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EditCon 2019

EditCon 2019

EditCon 2019 in Review

EditCon 2019 took place on Saturday February 2, 2019 at the TIFF Bell Lightbox in Toronto.

MISSED SEEING IT LIVE? Check out the podcasts!

Panel #1: Making a difference - Cutting content with an important social message

Unarmed Verses et Sgaaway K’uuna (Edge of the Knife) are films that have intertwined themes of social justice into compelling stories, bringing important social messages to the screen in their respective genres of narrative and documentary film. Meet the Editor / Director / Producer duos behind both of these films to discuss the process of collaboration, sensitivity approaching the subject matter, and what each role contributes to the crafting of a powerful narrative.

Emmy-nominated and Gemini-winning Michèle Hozer has been working as a filmmaker and editor in Canada since 1987. To date, she has worked on more than 50 documentaries. Her work has received accolades from the most prestigious film festivals in the world, including the Sundance Film Festival and the International Documentary Film Festival in Amsterdam. Shake Hands with The Devil: The Journey of Roméo Dallaire won both the 2007 Emmy for Best Documentary and the Audience Award at the 2005 Sundance Film Festival. Promise to the Dead picked up her first International Emmy nomination as an editor. But her directorial debut with Genius Within: The Inner Life of Glenn Gould won the coveted spot on the Academy Award short list as well as a Gemini for Best Biography. Since its premiere at TIFF in 2009, the feature length documentary has been seen by audiences in Britain, Australia, Japan, and across North America.

In 2012, The Director?s Guild of Canada (DGC) awarded The Allan King Award for Excellence in Documentary to Michèle and team for West Wind: The Vision of Tom Thomson. At the same time, she picked up both the Amsterdam International Documentary Film Festival Editing Award and top honours from her peers at Canadian Cinema Editors.

In 2015 Michèle completed her first solo feature length documentary in the combined roles of director, editor, and producer for Sugar Coated probing the role of sugar in a global healthcare epidemic. The film, in association with TVO and ZDF/ARTE, had its world premiere at Hot Docs International Film Festival and has been playing worldwide at international film festivals and on television. Sugar Coated was honoured with The Donald Brittain Award for Best Social and Political Documentary at The 2016 Canadian Screen Awards. Sugar Coated presently playing available Netflix across North America. Michèle? short documentary, The Barber of Augusta just recently won the Dodie Spittal Award at 2017 The Picture This Film Festival. She just completed SponsorLand, the feature length doc for TV Ontario on a Syrian refugee family with 11 children resettling in the tiny town of Picton Ontario.

With over 15 years experience, Argentina-native Andres Landau is an award-winning editor.  He was distinguished with the 2018 Canadian Cinema Editors Award for Best Editing in a Feature
Documentary for Unarmed Verses.  In 2011, he oversaw post-production for The National Parks Project, and edited Sirmilik the 2012 Genie Award winning short documentary by director Zacharias Kunuk. He edited Charles Officer?s feature documentary, Unarmed Verses produced by The National Film Board of Canada, Winner of the 2017 HotDocs Best Canadian Feature Documentary and 2018 TIFF Canada?s Top Ten Audience Award and The Stairs by Hugh Gibson, Winner of the 2016 Toronto Film Critics Association for Best Canadian Film.

Lea Marin is an award-winning Toronto-based producer with more than 18 years? experience in the industry. A graduate of the Canadian Film Centre?s Producers? Lab, Lea joined the National
Film Board of Canada as a producer in 2006.  Her most recent film credits include Charles Officer?s Unarmed Verses, which won the Best Canadian Feature Documentary Award at Hot Docs 2017. Other credits include Chelsea McMullan?s My Prairie Home, and Astra Taylor?s Examined Life.  Lea recently completed production on Taylor?s follow-up to Examined Life, the feature doc, What Is Democracy? which premiered at TIFF 2018, and is currently in production on Throat, a co-collaboration between filmmaker Chelsea McMullan and artist/activist Tanya Tagaq.

Sarah Hedar is a Vancouver-based editor who utilizes innate patience and her sense of humour to work effectively with the natural ebb and flow of the creative process. Her editing work on provocative and original films crosses genres and spans both documentary and narrative projects. Her recent editing includes the feature film Sgaawaay K?uuna: Edge of The Knife, the first Haida language feature that garnered acclaim at both TIFF and VIFF, and the short film Last Stand to Nowhere, an all female re-imagining of the classic Western story of the gunfight at the OK corral. Sarah?s love of visual storytelling is shown through her dedication to her craft and her commitment to on-going education as she pursues her MA in film, with a focus on writing and directing.

Helen Haig-Brown (Tsilhqot’in) is an award-winning director and a leading talent in experimental documentary. Her work is broad-ranging, from intimate autobiographies to forays into Science Fiction. Her short film ?E?anx (The Cave), an adaptation of a Tsilhqot?in story was named to Canada?s Top Ten Shorts by TIFF and was an Official Selection at Sundance Film Festival. My Legacy, her first feature documentary, focuses on the transformation and healing of intergenerational trauma to trust, worth, intimacy and love. Her work has aired on APTN, CBC, Knowledge, NITV (Australia) and has been showcased around the world at film festivals such as Berlinale, Rotterdam and Sundance.

Helen?s latest work, co-directing with Gwaii Edenshaw, Sgaawaay K’uuna: Edge of the Knife, is a feature film produced on Haida Gwaii, entirely in the Haida language. A joint production between the Council of the Haida Nation and Isuma?s Zacharius Kunuk, Sgaawaay K?uuna is the story of the Gaagiixid, the iconic Haida wild man. Helen is a graduate of Capilano?s Indigenous Independent Digital Film Program and lives between her traditional territory in British Columbia?s Cariboo Chilcotin and her partner?s traditional home of Haida Gwaii.

