Ivan Dubarev
Damien Eagle Bear
Darren Fabrequettes
Dilan Farrell
Luis Figueroa-Ducharme
Angela Fong
William Gagnon
Chad Glastonbury
Philippe Goulet
Raphael Grandmont
Megan Halligan
Howard Hamilton
Hongku Han
Steven Hayes
Bahar Hessabi
Michael Heuston
Chengzhi Jin
Rehan Khokhar
Jennifer Kidson
Paul Kwan
Lisa Kwon

Cindy Langelier
Brittany Lewis
Rashayn Levy
Sean Mark Lamb Lewis
Cody Mcdonald
Lana McLean
Aiden McMahon
Véronique Mélançon
Gloria Mercer
Anna Miltenburg
Dylan Murray
Rebekah Nearing
Petros Neguse
Pranay Nichani
Marie Noel Arseneau
Jacob Nosan
Harrison Perez
Kyle Pike
Saul Pincus
Valérie Précourt
Julie Prolux
Maxin Rheault
Akeylah Rivero
Nadin Rizk
Geneviéve Roberge
Jordan Scriver
Daniel Shulkin
Joshua Solmon
Jasmine Stafford
Maja Suchowuerski
Javier Sinisterra
Kynan Tait
David Tarnawsky
Kallen Treadwell
Vincent Tremblay
Kelvin Tseng
Courtney Wong
Isabelle Wong
Lois Yap
Adoniyas Yegezu
James Young

Notre animateur Richard Crouse

Richard Crouse Host CCE AwardsRichard Crouse is the regular film critic for the 24 hour news sources CTV’s News Channel and CP24 and is a frequent guest on many national Canadian radio and television shows. His nationally syndicated Saturday afternoon radio show, THE RICHARD CROUSE SHOW, originates on News Talk 1010 in Toronto. He is also the author of ten books on pop culture history including Who Wrote the Book of Love, the best-selling “The 100 Best Movies You’ve Never Seen”, its sequel “The Son of the 100 Best Movies You’ve Never Seen”, the best selling “Raising Hell: Ken Russell and the Unmasking of The Devils” and “Elvis is King: Costello’s My Aim is True”. He also writes about pop culture and cars for The Toronto Star.

Billets de tirage des prix CCE

Félicitations aux gagnant.e.s du tirage

Notre tirage annuel vous donne la chance de remporter les prix énumérés ci-dessous.

Le tirage aura lieu pendant la cérémonie.

Adobe EditCon 2021 Sponsor
2 x 1 abonnement d'un an à la suite Adobe Creative Cloud
2 x 1 year Avid Media Composer subscription
Black Magic Design Logo Sponsor
1 Blackmagic Design Editor Keyboard

2 x 1 claviers Davinci Resolve Speed Editor
Boris FX Logo Sponsor
3 x 1 year subscription to
Boris FX Suite

Merci à nos commanditaires

Platine

Or

Boris FX Logo Sponsor
DGC National sponsor logo
IATSE 2018 Sponsor Event logo
Insight TV Logo Sponsor
Rolling Picture Company Logo Sponsor
Take5 Productions 2018 Events Sponsors Logo
Vanguarde sponsor logo

Argent

Meridian Artists sponsor logo

Bronze

Thank you to our committees & volunteers:

Comité des prix CCE :

Majda Drinnan

Lesley Mackay Hunter, CCE

Peter Hordylan

Jennifer Kidson

Jane MacRae

Meagan McGraw

Remerciements à notre équipe CCE :

Responsable des opérations du CCE :

Alison Dowler

Coordonnatrice des communications :

Samantha Ling

Catégories
The Editors Cut

Episode 104 – EditCon 2024: To Kill A Tiger with Mike Munn, CCE

Episode 104 - EditCon 2024: To Kill A Tiger with Mike Munn, CCE

Series Sponsor:
DGC Alberta_2024_SPON

Today's episode is a panel that took place in Toronto during EditCon 2024. Editor Mike Munn, CCE take us through the experience of editing the multi-award-winning documentary TO KILL A TIGER.

The film follows the local story of an Indian father courageously fighting for justice for his raped daughter, delving into the dynamics of a family, a small village, and the national legal system, while also addressing the broader themes of rape culture, victim blaming, and the silencing of women. Moderated by editor Nick Hector, CCE.

À écouter ici !

Lorem ipsum dolor sit amet, consectetur adipiscing elit. Ut elit tellus, luctus nec ullamcorper mattis, pulvinar dapibus leo.

Abonnez-vous là où vous écoutez vos balados

Que voulez-vous entendre sur L'art du montage?

Veuillez nous envoyer un courriel en mentionnant les sujets que vous aimeriez que nous abordions, ou les monteurs.euses dont vous aimeriez entendre parler, à :

Crédits

Un grand Merci à

Alison Dowler

Hosted and Produced by

Sarah Taylor

Design sonore du générique d'ouverture

Jane Tattersall

ADR Recording by

Andrea Rusch

Mixé et masterisé par

Tony Bao

Musique originale par

Chad Blain

Sponsor Narration by

Paul Winestock

Commandité par

DGC Alberta

Catégories
Articles

Finalistes pour les prix Emmy 2024

Finalistes pour les prix Emmy 2024

Family Emmys Congrats Banner-01

Félicitations à nos membres CCE qui ont été nommés aux prix Emmy.

Editing for a Multiple Camera Live Action Program

Lindsay Ragone (+ 3 editors) – All Round Champion

Duncan Christie, CCE (+2 editors) –  Fraggle Rock: Back to the Rock

Catégories
Événements passés

Soirée festive - Montréal

Soirée festive - Montréal
le 8 janvier 2025

Cet événement a eu lieu le 8 janvier 2025.

Joignez-vous à nous le 8 janvier pour une soirée festive à Montréal. Nous allons souligner les Fêtes au Vices & Versa.

À propos de l'événement

le 8 janvier 2025

17h HNE

Vices & Versa

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