Catégories
ACE Eddie Award Nominations 2020
Étiquette : Canada
Catégories
DGC Award Winners 2019
DGC Award Winners 2019
Congratulations to our CCE members who won a DGC Award over the weekend!
BEST PICTURE EDITING – FEATURE FILM
Lara Johnston
Mouthpiece
BEST PICTURE EDITING – DRAMATIC SERIES
Wendy Hallam Martin, CCE
The Handmaid’s Tale, Episode 201, June
BEST PICTURE EDITING – COMEDY OR FAMILY SERIES
Michelle Szemberg
Northern Rescue, Episode 101, Qué Sera
BEST SOUND EDITING – COMEDY OR FAMILY SERIES
Janice Ierulli (and 7 others)
Northern Rescue, Episode 109, Wake Up
CCE Winner for LA Edit Fest Raffle - Nick Wong
If I could summarize my experience at this year’s EditFest in a few words, it would be; amazing, educational and inspiring!
I would like to thank the CCE for this wonderful opportunity and Alison for taking care of the travel arrangements.
The hotel was conveniently located across a 24-hour grocery store and a great breakfast place (there was always a line-up there!). It was also in walking distance of Warner Bros Studios – so for future winners of Editfest, plan your visit accordingly. And best of all, the hotel provided a free shuttle that would take you anywhere within 3 miles, including the Disney studios where the event took place.
I arrived at the Walt Disney studios at 9 am at Riverside gate. I immediately recognized the current animation building across the street, the one shaped like Mickey’s hat from the Sorcerer’s Apprentice. Cool! Continuing through the Disney lot, I walked past some of the soundstages and the “Cutting” building, but when I reached the check-in and registration area, I realized that I was right in front of the original animation building! Having grown up with the old animated films, I was overcome with nostalgia.
This was where Cinderella, Bambi et Peter Pan were drawn, where Tim Burton and John Lasseter worked as young animators, and, during the shaky times of Disney animation in the 80’s, where the animators had to vacate to make room for the emerging live-action division.
Today, the halls of the building are decorated with conceptual artwork and background paintings to commemorate some of their most famous hand-drawn animated films. Outside, refreshments were served, and attendees mingled a bit before we were called into the historic main theatre for the first presentation.
It took me a while, but I eventually realized I was sitting right behind CCE president, Stephen Philipson! We got to chat for a while until we saw Paul Day looking for a seat and called him over. It was nice to catch up a little before the presentation started.
PANEL #1
Our first panel was called “From the Cutting Room to the Red Carpet” and included panelists, Heather Capps (Portlandia), Nena Erb (Insecure), Robert Fisher Jr. (Into the Spider-Verse), Eric Kissack (The Good Place) and Cindy Mollo (Ozark), where each of them showed clips of their work and then talked about the process behind their work.
If you want to know more about the panelists, I’ve scanned the program as a pdf. Robert Fisher Jr showed two clips from Spider-Man: Into the Spider-verse. The first was the apartment scene where Uncle Aaron teaches Miles Morales some moves to win a girl over – the “shoulder touch”. It’s a sweet and funny bonding scene between the two characters.
The second was a montage where Miles Morales becomes Spiderman in his universe and leaps off a high-rise building.
Being a fan of the movie, I loved hearing the behind-the-scenes stories of how these scenes evolved. As it turns out, the initial cut of the apartment scene was cut fairly conventionally, using only the single CU coverage for the character’s lines. When that version was screened, the producers realized that it wasn’t getting a laugh from the audience. Robert found that the simple solution was to give the scene a little bit of breath by cutting to a wide two-shot in the middle of the exchange.
Nick Wong
ASSOCIATE MEMBER OF THE CANADIAN CINEMA EDITORS
And what can I say? It works, and I laugh every time I watch the scene. Next, Robert explained that the montage clip was originally scripted to be very linear, following Miles on the subway platform, going up the stairs and then seeing him on the rooftop but when the producers saw it, they felt it wasn’t working and that it was lacking something. They couldn’t quite figure out what it was, but asked Robert if there was anything he could do. The result is an energetic montage that jumps back and forth through time. When combined with the music and stunning visuals, you get something that is truly memorable.
PANEL #2
The next panel, “Reality VS. Scripted Editing: Demystifying the Difference” was probably my favourite of the whole day. It was very casual and interactive, and I loved the chemistry and witty banter that the panelists had with each other (Jamie Nelsen was hilarious!). I was also very interested in the discussion because of the common misconception that if you work in scripted, you can’t do reality and vice versa.
