Cet événement a eu lieu le 21 juin 2025
Cet événement se tient en personne à Vancouver
Joignez-vous à nous le 21 juin pour un échange en profondeur avec Sabrina Pitre, CCE, au cours duquel nous allons explorer les coulisses du montage de DESTINATION ULTIME: LIENS DE SANG et LA NUIT DES CLOWNS (tous deux en salle ce mois-ci!). Nous allons aborder la relation monteur.euse/réalisateur·rice, comment gérer les notes, travailler avec les effets visuels, les projections tests et autres détails pour mordu·es de montage. Allez voir les films avant la rencontre! Les probabilités de divulgâchage sont très élevées...
L’événement sera modéré par Greg Ng, CCE.
Présenté par les Monteurs et Monteuses de cinéma canadien et la Vancouver Post Alliance.
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.
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.
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.
Richard Crouse est le critique de cinéma régulier sur les chaînes d’information en continu CTV News Channel et CP24. Il est fréquemment invité à de nombreuses émissions de radio et de télévision au Canada. Son émission de radio entendue partout au pays le samedi après-midi, THE RICHARD CROUSE SHOW, est diffusée à partir de la chaîne News Talk 1010 à Toronto. Il est aussi l’auteur de dix ouvrages sur l’histoire de la culture populaire, notamment de "Who Wrote the Book of Love," du best-seller "The 100 Best Movies You've Never Seen," sa suite intitulée "The Son of the 100 Best Movies You've Never Seen," le succès de librairie "Raising Hell: Ken Russell and the Unmasking of The Devils" et de l’essai "Elvis is King: Costello's My Aim is True." Il écrit aussi sur la culture populaire et les automobiles pour le Toronto Star.
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.
Ayant donné forme à un grand nombre d’histoires visionnées partout à travers le monde, Sarah est une monteuse maintes fois primée avec plus de vingt ans d’expérience. Elle a monté un large éventail de documentaires, d’émissions de télé, de courts et longs métrages qui ont été présentés dans de nombreux festivals tels que Tribeca, le TIFF et Sundance et sur de grandes chaînes comme CBC, BBC, PBS, APTN et AMI. Parmi ses plus récents montages, on compte le long métrage documentaire THE LEBANESE BURGER MAFIA, présenté aux HOT DOCS en 2023, et le long métrage de fiction HEY VIKTOR!, présenté à Tribeca la même année. Sarah a effectué une transition toute en douceur vers le monde de la baladodiffusion et elle anime et monte des émissions d’entrevues comme BRAAAINS et THE EDITOR’S CUT, ajoutant une autre dimension à son expertise variée dans l’art de raconter des histoires.
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.
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.
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.
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
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.
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.
Après un DEC en communication et littérature, et des rêves de théâtre, une redirection de vie vers l’ATM de Jonquière arriva. Après une graduation en 2008, suivie d’un splendide stage à Radio-Canada, Véronique a eu la chance de se faire adopter chez la maintenant défunte boîte de postproduction STATION 29. C’est là qu’elle a développé son amour de l’assistanat et tout ce qui l’entoure. C’est aussi là qu'elle a eu la chance de se lier avec Muse entertainment et sa variété de monteurs, lui permettant de travailler sur une grande partie de leur projet, l’ayant amené à travailler non seulement à Montréal, mais aussi à Toronto et Los angeles. La dernière année lui aura permis de travailler sur une vaste collection de projets; entre autres la co-production SO LONG MARIANNE pour Crave, THE STICKY pour Amazon, et, pour une 4e saison, la populaire Sitcom GHOSTS, pour 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!
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 est une monteuse de cinéma basée à Montréal. Ayant vécu en Chine, au Canada et en France, elle cultive un mélange unique de sensibilité culturelle et artistique. Feng a travaillé comme monteuse sur des films primés comme CETTE MAISON, CAITI BLUES et, plus récemment, UNE LANGUE UNIVERSELLE, qui a remporté le tout premier prix « Choix du Public » de la Quinzaine des Cinéastes de Cannes et qui représente le Canada aux Oscars de 2025. Dans sa filmographie, on retrouve des titres qui ont été présentés dans les grands festivals comme la Berlinale, Cannes, Sundance, le 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.
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.
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.
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 est un monteur qui habite à Wolfville, en Nouvelle-Écosse. Il a quitté Los Angeles avec sa famille il y a six ans, pensant qu’il pourrait survivre en travaillant à distance. Ce qui a plutôt bien fonctionné. Il monte le plus souvent des émissions de téléréalité. Il a reçu quatre nominations aux prix Emmy pour LES ANGES DE LA RÉNOVATION et il a travaillé sur de nombreuses autres émissions de téléréalité, allant de THE BACHELOR à LES ROIS DE LA RÉCUP.
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.
Un grand fan de STAR TREK : LA NOUVELLE GÉNÉRATION depuis sa jeunesse, Justin rêvait de manipuler un clavier futuriste sur un vaisseau galactique comme comédien. Heureusement, il a découvert l’art du montage et passe maintenant son temps à manipuler un clavier coloré dans une salle sombre. Ses montages ont fait le tour du monde aux festivals Sundance, Berlinale, Locarno, SXSW, TIFF ainsi que sur les petits écrans de SRC, TVA, Télé-Québec, Netflix, Hulu, FX, Crave et HBO.
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.
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.
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.
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.
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.
Greg Ng, CCE, is a film and television editor based in Vancouver, B.C. and is a proud member of the Canadian Cinema Editors. Greg tries to maintain a balanced diet of both narrative and documentary editing, and periodically writes about himself in the third person. Some recent credits include LONGLEGS, BONES OF CROWS, and I’M JUST HERE FOR THE RIOT.
Jane avait 10 ans quand elle a débuté comme monteuse en branchant deux lecteurs VHS ensemble dans le but de supprimer les pauses publicitaires dans ses émissions de télé préférées. Depuis, elle a eu la chance de trouver des gens qui ont suffisamment cru en elle pour lui confier leurs propres projets, ce qui fait qu’elle a aujourd’hui 15 ans d’expérience à monter des longs métrages et des séries télévisées. Elle a reçu trois nominations aux prix CCE et deux aux prix Écrans canadiens pour meilleur montage et son travail a été présenté dans des festivals partout à travers le monde. Elle aime toucher à tous les genres et, le plus souvent, on peut la convaincre facilement de travailler quand elle devrait plutôt prendre congé.
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