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Articles

Finalistes des prix de la GCR 2022 (télévision)

Finalistes des prix de la GCR 2022 (télévision)

2020 DGC Awards Banner Feature Image

Félicitations à nos membres CCE qui ont été nommés aux prix de la GCR.

Best Picture Editing – Dramatic Series
  • Roslyn Kalloo, CCE – Vikings: Valhalla, Episode 105, Miracle
  • Thorben Bieger, CCE – Moonshine, Episode 101, Standby out of Newark
  • Dan Briceno – Billy the Kid, Episode 102, The Rattler
Best Picture Editing – Movies for Television and Mini-Series
  • Rob Chandler – Don't Hang Up
  • Maureen Grant – Stolen by Their Father
  • Gloria Tong – Under the Holiday Spectacular
  • Diane Brunjes – Left for Dead: The Ashley Reeves Story
  • Fabiola Caraza – Christmas Movie Magic
Best Picture Editing – Comedy or Family Series
  • Sam Thomson – Sort Of, Episode 101, Sort of Gone
  • Craig Webster, CCE & Sam Thomson – Sort Of, Episode 108, Sort of Back Again
  • Kyle Martin, CCE – Letterkenny, Episode 1003, Dyck Meat
  • Lee Walker – Astrid and Lilly Save the World, Episode 105, A-Borg
Best Sound Editing – Comedy or Family Series
  • Janice Ierulli (+3 others)– Son of a Critch, Episode 107, Father Critch
Catégories
Articles Membres

Félicitations : Finalistes des prix de la GCR 2021

Prix de la GCR 2021

2020 DGC Awards Banner Feature Image

Congratulations to our DGC Award Nominations!

BEST PICTURE EDITING - FEATURE FILM

Michelle Szemberg, CCE & Orlee Buium

All My Puny Sorrows

 

BEST PICTURE EDITING - DOCUMENTARY

Steve Taylor, CCE

A.rtificial I.mmortality

 

Caroline Christie, CCE

Duet for Solo Piano

Catégories
Articles Membres

Félicitations : Finalistes des prix de la GCR 2021

Finalistes des prix de la GCR 2021

2020 DGC Awards Banner Feature Image

Congratulations to our CCE members who have been nominated for DGC awards!

BEST PICTURE EDITING - DRAMATIC SERIES

Christopher Donaldson, CCE

American Gods, Episode 305, Sister Rising

Jonathan Eagan

Ginny & Georgia, Episode 103, Next Level Rich People Shit

Roderick Deogrades, CCE

The Expanse, Episode 509, Winnipesaukee

Teresa De Luca, CCE

Coroner, Episode 310, Christmas Day

D. Gillian Truster, CCE

Pretty Hard Cases, Episode 105, Kids

 

BEST PICTURE EDITING - MOVIES FOR TELEVISION AND MINI-SERIES

Courtney Goldman

Dino Dana: The Movie

Stephen Philipson, CCE

Faith Heist

 

BEST PICTURE EDITING ? COMEDY OR FAMILY SERIES

Daniel Sadler

The Hardy Boys, Episode 113, While the Clock Ticked

Eamon O'Connor

For Heaven?s Sake, Episode 101, The Disappearance

Aren Hansen & Lee Walker

Kim?s Convenience, Episode 510, Who’s Pranking Who?

 

BEST SOUND EDITING ? DRAMATIC SERIES

Janice Ierulli (+4 others)

Hudson & Rex, Episode 307, All in the Litter

Catégories
Articles

Congratulations: 2020 DGC Award Winners

Congratulations: 2020 DGC Award Winners

DGC Award Logo

Congratulations to our CCE members who won a DGC Award!

Ron Sanders, CCE

Falling

Caroline Christie, CCE (plus 1 other editor)

Meat the Future

Aaron Marshall, CCE

The Handmaid’s Tale, Episode 309, Heroic

Sandy Pereira

Cardinal: Until the Night, Scott

Paul Winestock, CCE

Schitt’s Creek, Episode 613, Start Spreading the News

Catégories
The Editors Cut

Episode 016: Behind the Cut

Episode 016: Behind the Cut


Episode 016: Behind the Cut

This is part three of our four part series covering EditCon 2019.

The EditCon 2019 series was generously sponsored by Deluxe

In this masterclass, award-winning editor Ron Sanders, CCE will be sharing insight from his career, notably his work with celebrated director David Cronenberg. Their collaboration spans 19 films, for which he won four Genie Awards for Excellence in Film Editing and three Best Editor Awards from the Directors Guild of Canada. Ron discusses scenes from Eastern Promises, A History of Violence, A Dangerous Method et Maps to the Stars. This panel was moderated by Jim Allodi.

Écoutez maintenant

Abonnez-vous là où vous écoutez vos balados

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

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

Crédits

Un grand Merci à

Maureen Grant

the EditCon Committee

Alison Dowler

Jane MacRae

Annex Pro & Avid

Hosted and Produced by

Sarah Taylor

Monté par

Chris Coulter

Recorded by

Jason Kanoza

Design sonore du générique d'ouverture

Jane Tattersall

ADR Recording by

Andrea Rusch

Mixé et masterisé par

Tony Bao

Musique originale par

Chad Blain

Sponsor Narration by

Paul Winestock

Commandité par

Deluxe

Catégories
The Editors Cut

Episode 021: Interview with Cathy Gulkin, CCE

Episode 021: Interview with Cathy Gulkin, CCE

Episode 021: Interview with Cathy Gulkin, CCE

In this episode Sarah Taylor sits down with award-winning editor Cathy Gulkin, CCE.