The presentation started with a screening of two clips. The first was from the reality series, Naked and Afraid, and follows two nude survivalists as they set up their tent and are met with a torrential downpour and flood in the middle of the night.
The second clip is an elaborate space battle sequence between the crew of The Orville and the Kaylon
The panelists then asked us what’s similar about the two clips? Answers included; they both create tension, both are telling a story through the characters POV, one person shouted “VFX budget!” (re blurring private parts in Naked & Afraid), which got a big laugh. Then we were asked, what’s different about the two scenes? One person shouted “Wardrobe!” (it might have been the same person). There were a few serious answers before the panelists finally stopped us and revealed it was a trick question.
Nick Wong
member of the Canadian Cinema Editors, Canada
The answer is: nothing. There is nothing different about the way those two clips were cut. Tom Costantino, who edited The Orville, went on to explain that original script for the sequence was two minutes and had three crashes. The final cut was seven minutes and had 11 crashes and he had to fabricate a lot of moments by creatively reusing reaction shots from different angles, a skill he learned from cutting reality and looking for any bit of usable footage. All the panelists shared incredible insight about working in both genres and really made the whole discussion relatable.
One of the audience questions regarding doing producer notes was, “Have you ever had to lock a cut that you didn’t like?” Tom’s answer was, “Yes, I call that Thursday,” which got a big laugh. Molly Shock (Naked and Afraid) shared her thoughts on this and said that if out of 1000 cuts, and there are 100 cuts you don’t like, you still have 900 cuts that you do like. That put things in a positive perspective.
Lunch was served in the cafeteria and I got a chance to talk to a few of the attendees. It was interesting to hear from a diverse group of editors and assistants in various stages of their careers from all over the U.S. One editor had just moved to L.A. a week ago from Atlanta to start a new job the Monday after EditFest!
PANEL #3
The next panel was called “Inside the Cutting Room with Bobbie O’Steen: A Conversation with Joe Walker, ACE”. I remember hearing Joe Walker speak at DGC’s Visionaries at TIFF last year, so I was excited to see him again. During the discussion, they showed some of his work on Hunger et 12 Years of Slave, but the most interesting was when they screened a progression reel of a scene from Blade Runner 2049. The scene is where Harrison Ford and Ryan Gosling fight in a futuristic cabaret theatre:
We first saw a rough animatic of the scene with stiff CG models of K and Deckard. Then we saw an assembly of the live footage with roughly temped in hologram images – this got a laugh from the audience because of the crudeness of the comp. Joe Walker even joked that he was expert at temping in vfx.
But the interesting thing was the scene was quite different from the final. There were a lot more holograms and the music played constantly throughout the scene.
Joe Walker explained that the problem with the earlier version was that it felt too much like a spectacle and it didn’t match the tone of the movie. They decided to go with a different approach and in the end, built tension with silence.
They also showed a before and after progression for a scene from Widows. It was a dramatic scene with Viola Davis and Cynthia Erivo in a car with about a page of dialogue. The final sequence had absolutely no dialogue. Instead, the two characters sat in silence and exchanged a heartfelt look before Cynthia Erivo’s character exits. It was extremely effective and told the same story. The day ended with hors d’oeuvres and cocktails served right outside the main theatre. I got to chat more with Paul Day and Stephen Philipson, and fellow CCE members Christine Armstrong, Ben Allan and Gloria Tong. With more American productions making their way up north, it was great to see Canadian editors represented at events such as EditFest.
Thanks again to the CCE for making this happen! To future winners, remember to soak it all in, talk to as many people as you can, and you’ll have a blast!
The 9th Annual CCE Awards Gala In Review:
Congratulations to our winners for the 9th Annual CCE Awards. There were over 300 people in attendance (even with the Raptors playing right outside the venue)!
Canadian editors are world class! Thanks to everyone in this room, post-production is thriving in Canada.
