Joignez-vous à nous le 22 janvier pour un 5 à 7 des Fêtes à Winnipeg. Nous allons souligner les Fêtes au Brazen Hall Kitchen & Brewery.
Joignez-vous à nous pour un 5 à 7 des Fêtes à Montréal. Nous allons souligner les Fêtes au Bar Waverly.
Joignez-vous à nous le 15 décembre pour un 5 à 7 des Fêtes à Toronto. Nous allons souligner les Fêtes au Eggplant Picture and Sound.
Joignez-vous à nous le 14 décembre pour un 5 à 7 des Fêtes à Vancouver. Nous allons souligner les Fêtes à EAST VAN BREWING COMPANY.
Joignez-vous à nous le 8 décembre pour un 5 à 7 des Fêtes à Edmonton. Nous allons souligner les Fêtes au Brewsters Unity Square
Joignez-vous à nous le 24 novembre pour un 5 à 7 des Fêtes à Halifax. Nous allons souligner les Fêtes au The Lions Head.
Presented in English / Conférence en anglais
Joignez-vous à nous le 24 novembre au studio Alter Ego à Toronto pour entendre le coloriste Eric Whipp. Il nous parlera de son processus créatif au moment de travailler sur Three Thousand Years of Longing, processus qui s’est déroulé alors qu’Eric se trouvait à Toronto et que le réalisateur, George Miller, était en Australie.
La biographie suivante est uniquement rédigée dans la langue de présentation.
Eric WhippStarting his career in the mid 1990s, colourist Eric Whipp now specialises in feature films and commercials, is co-founder and senior colourist at Alter Ego VFX and colour studio in Toronto.
In 2007 he worked with George Miller for the first time on the Academy Award winning movie HAPPY FEET and joined him again in 2014 for MAD MAX: FURY ROAD. His latest project was yet another collaboration with George Miller – the new film THREE THOUSAND YEARS OF LONGING. Its familiar story follows a lonely academic on a trip to Istanbul. She discovers a djinn, or genie, who offers her three wishes in exchange for his freedom.
Presented in English / Présenté en anglais
Présenté en anglais
Tick-tock, tick-tock. Time never seems to stop when you’re on the job. It can be tough to bring your head up to find the time to ask your burning questions, let alone find someone who may hold the answers. That all stops here. Join the CCE for a unique mentorship event centered around one-on-one conversations with working picture editors from across the country. You’ll get eight uninterrupted minutes to chat with each of our participating mentors – any and all editing topics are on the table. This is your time to gain the specific insights you’ve been looking for. Stick around after the allotted time for virtual networking with all in attendance.
La biographie suivante est uniquement rédigée dans la langue de présentation.
Lindsay Allikas is an editor working in film, television and documentary. She has worked on the feature films CONCRETE VALLEY (Antoine Bourges), THE SWEARING JAR, AMERICAN WOMAN and THROUGH BLACK SPRUCE, all of which premiered at TIFF. Her most recent collaboration with director Chelsea McMullam, CRYSTAL PITE: ANGELS’ ATLAS premiered at VIFF, before screening on the documentary channel in the fall. Her television work includes WORKIN’ MOMS, RUN THE BURBS, TALL BOYZ, IN THE MAKING, ANNE WITH AN E, and MICHAEL: EVERY DAY. Allikas hails from Montreal and received a BFA in Film Production from UBC. She lives in Toronto with her dog Whiskey.
Courtney Goldman is a Senior Editor with over 10 years’ experience, 3 Emmy nominations, a Canadian Screen Award nom, a Director’s Guild of Canada Award win, a Canadian Cinema Editor’s Award win and several more nominations. She’s cut over 100 episodes of TV, plus was the Supervising Editor on dozens more. Courtney specializes in family, kids and tween, live action, scripted series (WAFFLES & MOCHI’S RESTAURANT, ODD SQUAD, GHOSTWRITER, ENDLINGS, etc) and long-form (DINO DANA: THE MOVIE, ODD SQUAD: WORLD TURNED ODD). Her jam is creative problem-solving edits and she adores helping bring stories to life.
Aren grew up in Vancouver in the 80s, making music and movies with his friends. He moved to Toronto to attend the CFC and went on to edit many features and series, including the recent KIDS IN THE HALL reboot, KIM’S CONVENIENCE and the new ORPHAN BLACK: EXHOES. Aren is driven to continually learn and push himself as an editor, and to share his knowledge with anyone who wants it.
Christopher Minns is two time CSA nominee, CCE Awards winner. Christopher attended the Humber College Post Production Program in 2010. Since then, he’s been working in film and television for over 10 years, with credits including THE LAKE, GINNY AND GEORGIA, SURREALESTATE, CAVENDISH, LETTERKENNY and many more.
Philipson CCE is an award-winning editor whose credits include the TV series RAISED BY WOLVES, AMERICAN GODS and HANNIBAL, and Canadian film favourites such as THE WILD HUNT, voted Best Canadian First Feature and one of Canada’s Top Ten by the Toronto International Film Festival, and GROWN UP MOVIE STAR, a prize-winner at Sundance. Never one to turn down an adventure, he once traveled to Sri Lanka to edit an epic Action/Romance about the Sri Lankan civil war (in Tamil and Singhalese) for a director who contacted him randomly over the internet. Stephen is a graduate of the Canadian Film Centre and Emily Carr University of Art and Design.