Panel #2: Frame by Frame - A primer on Animation editing

Learn from Canada?s leading animation editors about the critical role they play in crafting animated films.

How does the process differ from editing live action? At what point does the editor?s work start? What does the collaboration look like with team members and the director? These questions and more will be answered in this lively group discussion.

Paul Hunter (Nut Job, Spark) and Lesley Mackay Hunter (The Nut Job 2 – Nutty by Nature, Arctic Justice) shed light on their careers in animated film and television, and the unique role of the editor from storyboard to screen.

Chris Mutton brings over 15 years of film and television experience to the edit suite. His latest film, LUBA, won multiple awards at the Canadian Film Fest and earned him a CCE awards nomination.  Recently completed are three short films screening at this year’s Available Light Film Festival in Whitehorse.  He is currently editing Easy Land, the first feature of Serbian-Canadian director Sanja Zivkovic.  Chris has served as vice-president of the CCE and continues to stay involved as part of the Global Opportunities Committee.

For over 25 years, Paul has worked as an online, offline and supervising editor, cutting everything from animatics, 2D/3D animation, and stop-motion. Projects include Freaky StoriesAngela AnacondaFranny’s FeetIggy ArbuckleJohnny TestGlenn Martin DDS et Nature CatThe Nut Job was Paul’s first feature film. When given the chance to work on it, Paul thought that he would be nuts not to! Since then, Paul has also edited the feature animated films Spark et The Nut Job 2.

Lesley has worked almost exclusively in animation?a medium that she loves!  With an unconventional background in stage performance, music and sound, which she uses to enhance her storytelling techniques. A leica reel and offline editor of many hit shows including Johnny Test,  Busytown Mysteries, Justin Time et Total DramaRama. Known for her comedic and musical timing, Lesley has recently been working on feature animations The Nut Job 2 and soon-to-be-released Arctic Dogs.

Panel #3: This Year in Dramatic Film

There?s no formula to a festival hit, but these three editors, each with a recent feature film on the circuit, shed light on their respective experiences. This panel discussion focuses on their careers in indie film, their process in editing these films, getting a festival run, and what lies ahead.

Award winning editor Lisa Grootenboer is an industry staple with two plus decades of experience.  She is best known for her work on The Tudors, The Borgias, Mary Kills People et ANNE with an E, as well as for her live music cutting with Joe Bonamassa and Iron Maiden Logging in at 260 hours of cut screen time, her passion is clearly seen in her work. Since 1995, Lisa has been nominated for 18 film awards and has brought home eight, including four DGC Awards, three CCE’s and a Gemini.

Isabelle Malenfant began her career as an assistant editor learning alongside Emmy Award winning director Yves Simoneau, on his films Napoléon, Free Money, et Nuremberg.  As long-time editor for critically-acclaimed director Francis Leclerc, she worked on the popular sitcom Les beaux malaises, the dramatic series Marche à l?ombre, et Mon meilleur ami and the poetic short Trotteur, amongst others. Their latest collaboration, the feature film Pieds nus dans l’aube, is an adaptation of Félix Leclerc’s autobiographical novel of the same name. Over the years, she has also collaborated with directors François Jaros, Philippe Gagnon, Quentin Dupieux (a.k.a. Mr Oizo), Olivier Asselin and Mélanie Charbonneau. Originally from Quebec, she has worked on both French and English productions including television series, films and commercials.  

With a background in theatre, Malenfant is an editor with a passion for bringing out an actor’s talents and crafting their best performance. She has a particular affinity for telling dramatic stories, but an interest in seeking projects that challenge her to learn new techniques has expanded her editing credits to include comedies (Steak, Dans Une Galaxie Près de Chez Vous 2), aux projets d’effets spéciaux (Marie-Antoinette, Assassin?s Creed), et à l’animation (Mune, the guardian of the moon) and dance film (Amelia from Edouard Lock’s Lalala Human Steps).

Isabelle Malenfant has been nominated for five Gémeaux Awards including Marche à l?ombre 2 (2017), Les beaux malaises (2014-2015), Mon meilleur ami (2013), and  Les Rescapés (2012). She was nominated for a Jutra Award in 2009 for Un capitalisme sentimental and won best editing at the Savannah Film Festival in 2012 with Trotteur.

She won this years? CCE awards for Best Editing in Feature Film Pieds nus dans l'aube.

Michelle Szemberg is a Toronto born award winning film editor. After graduating from the film program at York University, Michelle worked for many years as an assistant editor. This allowed her to be mentored and to collaborate with some of the leading forces in Canadian cinema. Michelle?s selected credits include the independent feature films Moon Point (Dir. Sean Cisterna), Don?t Get Killed in Alaska (Dir. Bill Taylor), No Stranger Than Love (Dir. Nicholas Wernham), Natasha (Dir. David Bezmozgis) and the Serendipity Point Films produced feature Below Her Mouth, directed by April Mullen, which premiered at TIFF in 2016. In addition to her work in film, Michelle edited two seasons of the Netflix/Rogers TV series Between, created by Michael McGowan. Her latest titles include the Cuban/Canadian film, Un Traductor, directed by Rodrigo and Sebastian Barriuso, which premiered in competition at the 2018 Sundance Film Festival and the upcoming Netflix/CBC series Northern Rescue.

Christine Armstrong is an editor who has worked on a variety of short films, tv series, commercials and feature films in the US and Canada. She is an alumni of Cineplex Entertainment Film Program Editor’s Lab at the Canadian Film Centre. 