Stephen Philipson, CCE + Jane MacRae
CCE PRESIDENT + VICE-PRESIDENT
A Selection of 2019 Awards Photos:
Watch the Live Broadcast Here:
Award Nominees & Winners
Tom Berger – Space Between Stars *WINNER*
Annellie Samuel – Magic School Bus, rides again: I Spy with my Animal Eyes
Hart Snider – Shop Class
Stephanie Duncan, Jason Cohen & Lee Maund – Hotel Transylvania: Fangceanera
Tom Berger – Paw Patrol: Mighty Pups
Greg Ng – Finding Big Country *WINNER*
Colin Waugh – Ha Ling Peak
Giorgio Saturnino & Louis Saturnino – CBC Olympic Journey : Virtue & Moir, Roxanne
James Blokland – Year of the Gun
Michèle Hozer, CCE – In Search of a Perfect World
Nick Hector, CCE – Sharkwater Extinction *WINNER*
Annie Jean – Ziva Postec, la monteuse derriere le film Shoah
Eugene Weis – Metamorphosis
Hart Snider & Maxine Shewan – Botero
Patrick Carroll – Letter From Masanjia
Thom Smalley – Likeness *WINNER*
Holly Pavlik – Camping Trip
Isabelle Malenfant, CCE – The Lure Of The Deep (Une jeune fille et la mer)
Rachel Guergis – Small Fish
Teresa Hannigan, CCE – I Beat Up My Rapist
Ian Sit – In the Making: Lido Pimienta *WINNER*
Cameron Nixdorf & Gordon Thorne, CCE – Vacations Of The Brave: Mandy & Joe
Clark Masters & David Mitchell – Mister Tachyon: Can Mother Nature Heal Us?
Danny Palmer – Steel Town Down
Steve Taylor – Hip-Hop Evolution: The Southern Way
Ashley Brook, Kyle Cucco & Josef Beeby – Canadiana: The Love Triangle That Brought Down Quebec *WINNER*
Christine Armstrong – Kristal Clear 107: Only with Heart
Graham Withers – True North: Cordel 1 – Trust The Process
Lindsay Allikas – Rambling: Eileen Myles
Shelley Therrien – Ghost BFF
Courtney Goldman – Odd Squad: World Turned Odd *WINNER*
James Hebbard – The Big Fun Crafty Show: EP 101 – Robot
Lisa Robison, CCE – Zombies
Meagan Oravec – Scout and the Gumboot Kids: The Case of the Cracking Sky
Nicholas Wong – Holly Hobbie: EPS104 The Pickle Princess
Michael Tersigni, CCE, Mike Scott, Elianna Voskakis & Ryan Monteith – Top Chef Canada: Que Rico *WINNER*
Andrew Gurney, Al Manson, Jonathan Dowler, Clare Elson, Seth Poulin & Jordan Wood – Top Chef Canada: Finale Four Ways
Jonathan Dowler, Ryan Monteith, Owin Lambeck, Jordan Wood, Michael Tersigni, CCE & Craig Anderson – The Amazing Race: The Battle of the Two Courtney’s
Jorge Parra – Still Standing Season 4: Huntingdon
Mike Scott, Michael Tersigni, CCE, Elianna Voskakis & Ryan Monteith – Top Chef Canada: Wine of the Tiger
Dev Singh – Little Dog: Ep. 107 *WINNER*
John Nicholls – Little Dog: Ep 102
Kye Meechan – Dirk Gently’s Holistic Detective Agency: Two Broken Fingers
Matthieu Bouchard & Dominic Montplaisir – Leo: Episode 1
Matthieu Bouchard & Oliver Binette – Like-Moi: Ep 24
Lisa Grootenboer, CCE – Believe Me: The Abduction of Lisa McVey *WINNER*
Eric Goddard, CCE – The Truth About Christmas
Luis Lam – Deadly Deed: A Fixer Upper Mystery
James Patrick – Caught
Pia Di Ciaula, CCE – A Very English Scandal
Brendan Barnard – After Animals (Sheridan College)
Brittany Hockley – Proximity (Ryerson University)
Raj Jain – 14.02 (Centennial College)
Zachary Roth – Rosie (Sheridan College)
Zhenya Dolzikov – The North Woods (Ryerson University)
Pia Di Ciaula, CCE – The Crown: Episode Nine – Paterfamilias *WINNER*
D. Gillian Truster, CCE – Anne with an E: I Protest Against Any Absolute Conclusion
Justin Lachance, Véronique Barbe, Dominique Champagne, Maxime Lahaie, Émile Vallée, Jai M. Vee – Sharp Objects: Milk
Stephen Philipson, CCE – Anne with an E: Youth is the Season of Hope
Wendy Hallam Martin, CCE – The Handmaid’s Tale: Episode 201 June
Lara Johnston – Mouthpiece *WINNER*
Dev Singh – Ghostland
Greg Ng – At First Light
Sabrina Pitre – Freaks
Simone Smith – Firecrackers
In 1988 Dean Balser, a longtime staff editor at CFTO-TV / Glen-Warren Productions in Toronto, left his full time position to pursue a freelance career. At the time, Dean had a long-standing relationship with Grosso-Jacobson Entertainment in New York through their successful collaboration on the highly acclaimed series Night Heat, the first Canadian series to be broadcast on CBS. Producer Sonny Grosso and Dean created a strong bond, with Grosso hiring Dean on many series and MOW’s in subsequent years, even bringing Dean to New York for one project, clearly showing the faith and trust he had in Dean. Dean’s work was noticed by U.S. producers -Grosso and others – at a time when few American shows would edit in Toronto. He was a ‘go-to’ editor for CBS, NBC and ABC as they shot pilots here and required a steady hand. He was fortunate to be an editor for CBS, NBC and ABC as they shot pilots here.
