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EditCon 2023

EditCon 2023

EditCon 2023 in Review

"Editing is like a passion ... Discovering a whole new world you are going to be in."
Arthur Tarnowski, ACE
Editor, DRUKEN BIRDS

The CCE just completed its 6th annual EditCon with three days of amazing panel talks, virtual breakout rooms, and networking for over two hundred attendees from Canada and around the world. And after two years of online EditCon we also ventured back in person and hosted events in Toronto, Montreal and Vancouver.

Presented under the theme “Finding Meaning” we welcomed the editor from SCREAM 6 and WEDNESDAY for our keynote presentation, as well as editors and the sound teams from the binge-worthy shows STRANGER THINGS and HOUSE OF THE DRAGON.

Additional panels featured the editors from I LIKE MOVIES, CRIMES OF THE FUTURE, VIKING, RICEBOY SLEEPS and BLACK ICE (films that were all on the TIFF TOP 10 list!) as well as GEOGRAPHIES OF SOLITUDE and BACK HOME.

For our in-person events we welcomed the editing team from FRAGGLE ROCK in Toronto, Women in Post in Vancouver and a Short Film Panel in Montreal.

It wouldn’t be EditCon without wrapping up the weekend with a good old-fashioned giveaway, thanks to prize donations from our generous sponsors. Afterwards, attendees mingled in a virtual networking world.

Missed Attending Live?

Subscribe to our podcasts to be notified about future episodes featuring our EditCon 2023 talks.

Presented in English

Presented in French

Panels (Virtual)

FRIDAY FEBRUARY 24TH
"I emotionally react to performances and I try to cut faster with my intuition than my thoughts."
Michelle Szemberg, CCE
Michelle Szemberg, CCE
Editor, ALL MY PUNY SORROWS

Behind the Cut with Jay Prychidny, CCE

Award-winning producer and editor Jay Prychidny, CCE will be joining us as the keynote speaker this year. Prychidny’s vast experience ranges from editing some of the most-watched reality television in this country, including AMAZING RACE CANADA. He has led the post-production on ORPHAN BLACK and recently edited the new WEDNESDAY series and forthcoming SCREAM 6. Jay will share insights about his editing process and lessons from his dynamic career in post-production.

Jay Prychidny, CCE is a multiple award-winning producer and editor, including back-to-back Canadian Screen Award wins in 2017 & 2018 for ORPHAN BLACK and THE AMAZING RACE CANADA. As a producer on ORPHAN BLACK, LOST & FOUND MUSIC STUDIOS, THE NEXT STEP and SNOWPIERCER, he supervised the editing, sound, music and VFX for every episode. His last project was editing all of the Tim Burton-directed episodes of the Netflix series WEDNESDAY, working with the iconic director on-location in Romania and the UK. He is currently editing SCREAM 6 for Paramount Pictures, which is his first feature film.

Cheryl has over 20 years of experience in cutting rooms worldwide. Her recent editing credits include episodes of Amazon’s THE LORD OF THE RINGS: THE RINGS OF POWER, HBO’s THE NEVERS, Amazon’s HANNA, TNT’s SNOWPIERCER and THE ALIENIST: ANGEL OF DARKNESS. Prior to this she was Additional Editor on Ron Howard’s SOLO: A STAR WARS STORY and Ridley Scott’s ALIEN: COVENANT and THE MARTIAN.

Cutting through the Noise

The arrangement of moving pictures is referred to as cinematic language. But it is the skillful combination of picture and sound that transports the audience into a story. Strong visual and audio storytelling immerses the viewer into a world where dragons fly through the sky in HOUSE OF THE DRAGON. It makes our worst nightmares come true in the dreadful depths of the Upside Down in STRANGER THINGS. Stay tuned to hear about the latest from the sound designers and editors behind these phenomenal shows.