Armstrong’s recent work includes THE NEW ROMANTIC starring Jessica Barden (The Lobster) , and Camilla Mendes which received special Jury award at SXSW festival, THE DROP IN & MARINER (CANADA TOP TEN), comedy series Kristal Clear (Amazon PRIME) and MARY GOES ROUND (TIFF 2017, Santa Barbara Film Festival) which she received a best editing in feature nomination.

Armstrong’s upcoming work includes AMERICAN REJECT starring Annaleigh Ashford (Masters of Sex) and Keala Settle (The Greatest Showman) and her directorial debut on comedy series CLAMBAKE.  

Panel #4: Behind the Cut with Ron Sanders, CCE

In this masterclass, award-winning editor Ron Sanders shares insight from his career, notably his longtime collaboration with celebrated director David Cronenberg on 19 films, for which he won four Genie Awards for Excellence in Film Editing (Dead Ringers, Crash, eXistenZ, Eastern Promises)  and three Best Editor Awards from the Directors Guild of Canada (A History of Violence, Eastern Promises, A Dangerous Method).

Writer-Director Jim Allodi is a graduate of the NYU film program, and the CFC Director?s Lab. He wrote and directed the acclaimed feature The Uncles (Odeon Films), named one of Canada?s Top Ten by the Cinemateque Ontario. His award winning shorts have played in numerous international festivals.

His directing work for television includes the pilot for The Republic of Doyle (CBC), Call Me Fitz (HBO Canada), Regenesis (TMN), and he has won a Gemini award and nominations for both drama and comedy (Naked Josh, Showcase), and a DGC Award for Best Miniseries/TV Movie (The Best Laid Plans, CBC.)

Having worked as an editor and photographer, Jim turned to acting in his 20?s as a means of furthering his development as a director, and has since accumulated a long list of film and television credits and appeared on stage in Canada, the U.K., and the U.S.

Ron has worked with directors including, Robert Longo, Daniel Petrie Jr., Sturla Gunnarson, Norman Jewison, and Henry Sellick. He collaborated with David Cronenberg on 19 films winning Genie Awards for Dead Ringers (1989), Crash (1996), eXistenZ (2000) and Eastern Promises (2007) and DGC Awards for A History of Violence (2006), Eastern Promises (2008) and A Dangerous Method (2012). He was nominated for an American Cinema Editors Award for his work on Coraline (2010).

EditCon 2019 Sponsors

À propos de l’EditCon

February 2019

8:30am - 11:00pm

350 King Street West, Toronto

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Articles

ACE Eddie Award Nominations 2019

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Événements passés

CCE Holiday Parties 2018

2018 CCE Holiday Parties

2018 CCE Holiday Parties Across Canada:

This week the CCE held three Holiday Parties (unfortunately due to province wide power outages, we had to postpone our Halifax Event).

On Wednesday night Edmonton and Vancouver held their events. By all accounts everyone had a great time!

Last night Toronto held its Holiday Social and it was hosted by Eggplant Picture and Sound. Over 70 were in attendance.

Thank you to Eggplant for being wonderful hosts!

About the Event(s)

Toronto

Eggplant Picture and Sound has generously offered to host our Toronto Members Holiday Social. They will provide tasty snacks and a variety of beverages. As this is a sponsored event by Eggplant, it will be for members only.

….

Edmonton

This year, the CCE is joining forces with ESIO, APPA and FAVA to host a Holiday Party in Edmonton! From 4 – 5 pm – Simon Trafford from Social Lite will provide an interactive presentation on Guaranteeing the Successful Launch of Your Video Game or Film Production.

And from 5 – 8(ish) there will be networking, live entertainment and appetizers along with a cash bar.

50/50 draw in support of the Food Bank.

Vancouver

Edmonton

Toronto

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Articles

DGC Award Winners 2018

DGC Award Winners 2018

2020 DGC Awards Banner Feature Image

Congratulations to our CCE members who won a DGC Award over the weekend.

BEST PICTURE EDITING - DOCUMENTARY

Roderick Deogrades

Silas

BEST PICTURE EDITING - DOCUMENTARY

Silas

BEST PICTURE EDITING ? TELEVISION SERIES

Christopher Donaldson, CCE

The Handmaid?s Tale, Episode 102, Birth Day

BEST PICTURE EDITING ? TELEVISION SERIES

The Handmaid?s Tale, Episode 102, Birth Day

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2018 CCE Winner for LA EditFest Raffle – Richard Millen

2018 CCE Winner for LA Edit Fest Raffle - Richard Millen

2018 Editfest LA

My EditFest 2018 experience began with a message from a friend attending the 2018 Canadian Cinema Editors Awards. Unable to go this year, I had nonetheless bought a ticket for the annual raffle.

?Hey. You won a trip to LA,? from Greg. ?That?s crazy,? from me.

And so, it was on. The American Cinema Editors? EditFest 2018 took place on Saturday August 25th in Burbank at the Main Theatre on the Walt Disney Studios campus. After flying into Los Angeles on Friday evening, I arrived at the event in time Saturday morning to catch the ?warmup act,? a presentation from Blackmagic Design on the latest iteration of DaVinci Resolve.  I imagine most CCE members are familiar with the constantly evolving colour grading and (more recently) editing software. As much as I like a good tech presentation, I was eager for the panel discussions to get under way, featuring a cross section of editors from the film and television industries

Panel #1: Small Screen, Big Picture

The celebration of our craft that is EditFest was introduced by Stephen Rivkin, president of the American Cinema Editors. Some members will remember Stephen appearing at a CCE event in Toronto a few years back where he discussed his role as editor of Avatar.

Following his EditFest introduction, he handed the stage over to the first panel discussion Subtitled ?Editors discuss their personal experiences and challenges in the cutting room,? ?Small Screen, Big Picture? was moderated by Margot Nack a strategic business developer for Adobe Pro?s film & TV market in LA.