Gillian is a Toronto-based editor with a diverse career editing drama series, feature films, and MOWs in a variety of genres. She has had the good fortune of working with many prominent and celebrated producers, directors, and screenwriters.
Gillian is best known for her work on ORPHAN BLACK, ANNE WITH AN E, and THE EXPANSE. She has won two CSA awards, a DGC award, and has earned twelve award nominations.
Jorge Weisz, CCE was born and raised in Mexico City and is currently based in Toronto. He has worked on award-winning films such as Peter Stebbings’ EMPIRE OF DIRT, which premiered at TIFF 2013, Michel Franco’s LAS HIJAS DE ABRIL, which won the Un Certain Regard’s Jury Prize at the 2017 Cannes Film Festival, and Danis Goulet’s NIGHT RAIDERS, which premiered at the 2021 Berlin International Film Festival under the Panorama section and had its North American premiere as a Gala at TIFF. Recently, he teamed up again with Christian Sparkes for the film Sweetland.
Currently, Jorge is working on the series THE HORROR OF DOLORES ROACH for Blumhouse/Amazon.
Nicholas Wong is an award-winning editor, who continues to deliver high quality work and collaboration that is sought after in the film and television industry. Since graduating from Ryerson University with a B.F.A. in film studies, Nicholas has applied his extensive knowledge of filmmaking and storytelling to a successful career in editing. Working in a variety of formats, including half hour and hour long episodic television, features, music videos, and web series, Nicholas’ credits include THE EXPANSE, CODE 8, UTOPIA FALLS, KILLJOYS and BARONESS VON SKETCH SHOW, for which he received the CSA Award for Best Picture Editing, Comedy in 2020.
Nicholas is currently working on the fourth and final season of SNOWPIERCER for TNT.
Presented in French / Conférence en français
Rejoignez-nous le 26 octobre pour notre premier “Maîtres en série”, en personne, à Montréal. Venez entendre le monteur Louis-Martin Paradis discuter avec la réalisatrice Marie-Julie Dallaire de leur travail sur le film COMME UNE VAGUE. Il y aura un visionnement du film, suivi d’une séance de questions-réponses.
Louis-Martin Paradis a été assistant-monteur pendant une dizaine d’années sur de nombreux longs métrages de fiction avant de devenir monteur, surtout en cinéma documentaire. Depuis, il a monté les projets de Marie-Julie Dallaire dont : Comme une vague, gagnant de l’Iris du meilleur montage documentaire en 2022, L’impossible été de Jules et la série documentaire Un monde sans pitié. Il est également monteur sur les documentaires de Mathieu Roy notamment Surviving Progress, Les dépossédés et Les creuseurs ainsi que son film de fiction L’autre maison, en nomination pour le Jutra du meilleur montage. Lors du montage de Surviving Progress, il rencontre Harold Crooks, le co-réalisateur et monte ses films suivants : The Price We Pay et récemment The Melt Goes on Forever: The art and times of David Hammons. Dans la dernière année, il a monté le film de Phil Comeau, L’ordre secret
Marie-Julie Dallaire is a film and advertising director. Big Giant Wave, her latest film produced in collaboration with Crazyrose (Jean-Marc Vallée), won several awards including three Iris awards (best editing, best cinematography and best documentary) at the Gala Québec Cinéma 2022. In 2020, she directed Jules’ Impossible Summer with the NFB. In 2015 Denis Villeneuve entrusts her as second unit director for Arrival. In 2007, she won the Dworkin Foundation Award for Father which was also nominated at the Jutra Awards. In 1996, she co-directed Cosmos, which won the Prix des Cinémas d’art et d’essai at the Directors’ Fortnight in Cannes. She first made her name by participating in La Course Destination Monde. Marie-Julie is currently in development on her next film Cut Print Thank You Bye which will pay tribute to the late filmmaker Jean-Marc Vallée.
Presented in English / Présenté en anglais
Ce cours d’une durée de deux jours abordera non seulement les aspects procéduraux et logistiques de la fonction de l’assistant.e-monteur.euse, mais inclura également un survol global des enjeux politiques et psychologiques du montage et la façon dont ils affectent tout le monde impliqué dans le processus. Avec vingt ans d’expérience en tant qu’assistant-monteur, Paul Whitehead saura vous livrer généreusement ses conseils et ses anecdotes pour illustrer des leçons apprises à la dure. Les personnes débutantes comme les plus expérimentées pourront tirer profit de ce cours. À noter : ce cours n’enseigne pas l’utilisation d’Avid, de Premiere ni d’aucun autre logiciel.
La biographie suivante est uniquement rédigée dans la langue de présentation.
Paul Whitehead has been a fixture in the Toronto Post Production community for over 30 years. He has worked as First Assistant Editor on over 50 film and television productions, and now edits episodic television and feature films. His career began at the dawn of non-linear editing technology, which allowed him to witness and contribute to its development over the years. Paul has taught others the art of assisting throughout his career both one on one and at the college level, and believes strongly that experience must be passed on to maintain the high standards that Canadian crews are known for.
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