Paula Fairfield grew up in Nova Scotia and is an International and Emmy award winning sound designer for tv, film, commercials, and basically anything that makes noise. Her passion is high concept sound design and her main interest is working with visionary creators, which is clearly reflected in her resume and her background as an artist. Recent projects include MOTHERLAND: FORT SALEM, WARRIOR NUN, LOVECRAFT COUNTRY, THEM: COVENANT, THE NEVERS, LOST, GAME OF THRONES and most recently HOUSE OF THE DRAGON and RINGS OF POWER.

Craig Henighan is a Supervising Sound Editor, Sound Designer and Re Recording Mixer. He was nominated for a Best Sound Mixing Oscar in 2019 for ROMA and has won 6 Primetime Emmys for STRANGER THINGS and LOVE DEATH AND ROBOTS. Craig is from Mississauga, Ontario and holds a Media Arts Degree from Sheridan College. He is a member of Cinema Audio Society, Motion Picture Sound Editors and AMPAS. Credits include FREE GUY, BLACK SWAN, DEADPOOL, THE BATMAN, TROPIC THUNDER and THE WHALE.

Katie Halliday is a two time Emmy award winning sound editor for her contributions on the television show STRANGER THINGS. She is also a supervising sound editor, nominated this year for the first ever Children and Family Emmy Awards for her sound design and supervising work on HOTEL TRANSYLVANIA: TRANSFORMANIA. Having started out in sound in Toronto, Canada, she has moved her way up quickly in the ranks of the Hollywood sound world. She has also worked with the likes of Guillermo del Toro, and won several craft awards in Canada before moving to Los Angeles.

Siân Fever is a First Assistant Editor, Assembly Editor and Previs Editor with over 15 years of experience in the screen industries. Her credits include THE CROWN, THE NEVERS, DUMBO, MISSION IMPOSSIBLE: FALLOUT, TOMB RAIDER and WONDER WOMAN. Most recently she worked on HOUSE OF THE DRAGON. Prior to the cutting room, Siân was an offline editor for broadcast, marketing and corporate content with a proven strength in music programming and multicam; before redirecting her focus toward scripted television and feature films. Siân founded the London branch of Blue Collar Post Collective, an accessible and focused grassroots non-profit organisation, supporting emerging talent in post-production, and has spoken about her work at screen guild events EditFilmFest and EditFest, National Careers Week and industry conferences IBC and NAB.

Sarah Taylor is a multi-award-winning editor with twenty years of experience. She has cut a wide range of documentaries, television programs, shorts, and feature films. Sarah strives to help shape unique stories from unheard voices. She is a member of the Directors Guild of Canada (DGC) and hosts the editing podcast The Editor’s Cut and the mental health podcast Braaains. Sarah’s credits include FAST HORSE, JESSE JAMES, THE LAST BARON and THE LEBANESE BURGER MAFIA.

OUR VOICES, OUR STORIES

In a media landscape that favours rapid consumption and uniformity, Canadian cinema has become a vessel for diverse stories. RICEBOY SLEEPS portrays the struggles of immigration, while we embark on the search for the next stage of human evolution in CRIMES OF THE FUTURE. In VIKING, we find a reflection on the human condition in an attempt to explore Mars.  Video rental nostalgia and adolescent cinephilia come together in the film I LIKE MOVIES. The editors from these riveting Canadian films will join us in a panel conversation.

Christopher Donaldson’s work encompasses a variety of dramatic and documentary features and television. His most current project, WOMEN TALKING, marks his second collaboration with filmmaker Sarah Polley. Their first was TAKE THIS WALTZ. Donaldson’s recent feature credits include David Cronenberg’s CRIMES OF THE FUTURE and Atom Egoyan’s REMEMBER. His television work includes THE HANDMAID’S TALE, REACHER, PENNY DREADFUL, THE KIDS IN THE HALL: DEATH COMES TO TOWN and SLINGS & ARROWS. His documentary credits include Kevin McMahon’s Waterlife, and Alan Zweig’s Mirror Trilogy, VINYL, I, CURMUDGEON and LOVEABLE.