Editors from different genres, the panelists included Peter Beyt, ACE (multicam sitcom), Jacques Gravett, ACE (TV drama), Tim Porter (Game of Thrones) et Meaghan Wilbur (comedy specials). 

It must be noted that all the editors have worked in several genres during their careers and were talking about their recent areas of speciality.

As the discussion?s subtitle suggests, the talk was wide ranging and highlighted the differences and commonalities among the panelists? daily editing work. Mostly free of controversy, I took note of the lighthearted back and forth about the degree of difficulty and challenge each editor felt was typical of their particular projects.

?You single-camera-scripted guys have it easy!?

The common theme being how each editor?s passion for their career and creative contributions overrides any of the day-to-day challenges that present themselves.

Panel #2: The Extended Cut

Based on description in the EditFest 2018 agenda, ?The Extended Cut? was a session I was seriously looking forward to. In these days of increased focus on workplace mental and physical health, the ?How to survive and thrive in editorial? subtitle was a topic tease that promised some enlightenment and perspective. The panel was made up of editors of diverse ages and backgrounds, but a generally common understanding of the environment needed to foster creative and effective editing.

Lillian Benson is a thirty veteran, who has edited across many genres and was the first African-American female member of ACE. In addition to currently editing the third season of Chicago Med, Lillian serves on the Board of Directors of ACE.

Zack Arnold, in addition to his numerous film and TV credits, founded and runs Optimize Yourself. Optimize Yourself comprises a number of resources designed to offer his fellow post production professionals a roadmap to improved mental and physical health. This effort grew out of Zack?s own struggles with job burnout and the resulting issues that arose.

Carol Littleton?s impressive 40-year career includes collaborations with directors Lawrence Kasdan, Jonathan Demme, Robert Benton among others. 

Her multiple award-winning career and distinguished service with the Editors Guild, ACE and AMPAS, provided her with an excellent vantage point to contribute to this discussion of the desire for the betterment of the working lives of editors.

Andrew Seklir rounded out the panel and brought direct attention to the recently published Best Practices Guide for Post-Production. This is a guidebook produced by the American Cinema Editors aimed at improving the working lives of its members. Andrew is a multi-award winning and nominated editor. He is also a producer and director. While the Best Practices guide seems on the surface to be a ?pie in the sky? wish list, I think it?s value for me was simply a reminder of how far we have come as a profession, and more importantly how far we have to go to achieve the respect and consideration of our employers, when it comes to working conditions. Whether cutting corporate videos or big budget motion pictures, as editors we have more in common than we differ in our professional lives.

Andrew, the other panelists and moderator Matt Feury (Avid, Director of Product Marketing) all contributed to a lively and enlightening discussion. For me one of the more important messages to come from all participants was, don?t be afraid to walk away from a bad situation. Go with your gut and always make your health and well-being a priority in service of a long and creatively satisfying career.

Panel #3: Inside the Cutting Room with Bobbie O'Steen

After lunch, EditFest continued with “Inside The Cutting Room with Bobbie O?Steen.” Bobbie is an Emmy nominated editor, writer and film historian and lecturer. Her guest for the one-on-one conversation on stage was editor Tatiana Riegel.

Tatiana was recently nominated for a Best Editing Academy Award for the film I, Tonya. Their conversation covered Tatiana?s entry into the world of film editing through her extensive collaboration with director Craig Gillespie (Lars and the Real Girl et I, Tonya) and other notable producers and directors.

As a window into one editor?s creative process and relationships, the conversation was both illuminating and entertaining.

Panel #4: Lean Forward Moment

“The Lean Forward Moment” was the final panel discussion of EditFest and focused on the ACE Internship Program. The panel was moderated by Norman Hollyn, a long-time film, television and music editor. Norman is a Full Professor at USC?s School of Cinematic Arts. The panelists were all former ACE interns and working film and television editors. Not surprisingly, they all spoke in support of the intern program and gave personal anecdotes, as well as identifying the films that inspired them to pursue the careers they now enjoy.

The panel was comprised of Mark Hartzel (True Blood), Joi McMillon (Moonlight), Shoshanah Tanzer (The Catch) et Julia Wong (X-Men: The Last Stand). An interesting session that highlighted the way in which organizations like ACE and others can give back and inspire the next generation of editors.

To summarize, my EditFest 2018 experience was fantastic. Many thanks to the Canadian Cinema Editors for offering this prize through the awards night raffle. My good luck in the draw led to a wonderful chance to commune with an enthusiastic group of fellow editors. Special thanks to Alison Dowler of the CCE for getting my trip organized and booked.

Richard Millen

associate member of the Canadian Cinema Editors, Canada

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Événements passés

The 8th Annual CCE Awards Nominees and Winners

The 8th Annual CCE Awards

Award Nominees & Winners

Paul Hunter & Lesley Mackay Hunter – The Nut Job 2 *WINNER*

Annellie Samuel – Magic School Bus, Rides Again: Space Mission Selfie

Dan Lee, Noah Yates & Doug Appeldoorn – Wishfart: We Can Eat Sand/We Are Cheetah Face

Pete Watson, CCE, Jon Hutton & Vish Hansa – Napkin Man: Go With The Flow

Stephanie Duncan, Jason Cohen & Lee Maund – Hotel Transylvania: Adventures in Vampiresitting