Dean became acclaimed not only for his editing work, but also for his role as a friend and mentor to many in the industry. His work has been varied and always of the highest quality, ranging from the cop shows with Sonny Grosso, to drama and science fiction. Dean has also cut musical variety and comedy as well as various forms of documentary, doc-series and factual productions, displaying one of the most versatile voices in editing in Canada. He was at the forefront of the evolution of editing from film to digital, working on the most advanced editing platforms of the day, including being an early user of Avid systems. Dean also served as 2nd Unit Director on various film and television projects.
Over those years Doug has earned the respect and friendship of many in the editing department as well as producers. His leadership has put him at the forefront of in-demand Post Supervisors and is a model by which all in editing strive to achieve.
Doug started working in television while still a high school student in the shipping department of VTR Productions in Toronto where he would spend lunch hours in the back of the studio watching Jim Henson and the muppets shooting Fraggle Rock. Doug received a Bachelor of Applied Arts from Ryerson University in Toronto, and then a Masters from Syracuse University in New York.
Doug’s first post supervising job was on the TV series My Secret Identity, followed by four years on the seminal CBC drama Street Legal. After spending more time in TV, Doug transitioned to Post Supervising features; his first 2 movies were for HBO Pictures which lead to his first theatrically released movie: Darren Aronofsky’s Requiem for a Dream. Over a dozen TV series and 28 Feature Films later he is still working as a Post Supervisor.
The list of editors Doug has worked with is long, but he would especially like to thank the editors who he worked with when he was first learning on the job. Editors such as George Roulston, Ralph Brunjes, Susan Shipton, Ron Sanders, Don Cassidy and Dean Balser. All of these editors shared their knowledge of the film business and the importance of editing to the film making process.
Doug has recently taught post production seminars and participated on panels for Ryerson University, Humber College and Syracuse University. A career highlight occurred last year when he attended the 90th Academy Awards with the team from Best Picture winner The Shape of Water.
Catégories
Rosie Award Winners 2019
Catégories
Student Merit Recipients for 2019
Student Merit Recipients for 2019
Congratulations to our Student Merit Recipients for 2019.
We look forward to seeing you all at the awards on May 30th:
Brendan Barnard – After Animals (Sheridan College)
Brittany Hockley – Proximity (Ryerson University)
Raj Jain – 14.02 (Centennial College)
Zachary Roth – Rosie (Sheridan College)
Zhenya Dolzikov – The North Woods (Ryerson University)
NorthwestFest 2019: International Documentary Festival
The CCE is proud to sponsor the screening of Unmothered at the 2019 NorthwestFest in Edmonton, Alberta on May 5th.
On August 31, 1995, tragedy struck the Guerrette family when Mona, a mother of two, died from breast cancer at age 42, leaving behind a husband and their daughters, Mylène and Marie-France.
But she also left behind a stirring farewell message that would serve as a testament to her life. Unmothered is a film directed by Marie-France Guerrette and produced by the NFB. Both the director Marie-France Guerrette and editor Pauline Decroix will be present for the screening followed by a Q&A.
Catégories
Global – Canada, ACE Magazine
Like ACE, Canadian Cinema Editors (CCE) – established a little more than a decade ago – is an honorary society with similar goals. With more than 400 members, CCE is also one of the editors organizations on the roster of ACE’s International Relations Committee.
Just as U.S.-based editors sometimes travel to Canada to edit shows, CCE editors sometimes come to the Southland to work. Among them is CCE President Stephen Philipson, CCE (American Gods, The Bold Type), who recently is editing Amazon series Sneaky Pete starring Giovanni Ribisi. Since he was working in L.A., we caught up during the recent ACE Holiday Party. To become a full CCE member, an editor needs to be nominated by a full member (each member may nominate up to two new full members a year).
She or he is responsible for making a case for a new member, before a committee, who may grant full membership. The committee considers the candidate mainly on their body of work as there isn’t a specific minimum hours of content requirement.
CCE members who nominate a prospective member may submit films, TV series or other work to support the application.