Simone Smith, CCE is an award-winning editor. Previous film credits include FIRECRACKERS, NEVER STEADY, NEVER STILL and I LIKE MOVIES which premiered at TIFF 2022. For television, Simone has worked on SURREAL ESTATES (SYFY), STRAYS (CBC) and the Amazon Original series THE LAKE.

Anthony was born in Seoul, South Korea and then immigrated to Vancouver, Canada with his family in the early 90s. He began his career as an actor after his mom enrolled him in a high school drama class and soon after he co-founded a theatre company in which he served as the artistic director while acting, producing, and directing its variety of projects. In 2019, Anthony made his first feature film, DAUGHTER, which was shot on a micro-budget with many of his friends and peers from his theatre days working both in front and behind the camera.

Sophie Leblond is a Montreal-based film editor. She graduated from Concordia University and has since edited over 40 films, including fiction and documentaries by André Turpin, Denis Villeneuve, Anaïs Barbeau-Lavalette, Stéphane Lafleur , André-line Beauparlant, Kaveh Nabatian and Pedro Pires. She obtained a position as professor at l!Université du Québec à Montréal (UQAM) in December 2019 where she teaches editing and is currently directing Lhasa, her first feature documentary.

Lara Johnston is a Toronto-based editor who has worked for such filmmakers as Patricia Rozema, Cary Fukunaga, and Brian De Palma. She recently edited episodes of the TV series THE CONSULTANT (MGM) and is currently working on the limited series FELLOW TRAVELERS (Freemantle/Showtime). She was nominated for a CSA for Patricia Rozema’s MOUTHPIECE, which premiered at TIFF in 2018, and won the CCE and DGC Feature Editing awards for that film. She holds a BA in Cinema Studies from the University of Toronto and an MFA in Documentary Media from Ryerson University.

SHAPING MEMORIES

Documentary has the power and versatility in exploring urgent social subject matters, yet it can also embrace an intimate first-person narrative, or even become an experimentation of cinematic craftsmanship. This year we are inviting the editors from three critically acclaimed Canadian documentaries. Whether it’s the sensory and cinematic collaboration between a filmmaker and a naturalist on Sable Island (GEOGRAPHIES OF SOLITUDE), the eye-opening testimony from the Coloured Hockey League about the untold history of racism in ice hockey (BLACK ICE) or the heart-wrenching revisit of her older brother’s death in BACK HOME, each of these films was made with powerful bravery and is sublime in its own way.

Eamonn is an editor, story editor and writer with 20 years of experience. Some recent career highlights include BLACK ICE which won the People’s Choice Documentary Award at TIFF22. He also co-edited the 2022 Sundance Audience Award-winning film NAVALNY and was an additional editor on FIRE OF LOVE which won a Sundance Film Festival award for editing. In 2021 and 2022, Eamonn won a CCE award for the documentary series, FOR HEAVEN’S SAKE and the critically acclaimed series FALLING FOR A KILLER. In 2019 Eamonn edited, ONCE WERE BROTHERS, the gala opening film for the 2019 Toronto International Film Festival.

Jacquelyn Mills is a filmmaker based in Montréal. Her works are immersive and sensorial, often exploring an intimate and healing connection to the natural world. Her award-winning documentary IN THE WAVES premiered at Visions du Réel. Her most recent work GEOGRAPHIES OF SOLITUDE premiered at the Berlinale Forum winning three awards, and has since garnered over a dozen awards internationally including Best Canadian Feature Film and Best Emerging Director at Hot Docs. Jacquelyn is a Sundance Alumni and an IDA Documentary Award nominee. She has also worked as editor, sound designer and cinematographer on many internationally acclaimed films.