Thom Smalley – Prince’s Tale *WINNER*

Alan Flett – Inseparable: Ten Years Joined At The Head

Katie Chipperfield – NUUCA: Field of Vision

Luke Sargent – The Love Songs of Oedipus Rex

Tiffany Beaudin – On My Way Out: The Secret Life of Nani and Popi

Andres Landau – Unarmed Verses *WINNER*

Cathy Gulkin, CCE – In The Name of Your Daughter

Eamonn O?Connor – My Enemy, My Brother

Jean-Denis Rouette – Shut Up And Say Something

Hart Snider & J.R. Mackie – I Am Heath Ledger

Mike Banas, CCE – It?s Not What you Know *WINNER*

Alexander Farah & Paolo Kalalo – Cypher        

Holly Pavlik – The Ultimate Thief             

Lisa Jane Robison, CCE – The Black Ghiandola

Maureen Grant – L?Audition

Greg Ng – The Wrestlers: The Next Wave of Mexican Luchadores *WINNER*

Cathy Gulkin, CCE & Paul Winestock, CCE – We Are Canada: Ep5

James Yates – Arctic Secrets: Rhythm of the Bay

Rob Chandler – Mayday Season 17: Ep4 Explosive Proof

Steven Budd & Ben Kaplan – Tattoo Age: Ed Hardy

Lauren Brandon – The Next Step – The Off Season: Riley’s Dance *WINNER*

Ashley Brook, Josef Beeby & Kyle Cucco – Canadiana: The Bizarre History of O’Canada

Lisa Barley – Backstage: Studio Pass – Montreal

Simone Smith – That’s My DJ: The Finale

Thom Smalley – Played: Ep06 Level Up

Al Manson, Jonathan Dowler, Andrew Gurney, Baun Mah, Mike Scott, Kyle Martin & Seth Poulin – Top Chef Canada: All Stars (Ep5059 Lock It Up! It’s the Finale!) *WINNER*

Allan Hughes, Miles Davren & Jared Bryer – Masterchef Canada (Ep408 – Auberge Anniversary)

Cynthia Flengeris, Michael Tersigni, Kyle Martin & Jonathan Dowler – Top Chef Canada: All Stars (Ep5050 All-Stars Assemble)

Michael Tersigni, Jonathan Dowler, Kyle Martin & Cynthia Flengeris – Top Chef Canada: All Stars (p5056 Ice Cream, You Scream, All Aboard!)

Michael Tersigni, Jonathan Dowler, Wesley Finucan, Cynthia Flengeris, David Yenovkian & Clare Elson – The Amazing Race Canada (Ep501 Who Wants To Be The Python?)

Daniel Benoit – Animal (Centennial College)

Daniel Shpuntov & Alex Xiao – Tempest (Ryerson University)

Ellora Dela Fuente – Perception (Sheridan College)

Emily Stranges & Brett Sherman – An Art Ting (Ryerson University)

Joanna Su – Fermata (Humber School of Media Studies & Information Technologies)

Trevor Ambrose, CCE – Schitt’s Creek: Singles Week *WINNER*

Aren Hansen – Kim’s Convenience: Ep210 Janet’s Boyfriend

Ehren Davis & Dean Soltys – Mr.D: Ep 711 Insiders Look

Gordon Rempel, CCE – Mech-X4 (Vs the Dark Night)

Robert de Lint – Kim’s Convenience: Ep213 A Handy Graduation

Lisa Grootenboer, CCE – Mary Kills People: The Means *WINNER*

Daniel Sadler – Cardinal: Blackfly Season – Red

Duncan Christie – Mary Kills People: Fatal Flaw

Matthew Anas – Cardinal: Blackfly Season – Toof

Ron Wisman SR, CCE – Flint

Wendy Hallam Martin, CCE – The Handmaid?s Tale: Late *WINNER*

Aaron Marshall – Vikings: Moments of Vision Ep510

Christopher Donaldson, CCE – The Handmaid?s Tale: Birth Day

D. Gillian Truster, CCE – Anne: Remorse is the Poison of Life Ep106

Jay Prychidny, CCE – Orphan Black: To Right the Wrongs of Many

Isabelle Malenfant, CCE – Pieds nus dans l?aube *WINNER*

Chris Mutton & Erin Gulas – Luba

Duff Smith – Sweet Virginia

Jane MacRae & Kye Meechan – 22 Chaser

Michael Pierro – Room For Rent

The 8th Annual CCE Awards GalaStarting his career in 1970, master documentary editor Steve Weslak, CCE, remembers that working in the tiny film community of the era felt more like being in a garage rock band, rather than the mature industry that we have today. Almost five decades later he is still a vital part of the documentary scene, editing feature docs for HBO, BBC, PBS, NFB and all the major Canadian broadcasters. His editing assignments on international co-productions have taken him around the world, from Sydney, Australia to London, England. Along the way he?s been privileged to work with many outstanding directors such as Ric Bienstock, Alex Gibney, Larry Weinstein and Barbara Willis Sweete.

Steve?s 2015 year saw him win both a Canadian Screen Award for ?Best Picture Editing in a Documentary? for Our Man in Tehran as well as the Black Dolphin award in Cannes for editing the HBO feature Tales From the Organ Trade?the only editing prize awarded from the 725 entrants at the Dolphin Film Festival. He?s been a six-time Gemini award nominee and a number of the films he?s edited, such as The Planets, Empire of the Word, et Deadly Currents, have won awards at home and internationally, including an International Emmy for Concerto. Perhaps the most important and enduring impact that he?s had on Canada?s industry is through his mentorship. Steve loves to work with first-time filmmakers, sharing what he has learned over the decades. Throughout the years he has also helped many of his editing assistants graduate into fulltime professional editors.

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Événements passés

EditCon 2018

EditCon 2018

EditCon 2018 in Review

The first annual EditCon took place on Saturday February 10th, 2018 at the TIFF Bell Lightbox in Toronto.  The event was sold out to 150 guests and included 4 informative, lively and open discussion panels. 