This episode was generously sponsored by Vancouver Short Film Festival

For much of her career, Cathy has focused on long form social issue documentaries, but the breadth of her talent is demonstrated with a wide-ranging filmography with credits in music docs, comedy TV shows, theatrical feature films, children’s programs, reality and lifestyle series. Her work has been recognized with several editing awards for such films as the classic feature documentary Forbidden Love (1992 Atlantic Film Festival), The Four Seasons Mosaic (2005 Gemini nomination, Best Editing in a Performance Program), And We Knew How to Dance (1994 Columbus, Best Documentary) and Omar Khadr: Out of the Shadows which received a 2016 Emmy nomination and won 2016 DGC Award.

Écoutez maintenant

Abonnez-vous là où vous écoutez vos balados

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

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

Crédits

Un grand Merci à

Jane MacRae

Cathy Gulkin, CCE

Hosted and Produced by

Sarah Taylor

Design sonore du générique d'ouverture

Jane Tattersall

ADR Recording by

Andrea Rusch

Mixé et masterisé par

Tony Bao

Musique originale par

Chad Blain

Sponsor Narration by

Paul Winestock

Commandité par

Vancouver Short Film Festival

Catégories
The Editors Cut

Episode 024: Interview with Kimberlee McTaggart, CCE

Episode 024: Interview with Kimberlee McTaggart, CCE

Episode 024: Interview with Kimberlee McTaggart, CCE

In today?s episode Sarah Taylor sit down with Kimberlee McTaggart, CCE.

This episode was generously sponsored by Post City Picture & Sound.

Kimberlee McTaggart, CCE

Kimberlee has been working in the Canadian film industry for over 30 years. She graduated from York University with a BFA in film, where she won the Dean?s Prize for Excellence and a national prize from the Academy of Canadian Cinema and TV.

More importantly, she met a bunch of cool people who inspired her then and continue to do so today. Despite spending her university years in Toronto, a city she loves, she was immediately drawn back to her home province of Nova Scotia where she has carved out a varied and successful career.

Kimberlee produced, directed, and/or edited several award-winning documentaries before beginning to work exclusively in post production in 1994. She also began to work exclusively on non-linear systems, glad to leave the Moviolas and Steenbecks behind! Kimberlee has edited several dramatic series such as Lexx, Gullages, Made in Canada, This Hour has 22 Minutes, Call Me Fitz, Studio Black, Seed, Pure et Diggstown. Her work on the Call Me Fitz pilot brought her one of the last Gemini Awards.

She was also nominated for a Canadian Screen Award for her work on both Call Me Fitz and Seed, as well as the feature film Blackbird. Kim took a break from editing for a few years to run a production company where she and her business partner produced several documentaries and two documentary series. She also worked as a business affairs consultant for other companies during this time, and executive produced several short dramatic films.

And now, after being back in the editor?s chair for 10 years, she is dipping her toes back in to the producing waters, beginning with the award-winning short film Pearls. In addition to serving on the Board of the CCE, Kimberlee serves as the Chair of Women in Film and Television ? Atlantic as well as the Editing Caucus Representative of the Atlantic Regional Council of the DGC.

Écoutez maintenant

Abonnez-vous là où vous écoutez vos balados

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

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

Crédits

Un grand Merci à

Jane MacRae

Alison Dowler

Post City Picture & Sound

Animé, produit et monté par

Sarah Taylor

Mixé et masterisé par

Tony Bao

Musique originale par

Chad Blain

Sponsor Narration by

Paul Winestock

Commandité par

Post City Picture & Sound

Catégories
Articles

Congratulations to 2020 DGC Nominations

Congratulations to 2020 DGC Nominated CCE Members

DGC Award Logo

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

 

Aaron Marshall, CCE

La Servante écarlate, Episode 309: Heroic

 

D. Gillian Truster, CCE

Anne With An E, Episode 307, A Strong Effort of the Spirit of Good

 

Teresa De Luca, CCE

Coroner, Episode 208, Fire Part 2

 

Roderick Deogrades

Killjoys, Episode 501, Run, Yala, Run

Sandy Pereira

Cardinal: Until the Night, Scott

 

Lee-Ann Cass

Christmas Chalet

Paul Winestock, CCE

Schitt’s Creek, Episode 613, Start Spreading the News

 

Mike Fly, Aren Hansen, Nick Wong (plus 2 other editors)

Baroness Von Sketch Show, Episode 401, Humanity is in an Awkward Stage

Ron Sanders, CCE

Falling

 

Matthew Hannam, CCE

The Nest

 

Jorge Weisz

Hammer

 

Michelle Szemberg, Orlee Buium

Queen of the Morning Calm

Caroline Christie, CCE (plus 1 other editor)

Meat the Future

 

Lee Walker

Butterflies in the Storm

 

Caroline Christie, CCE

First We Eat

 

Nicholas Montgomery

No Roses on a Sailor?s Grave

Catégories
Articles

DGC Award Winners 2019

DGC Award Winners 2019

2020 DGC Awards Banner Feature Image

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

Catégories
Articles

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

Stephen Philipson, CCE at edit suite ACE magazine article

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.

fr_CAFR

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