Pablo Álvarez Mesa is a filmmaker, cinematographer and editor working mainly in the field of Non-fiction. His films have played at international film festivals including Berlinale, IFFR, Viennale, Visions du Reel, and Anthology Film Archives. Recently he worked as editor on GEOGRAPHIES OF SOLITUDE and as Cinematographer on FIRE OF LOVE and is currently a member of the selection committee for the Camden International Film Festival (Camden, Maine) and Associate Programmer for MidBo (Bogota, Colombia). Álvarez Mesa holds a BFA in Cinema at Simon Fraser University and an MFA in Film Production at Concordia University and is a member of the Canadian Academy of Cinema and Television.

Milena Salazar is a documentary filmmaker and editor based in Vancouver, BC. Some of her recent editing credits include BACK HOME, VIOLET GAVE WILLINGLY, the NFB production HIGHWAY TO HEAVEN, and SUE SADA WAS HERE, which is in the permanent collection of the Vancouver Art Gallery. Alongside her editing work, Milena is currently directing her first feature documentary and works as a Programming Consultant for the DOXA Documentary Film Festival.

Jenn Strom is a Vancouver-based documentary filmmaker, editor and animator. Her feature-editing work includes Nisha Platzer’s BACK HOME which premiere at VIFF, Erin Derham’s STUFFED, which premiered in the doc competition at SXSW, and Marie Clements’ musical documentary THE ROAD FORWARD which premiered at Hot Docs and received a Leo Award for Feature Documentary Editor. She is currently directing her first feature documentary, about the artist E.J. Hughes, for Knowledge Network.

Greg Ng, CCE, is a film and television editor based in Vancouver, B.C. and is a proud member of the Canadian Cinema Editors. Greg tries to maintain a balanced diet of both narrative and documentary editing, and periodically writes about himself in the third person. Some recent credits include TWO SENTENCE HORROR STORIES for the CW, BONES OF CROWS for CBC, and THE GRIZZLIE TRUTH, which won the Special Presentations Audience Award at VIFF 2022.

In Person Events

saturday february 25th
« Laisser les personnages vivre leurs émotions et leur donner l'espace nécessaire pour le faire. Ces personnages sont irrésistibles et nous voulions passer du temps avec eux. »
Melissa McCoy, ACE
Melissa McCoy, ACE
Monteuse, TED LASSO

Montréal: Short Film Editing : The Third Rewrite

Short film has often been the testing ground for cutting-edge visions and cinematic expressions. From story to production, editing often results in the 3rd rewrite of the work. Join the prolific filmmakers and editors Miryam Charles, Myriam Magassouba (AU CRÉPUSCULE) and Aziz Zoromba, Omar Elhamy (SIMO), with moderator Xi Feng to chat about the editing journeys of these two films and some of their other signature work in the short from.

Miryam Charles is a Haitian-Canadian director, producer and cinematographer living in Montreal. She has produced several short and feature films. Her films have been presented in various festivals in Quebec and internationally. Her first feature film This House was presented at the Berlinale, the AFI film festival this year and was also included in the TIFF Top 10 of the year . She also launched the short film AT DUSK at the Locarno Film Festival. As a producer, she is currently working on the post-production of the series STILL I RISE.

After a MFA in Film Production at Concordia University, Myriam Magassouba wrote and directed LÀ OÙ JE SUIS, recipient of a dozen honours, including the Jutra Award for Best short film. In parallel with her directing work, she has edited several award-winning short films and documentaries. In 2021, she worked as an editor on the feature films ARSENAULT ET FILS by Rafaël Ouellet and PAS D’CHICANE DANS MA CABANE by Sandrine Brodeur-Desrosiers. She is currently editing two documentaries (LE PLEIN POTENTIEL by Annie St-Pierre and FANTÔMES by Sophie Bédard-Marcotte), and the feature film LE DERNIER REPAS by Maryse Legagneur.

Aziz Zoromba is a Canadian writer & director of Egyptian origins. His works, documentaries and fiction, explore the themes of cultural identity, assimilation and intergenerational trauma. He is a graduate of the Mel Hoppenheim school of cinema and an alumni of the 2019 Sundance Ignite fellowship.