Some of our sponsors donated some great prizes.  Our prizes totalled over $6000.  Some prizes included a Hard Drive, Copies of Art of the Cut (Steve Hullfish the author was even in attendance to sign the copies!), a copy of Avid Media Composer and subscriptions to various Boris FX programs. 

MISSED SEEING IT LIVE? Check out the podcasts!

Panel #1: Documentary Confidential

Narrative, character & emotion –  how do we as storytellers bring these elements to an audience in a compelling and dramatic way? In documentary filmmaking, there are the added challenges of ethics, honesty, and “truth,” in however we are able to define them for ourselves. Editors in doc have such a deep involvement in shaping the films that they can become credited co-directors or co-writers. Join us as our panel (Mike Munn CCE, Michèle Hozer CCE & Nick Hector CCE) explores the profound level of authorship editors can have in crafting a documentary.

Jay Prychidny, CCE is an award-winning picture editor and producer who has worked across a variety of scripted and factual programs. Most recently, his scripted projects have included Orphan Black (BBC America), Killjoys (SyFy) and Into the Badlands (AMC). On the factual side, he has worked on documentary series such as The Week the Women Went (CBC), Rodeo: Life on the Circuit (History) and SexTV (CTV) as well as the reality programs Canada’s Next Top Model (CTV), Top Chef Canada (Food Network) and The Amazing Race Canada (CTV).

Nick Hector is a DGC, CCE, HotDocs and multi-Gemini Award winning film editor, story editor and consultant. He?s cut more than two-dozen feature and one hundred TV documentaries for filmmakers across the globe. Perhaps Nick?s best known work stems from his long creative relationships with legendary Canadian filmmakers Allan King, Yvan Patry, and Sturla Gunnarsson. With 2 films on Criterion, 3 Top Ten Canadian films, 5 films at MoMA, 10 at TIFF, and 15 at HotDocs, the first 30 years have been a lot of fun.

Mike began his career with the Toronto New Wave, editing features for Bruce McDonald (Roadkill), Srinivas Krishna (Masala and Lulu) and Peter Mettler (Tectonic Plates; Picture of Light)

He went on to cut numerous features for Canadian and international directors, including John Greyson (Law of Enclosures),  Richard Kwietniowski (Owning Mahowny),  Daniel MacIvor (Past Perfect; Wilby Wonderful), Nisha Ganatra (Cake), and Bruce McCulloch (Comeback Season).  As well, Mike has edited several award-winning documentaries, including Stories We Tell, for director Sarah Polley.  His many television credits include Shaftesbury’s The Shields Stories and Sienna Film’s mini-series Diamonds, nominated for 9 Gemini awards.

Mike’s work has been recognized formally through award nominations as well as being highlighted in film reviews from around the world. Films he has edited have played at Cannes, Berlin, Venice and Sundance, among other festivals, with 11 features accepted at TIFF. Sarah Polley’s Stories We Tell was shortlisted for the documentary Oscar as well as being voted in a TIFF poll as one of the 10 best Canadian films of all time.

With two films on the Oscar shortlist, Emmy-nominated and Gemini-winning Michèle Hozer has been working as a filmmaker and editor in Canada since 1987. To date, she has worked on more than 50 documentaries. Her work has received accolades from the most prestigious film festivals in the world, including the Sundance Film Festival and the International Documentary Film Festival in Amsterdam. Shake Hands with The Devil: The Journey of Roméo Dallaire won both the 2007 Emmy for Best Documentary and the Audience Award at the 2005 Sundance Film Festival. Promise to the Dead picked up her first International Emmy nomination as an editor. But her directorial debut with Genius Within: The Inner Life of Glenn Gould won the coveted spot on the Academy Award short list as well as a Gemini for Best Biography. Since its premiere at TIFF in 2009, the feature length documentary has been seen by audiences in Britain, Australia, Japan, and across North America.

In 2012, The Director?s Guild of Canada (DGC) awarded The Allan King Award for Excellence in Documentary to Michèle and team for West Wind: The Vision of Tom Thomson. At the same time, she picked up both the Amsterdam International Documentary Film Festival Editing Award and top honours from her peers at Canadian Cinema Editors.

In 2015 Michèle completed her first solo feature length documentary in the combined roles of director, editor, and producer for Sugar Coated probing the role of sugar in a global healthcare epidemic. The film, in association with TVO and ZDF/ARTE, had its world premiere at Hot Docs International Film Festival and has been playing worldwide at international film festivals and on television. Sugar Coated was honoured with The Donald Brittain Award for Best Social and Political Documentary at The 2016 Canadian Screen Awards. Sugar Coated presently playing available Netflix across North America. Michèle? short documentary, The Barber of Augusta film just recently won the Dodie Spittal Award at 2017 The Picture This Film Festival. She just completed SponsorLand the feature length doc for TV Ontario on a Syrian refugee family with 11 children resettling in the tiny town of Picton Ontario.

Panel #2: TV Editing in the Golden Age

What is it like to collaborate with television’s finest creators? How does Jean- Marc Vallée work with his editors, having been one himself? What’s it like to cut the performance of a National Treasure?  How does it feel to share your Emmy onstage with Margaret Atwood? 

The panel will examine the editor’s contribution in creating original, provocative and beautifully made television.

Award winning editor, Teresa has been editing TV drama for more than 20 years. Recently, she worked on the multiple CSA nominated series Cardinal, which garnered her the DGC award for best editing- she?s also nominated for a CSA.  Bellevue, starring Anna Paquin, is screening on WGN America at the moment another series that Teresa edited and got to co-produce. Prior work includes award nominated series; 19-2, Bomb Girls, Camelot and the influential Durham County. Teresa is very excited to be part of the industry at a time when the boundaries of TV storytelling are being pushed like never before- it truly is the Golden Age.