This differs considerably from the ACE procedure where the prospective member needs to have at least 60 months of verifiable credits and will be interviewed by the membership committee reporting to the ACE board.
CCE also has associate and student members that may participate in most of the organization’s activities and may later move up to a full membership if editing is their main trade. The group holds an EditCon (similar to ACE EditFest) each February and its annual Les prix CCE in April or May.
CCE membership includes discounts to these events, as well as participation in podcasts and pub nights. Many of its members are based in production hubs such as Toronto and Vancouver, as well as Montreal, Quebec (where apart from producing content for the French Canadian market, it provides content for France and other French-speaking markets).
The CCE aims to have at least one board member in every region of Canada, not necessarily every province.
Stephen Philipson, CCE
member of the Canadian Cinema Editors, Canada
These regions are British Columbia, Ontario, Quebec, Prairie provinces (Alberta, Manitoba and Saskatchewan), the Maritimes (New Brunswick, Prince Edward Island, Nova Scotia and Newfoundland), and the territories (Yukon, Northwest Territories and Nunavut).
“Though we don’t yet have any operations in the territories,” Stephen explains, adding that since there are fewer members in the Atlantic and prairie regions these members receive discounted membership. In order to involve all board members, monthly meetings are held via Skype video conference calls.
Stephen explains that he is very much interested in working with ACE on the global motion picture scene. Because there is such a close international relationship with all the productions moving almost freely from country to country and particularly between the borders of U.S. and Canada, there needs to be a tight communication between editors.
The editors unions in Canada mainly deal with labor and remuneration issues and are fragmented between the Atlantic and Pacific, where the bulk of the editors in the East are part of the DGC (Directors Guild of Canada) and in the West they’re represented by the IATSE Local 891. He also notes that editing unions are different for each province.
This fragmentation makes it even more important for CCE to unite the editing community in Canada on artistic, creative and technical issues. In light of this Stephen thinks that it is a great idea that ACE tries to do the same on a global scale, so that we can inform and learn from each other. He thinks that there will be a great interest among the CCE members to join ACE as International Affiliate members.
The Canadian domestic market motion pictures in the English as well as the French territories, produce highly skilled editors that would be eligible to become ACE International Affiliate members. Additionally, they can become full active ACE members if they meet the application requirements when their work is distributed in the U.S. Stephen is very aware of the fact that not everybody has the unique qualifications that he has to be able to straddle the international borders, having parents from both the U.S. and the U.K., as residents in Canada.
Stephen believes that it is in CCE and its members’ interest to tighten the lines of communication with editors in other countries since the film industry has already gone global a long time ago. He invites American editors and especially ACE members to contact CCE when they’re working in Canada.
CCE would like to invite them to participate in its events to share their knowledge, experience and stories.
Catégories
Rosie Awards Nominations 2019
Rosie Awards 2019 - Nominations for CCE Members
Congratulations to our CCE members in Alberta who are nominated for Rosie Awards.
Sarah Taylor has 3 nominations, Brenda Terning has 2 nominations and Krystal Moss and Ken Filewych, CCE each have 1 nomination.
Good luck!
Sarah Taylor (plus 1 other editor)
Caution: May Contain Nuts – “Sexy Bigfoot Alien Chef’
Sarah Taylor
The Suburbanight
Ken Filewych, CCE
Heartland – “A Fine Balance”
Sarah Taylor
Fast Horse
Brenda Terning
Equus: Story of the Horse – “Origins”
Krystal Moss & Brenda Terning
Equus: Story of the Horse – “Chasing the Wind”
Winner of Best Editing Vancouver Short Film Festival 2019
The CCE were a proud sponsor for the Vancouver Short Film Festival.
We had the honour of presenting the Best Editing Award. The winner of the Editing Award was Jason Karman of the film Lionhood.
Jason Karman is a Vancouver-based screenwriter and director whose 16 short films have screened internationally at festivals including the Melbourne Queer Film Festival, Whistler Film Festival, and Telefilm Canada’s Not Short on Talent at Clermont-Ferrand.
Graduating in 2003 with honours in Cinematography from Capilano College, Jason has worked in documentaries, dramas, thrillers and dance on screen.
In 2011, Jason received the Gerry Brunet Memorial Award at Vancouver Queer Film Festival for I’M IN THE MOOD FOR LOVE, and in 2015 was recipient of the Jury Choice Award at Reel Pride Winnipeg for KIMCHI FRIED DUMPLINGS.
He is the 2016 recipient of the James Lee Foundation Scholarship and the 2018 Normand Bouchard Memorial Bursary.
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