FARAWAY (2020), his first documentary short, has screened at over 30 film festivals around the world (Slamdance, Camerimage, RIDM). Aziz also co-produced the short documentary NO CRYING AT THE DINNER TABLE (Carol Nguyen, 2019), winner of over 25 awards and selected by over 80 festivals including TIFF, SXSW & IDFA. His first fictional short film SIMO (2022), won the Best Canadian Short Film Award at TIFF, had its international premiere at the Sundance Film Festival and will have its European premiere at the 73rd Berlinale Generation.

Omar was born and raised in Egypt before settling in Montreal in 2012. He works as an editor and director, his work was shown at the likes of Berlinale, Rotterdam, Toronto, Sundance film festivals.

Xi Feng is a Chinese-Canadian film editor based in Montreal. Having lived in China, Canada and France, she has cultivated a unique blend of cultural and artistic sensitivity. Feng has worked as an assistant editor and editor on several award winning documentaries, including CHINA HEAVYWEIGHT, which premiered at the 2012 Sundance Film Festival; and the Crystal Bear winning short film CLEBS (HOUNDS), premiered at the 2020 Berlinale Generation 14 plus section. She’s also an editor alumna of CFC 2019 and Berlinale Talents 2020.

Toronto: Down at Fraggle Rock

An international hit in the 80s and beloved for many viewers to this day, FRAGGLE ROCK comes back more colorful, high-energy and furrier than before. Join Paul Winestock, CCE and Duncan Christie, CCE with Paul Ackerley where they’ll discuss their experiences and work process at the edit suite on this reboot for both the young and young at heart.

Paul Winestock is an editor whose credits cross various genres and include many shows of which he is proud… but few match the dream of working with the Henson Company; a lifelong dream that was made remarkable by the vast talent on the FRAGGLE ROCK team.

Duncan Christie is an award-winning editor with 25 years of experience. Starting out editing documentaries, moving into scripted comedy and eventually drama, he became quickly sought after for his understanding of storytelling, collaborative nature, sharp sense of rhythm and desire to always elevate the material.

Duncan’s work can be seen on networks all over the world and has garnered multiple awards and nominations including his recent Emmy nomination for editing Apple TV+’s FRAGGLE ROCK: BACK TO THE ROCK. He is also an accomplished musician, director, world traveller and master scuba diver. He currently resides in Toronto with his wife and son.

Paul Ackerley has been a Post Production Producer and Supervisor for longer than he cares to admit. His credits span a wide range of genres, from big-budget drama series to no-budget indie features. Working with the Jim Henson Company has been an absolute highlight.

When not supervising others at their craft Paul is a writer, photographer and voiceover artist. He’s also a recovering musician.

Vancouver: Women in Post

Join Daria Ellerman, CCE (Editor: VIRGIN RIVER), Buket Biles (Post Coordinator: SNOWPIERCER) and Lisa Pham Flowers (Assistant Editor: FIREFLY LANE) as they talk with moderator Nicole Ratcliffe, CCE about their work and bringing their voices of experience to the talk.

​​Buket is a Turkish-Canadian Post Coordinator & Post Supervisor with editing background for both sound and picture. After spending a few years working in post production in her hometown Istanbul, Turkey, she relocated to Vancouver in 2013 and she has since worked on a multitude of productions as an Assistant Editor, Post Coordinator and Post Supervisor. Outside of work, Buket is serving as a Board of Director at Vancouver Post Alliance and currently leading the Events committee. She has a passion for promoting engagement with our diverse local post community.