Roslyn?s television projects can be seen on NETFLIX, HBO Canada, ABC, Syfy, Lifetime, Global and the CBC. Her feature film work has been screened at TIFF, Berlinale, and Hot Docs. She has earned CCE and DGC Nominations for her editing in the categories of documentary, TV Movie and Mini-Series. 

Roslyn’s passion for editing began in Montreal, where she studied Film and Screenwriting at McGill University. She spent 3 years as the resident editor at the Banff Centre for the Arts and is a graduate of the The Canadian Film Centre. 

Roslyn’s recent drama series include Haven, Hemlock Grove, Ten Days in the Valley, et Mary Kills People.

Over the past decade, Véronique has edited a wide range of projects including short films, music videos, documentaries, advertising, and TV series.  Most recently she contributed to HBO?s Big Little Lies, and is currently working on Jean-Marc Vallée’s next HBO series Sharp Objects.

Raised on Star Trek, 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. His work has been seen ?round the world in festivals such as Sundance, Berlinale, SXSW, TIFF, and most recently on HBO with the Emmy winning mini-series Big Little Lies

Multiple award winning editor Wendy Hallam Martin is presently working on the Emmy and Golden Globe winning series The Handmaids Tale where she has received an ACE nomination for the pilot entitled ?Offred?. Her prior work includes the upcoming cable series for MGM entitled Condor starring Max Irons, William Hurt and Mira Sorvino. Other work includes Showtime?s, The Tudors, Borgias et Queer as Folk, History?s Camelot et Vikings and hit Canadian dramas like Saving Hope, Rookie Blue et Dark Matter to name a few. Wendy resides in Toronto, Canada with her husband and two kids.

Gillian has had a diverse career editing feature films, MOWs, drama series, and documentaries, in a variety of genres. She has worked with many prominent and celebrated producers and directors in the Film and TV industry including Moira Walley-Beckett, David Shore, Naren Shankar, Mark Fergus, Vincenzo Natali, and Helen Shaver.

Gillian?s editing credits include the highly acclaimed CBC/Netflix series Anne, et Orphan Black, for which she received two CSA Awards. She is the first Picture Editor to have won that award for two consecutive years for the same series. Her work on Orphan Black has also garnered her a DGC Award and two CCE Awards nominations. She has also earned a DGC nomination for Degrassi: The Next Generation, and a Gemini nomination for the series Todd & the Book of Pure Evil.

Some of her other credits include the series The Expanse, Houdini & Doyle, The L.A. Complex, and the feature films Seven in Heaven, for Blumhouse Productions, A Christmas Horror Story, for Copperheart Entertainment, and Compulsion, for Dimension Films.

Panel #3: Behind the Cut with Richard Comeau, CCE

Based in Montréal, Richard has been editing since the early nineties. He won the Genie Award for Best Editing two years in a row, for The Necessities of Life in 2008 and Polytechnique in 2009. He also won the Jutra Award for Gabrielle (2013) and was nominated for My Internship in Canada (2016), and won a CSA for Two Lovers and a Bear (2017). 

As part of this masterclass, Richard discusses his work on Polytechnique, War Witch, et Eye on Juliet (which recently won the Best Film at the Venice Film Festival’s Giornate degli Autori section)

Writer-Director Jim Allodi is a graduate of the NYU film program, and the CFC Director?s Lab. He wrote and directed the acclaimed feature The Uncles (Odeon Films), named one of Canada?s Top Ten by the Cinemateque Ontario. His award winning shorts have played in numerous international festivals.

His directing work for television includes the pilot for The Republic of Doyle (CBC), Call Me Fitz (HBO Canada), (Regenesis, TMN), and he has won a Gemini award and nominations for both drama and comedy (Naked Josh, Showcase), and a DGC Award for Best Miniseries/TV Movie (The Best Laid Plans, CBC.)

Having worked as an editor and photographer, Jim turned to acting in his 20?s as a means of furthering his development as a director, and has since accumulated a long list of film and television credits and appeared on stage in Canada, the U.K., and the U.S.

Richard Comeau has been editing feature films for over twenty five years. Projects like War Witch, Maelstrom or The Pillars of the Earth have garnered awards and nominations at the Oscars, the Golden Globes, and throughout the world in major film festivals like TIFF, Cannes, or Berlin. Richard himself has won numerous awards for best achievement in editing. He?s worked with some of the finest filmmakers in Quebec, like Denis Villeneuve, Philippe Falardeau, Kim Nguyen, and Louise Archambault.

Panel #4: Crossing the 49th

Join panelists Matthew Hannam, Stephen Philipson, and Andrew Coutts  as they discuss the ups and downs of working in the US. As the Canadian and American film industries become more intertwined, what challenges and opportunities arise for Canadian editors wishing to work south of the border? How does the work differ? How is it the same? For those who wish to remain in the land of Mounties and free medicare, what can we learn from our American editor friends? This panel will examine the creative and practical concerns of working down there versus working up here.

Chris Mutton brings over 12 years of film and television experience to the table. He is a 2015 Canadian Film Centre alumni and since then has been cutting music videos, commercials and the highly anticipated PORCUPINE LAKE, which premiered this year at TIFF. 

Also premiering at TIFF was the feature documentary SILAS, executive produced by Leonardo DiCaprio?s Appian Way productions, which Chris came on board to complete.  The documentary POPCORN AND MAPLE SYRUP that Chris co-edited for the CBC, won the Special Jury Award at Worldfest.