Daria is a versatile visual storyteller with over 2 decades of experience editing television series, MOWs, documentaries and feature films. Her credits include the feature films MEDITATION PARK and BIRDWATCHER, several MOWS and hundreds hours of episodic television. Daria’s versatility comes from the variety of projects she has been involved in across genres and platforms including 140 episodes of sitcom that included a live audience. Daria has been nominated for 10 Leo Awards, a Southhampton International Film Festival Award, a Gemini Award and a CCE Award as picture editor and won 5 Leo Awards for her work on the television series VIRGIN RIVER, MALIBU RESCUE, TAKE TWO and THE COLLECTOR.

Lisa Pham Flowers is a Vietnamese-Canadian filmmaker, writer, & assistant editor. She studied film at Simon Fraser University and has over a decade of post production experience, assisting on network TV & Movies (FIREFLY LANE, LOUDERMILK, YOU ME HER, CHESAPEAKE SHORES, GONE MOM, DATE MY DAD and YUKON GOLD). Her indie editing work comprises a wide-range of narrative short films, music videos, and documentaries. Lisa is currently finishing her first co-directed feature, action-film/documentary hybrid JIMBO, and writing a collection of autobiographical short stories titled GLASS ATTIC.

Born and raised in Vancouver, Nicole graduated from the Foundation Film Program at the Vancouver Film School in 1997 and went straight into post production as an assistant editor for a local film production company. She began Editing on the Sci Fi drama Gene Roddenberry’s ANDROMEDA and has consistently worked in scripted drama on major US and Canadian television series and MOW’s such as ENDGAME, YOU ME HER, THE BLETCHLEY CIRCLE SAN FRANCISCO, TWO SENTENCE HORROR STORIES, and most recently CREEPSHOW and season 5 of VIRGIN RIVER for Netflix.

Breakout Rooms (Virtual)

sunday february 26th

What is a breakout room?

These limited-capacity panels are the VIP rooms of the conference. Hosted by post-production professionals these rooms offer a more intimate space for discussion and questions on specific topics. Participants will have the opportunity to engage and ask questions. Each breakout room will hold two consecutive 30-minute sessions, so you won’t have to choose between favorites.

Join Anna Catley and Holden Mohring for a discussion on what it is like to make the transition from Assistant to Editor. What tips and tricks did they learn while assisting the editors on features and shows such as MOUTHPIECE, INFINITY POOL, DINO DANA and GHOSTWRITER? How did they balance being an Assistant Editor while also cutting their own projects, and what assisting elements did they bring with them into the edit suite for their recent editing on THRIVING: A DISSOCIATED REVERIE and JANE?

Cheryl has over 20 years of experience in cutting rooms worldwide. Her recent editing credits include episodes of Amazon’s THE LORD OF THE RINGS: THE RINGS OF POWER, HBO’s THE NEVERS, Amazon’s HANNA, TNT’s SNOWPIERCER and THE ALIENIST: ANGEL OF DARKNESS. Prior to this she was Additional Editor on Ron Howard’s SOLO: A STAR WARS STORY and Ridley Scott’s ALIEN: COVENANT and THE MARTIAN. Meet Cheryl in the Breakout Room to learn more about the projects she has worked on!

Award-winning producer and editor Jay Prychidny, CCE will be joining us as the keynote speaker this year. Prychidny’s vast experience ranges from editing some of the most-watched reality television in this country, including AMAZING RACE CANADA. He has led the post-production on ORPHAN BLACK and recently edited the new WEDNESDAY series and forthcoming SCREAM 6. Meet Jay in the Breakout Room with the questions you want answers to!

Simone Smith, CCE is an award-winning editor. Previous film credits include FIRECRACKERS, NEVER STEADY, NEVER STILL and I LIKE MOVIES which premiered at TIFF 2022. For television, Simone has worked on SURREAL ESTATES (SYFY), STRAYS (CBC) and the Amazon Original series THE LAKE.
Meet Simone in the Breakout Room to discuss I LIKE MOVIES and other projects she has worked on!