Chris? short films have screened throughout the world, including CLEO (TIFF, Cinema City), GOLDEN BOYS (HollyShorts, Inside Out, MiFO) and THE SISTERS TOLCHINSKI (Rhode Island International Film Festival).  Chris recently completed a series of projects for TIFF as supervising picture editor.

Andrew has enjoyed a career working with studios such as Fox, CBS, ABC, Marvel, and Netflix, including popular shows such as Sleepy Hollow and Bull.  His work on the pilot episode of APB with Director Len Wiseman secured a first season pick up order from Fox Television.  

He edited Sequence, which won numerous awards globally, including ?Best of the Fest? at LA Shorts Fest and the Canal+ Award at the renowned Clermont Ferrand International Short Film Festival?as well as earning him a CCE nomination for Best Editing in a Short Film. 

Andrew has sliced through numerous feature films including comedy/horror Bloodsucking Bastards, post-apocalyptic thriller The Day, which premiered as part of TIFF?s popular Midnight Madness program, and the hugely successful Saw VI et Saw 3D.

Currently, Andrew is living long and prospering, editing the recent chronicle from the celebrated Star Trek franchise, Star Trek: Discovery for CBS All Access and Netflix.

Matthew Hannam is a film editor from Winnipeg. He began his career as an assistant editor for Guy Maddin. Since then he has been lucky to work on such diverse projects as The Daniels? SWISS ARMY MAN, Denis Villeneuve?s ENEMY and Sundance hit JAMES WHITE.  Most recently he edited Paul Dano?s directorial debut WILDLIFE

Stephen Philipson, CCE, est un monteur maintes fois récompensé et fier membre du CCE depuis ses tout débuts. Il a travaillé sur des séries télé majeures comme American Gods American Gods, Hannibal, et Orphan Black. He also cut Canadian film favourites such as Chasse infernale, 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. A graduate of the Canadian Film Centre and Emily Carr University of Art and Design, Stephen’s break came on the 2009 documentary Prom Night in Mississippi (starring Academy Award winner Morgan Freeman), which premiered at Sundance, broadcast on HBO, and screened at The White House. 

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February 2018

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350 King Street West, Toronto

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Global Opportunity Report 2018

Global Report 2018: Seeking the Advancement for Canadian Editors

We are fortunate in Canada to have a consistently growing film and television industry.

Our creative artists have developed their skills on both domestically and internationally funded films and television series. When productions choose to travel to Canada to shoot, they do so as result of attractive tax incentives as well as the knowledge that Canadian crews are both talented and experienced. 

We consistently celebrate how many foreign productions film in Canada, yet it is rarely mentioned that a significant percentage of those productions are not edited by Canadians.

Currently, it is unreasonably difficult for Canadian editors to be recognized by foreign producers and directors as candidates that merit serious consideration.

We aim to generate discussion around barriers to employment and encourage change in the policies that have kept Canadian editors from being considered by prominent foreign production companies.

This report is intended as a constructive tool to address these serious issues facing Canadian editors, and we hope it encourages further discussion on the matter.

MISSION

STATEMENT

The Global Opportunities Committee seeks fair access to opportunities for Canadian picture editors in Canada and the world. With the recommendations contained within this document, we aspire to create an environment that will allow Canadian editors to flourish.

REPORT

OVERVIEW

The Canadian Cinema Editors (C.C.E.), an organization of post-production professionals dedicated to promoting Canadian editors, recently commissioned a survey to determine:

whether its membership would like to encourage government agencies and unions that represent editors (the DGC in Ontario, Alberta, Saskatchewan, Manitoba, and Atlantic Canada, IATSE in B.C. and Quebec, ACFC in BC, and AQTIS in Quebec) to take a more active role in promoting Canadian editors to foreign producers, directors, and showrunners who film here

whether its membership was interested in pursuing opportunities in foreign markets such as the U.S.

The answer to both questions was an overwhelming yes. While Canada has enjoyed a production boom in major centres, this boom has not extended to Canada?s picture editors. Many of the foreign shows that shoot in Canada choose to edit in Los Angeles or abroad, resulting in lost opportunities for Canadian editors. The survey reflects a strong desire amongst Canadian editors to access those lost opportunities and overcome the many barriers to working on foreign productions.

It?s weird that productions from the U.S. will shoot in Toronto, go back to LA or NY for picture editing but then come back to Toronto for post sound. We need to find a way to keep them in the city for the full post-production package.
Respondent #67 Editor
Female, 25 ? 34, 10 ? 15 years in industry
I feel there is a bias against Canadian Editors. We need to be promoted. There is a lot of wasted talent!
Respondent #43 Editor
Female, 35 ? 44, 10 ? 15 years in industry

CURRENT

STATE OF

POST-PRODUCTION

IN CANADA

Canadians edited such critically-acclaimed series as The Handmaid?s Tale, American Gods, Hannibal, Orphan Black, Anne with an E, The Expanse, et Vikings.

In 2018, Canadian editors Wendy Hallam Martin and Julian Clarke won ACE?s (American Cinema Editors) Eddie award for their stellar work on The Handmaid?s Tale. Clarke was nominated for both an Academy Award and a BAFTA for District 9 in 2009.

Quebec editors Maxime Lahaie-Denis, Sylvain Lebel, Véronique Barbe, and Justin Lachance were nominated for an Emmy and an Eddie for their work on Big Little Lies.

In 2012, Toronto editor Don Cassidy won an Emmy for his work on the miniseries Hatfields & McCoys. Ron Sanders has been celebrated for his work on such films as A History of Violence et Eastern Promises; Richard Comeau for such films as the Oscar-nominated War Witch; and Mike Munn for the internationally-praised Stories We Tell.

Yet despite these successes, the statistics show that more needs to be done. While other below-the-line departments have flourished, this has not translated to comparable opportunities for editors.

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