Christopher Donaldson’s work encompasses a variety of dramatic and documentary features and television. His most current project, WOMEN TALKING, marks his second collaboration with filmmaker Sarah Polley. Donaldson’s recent feature credits include David Cronenberg’s CRIMES OF THE FUTURE and Atom Egoyan’s REMEMBER. Join Chris in the Breakout Room to ask your questions and find out more about what he is working on!

CCE EditCon Raffle

Congratulations to our raffle winners!

With Thanks to Our Sponsors

Rolling Picture Company Logo Sponsor
IATSE 2018 Sponsor Event logo
DGC ontario sponsor logo
Black Magic Design Logo Sponsor
Boris FX Logo Sponsor
Adobe EditCon 2021 Sponsor
DGC National sponsor logo
With the participation of the Government of Canada.

Visit our Sponsor Showcase Page

Thank you to our board & volunteers:

CCE EditCon Committee:

Mikaela Bodin

Xi Feng

Craig Macintosh

Stephen Philipson, CCE

Alejandro Tello

Adam van Boxmeer

Volunteer:

Jonathan Dowler, CCE

Jason Konoza

Sarah Taylor

James Tracey

Thank you to our CCE Staff:

CCE Operations Manager:

Alison Dowler

CCE Communications Specialist:

Samantha Ling

About EditCon

February 24-26, 2023

Online, Toronto, Montréal, Vancouver

Categories
Members Past Events

EditCon 2022

EditCon 2022

EditCon 2022 in Review

"Editing is like a passion ... Discovering a whole new world you are going to be in."
Arthur Tarnowski, ACE
Editor, DRUKEN BIRDS

The CCE took the 5th annual EditCon online with two days of amazing panel talks, virtual breakout rooms, and networking for over two hundred attendees from Canada and around the world.

Presented under the theme “Brave New World,” we welcomed editors from the binge-worthy shows TED LASSO, BRIDGERTON and SORT OF, as well as some of this year’s blockbusters SHANG-CHI AND THE LEGEND OF THE TEN RINGS, ETERNALS and GHOSTBUSTERS: AFTERLIFE. Additional panels featured the editors from ALL MY PUNY SORROWS, SCARBOROUGH, DRUNKEN BIRDS and NIGHT RAIDERS (films that were all on the TIFF TOP 10 list!) as well as A CURE FOR A COMMON CLASSROOM and BETRAYAL.

It wouldn’t be EditCon without wrapping up the weekend with a good old-fashioned giveaway, thanks to prize donations from our generous sponsors. Afterwards, attendees mingled in a virtual networking world. 

Missed Attending Live?

Subscribe to our podcasts to be notified about future episodes featuring our EditCon 2022 talks.

Presented in English

Presented in French

2022 Panelists EditCon

DAY 1

"I emotionally react to performances and I try to cut faster with my intuition than my thoughts."
Michelle Szemberg, CCE
Michelle Szemberg, CCE
Editor, ALL MY PUNY SORROWS

THIS YEAR IN CANADIAN FILM

2021 has seen the film industry bounce back with a ferver hardly seen before. With it has come a wealth of powerful and diverse home grown stories, such as the poignant sibling drama ALL MY PUNY SORROWS; the brilliant and raw SCARBOROUGH; this year’s Canadian Oscar entry DRUNKEN BIRDS; and the gripping sci-fi thriller NIGHT RAIDERS. Join the editors behind the best that Canada has to offer as they talk storytelling in an intimate conversation.

Simone Smith-SQSimone Smith is an award-winning film and television editor based in Toronto. Past work includes FIRECRACKERS, GOALIE and NEVER STEADY, NEVER STILL. She recently finished work on the Amazon original series THE LAKE. She is currently editing the feature film FLOAT, starring Andrea Bang and Robbie Amell, for Lionsgate.

Orlee BuiumOrlee Buium is an editor with a passion for films with socially conscious content. She has 15 years of experience in the editorial department including assisting on KICK-ASS 2, THE EXPANSE and THE BROKEN HEARTS GALLERY. Her feature credits as an editor include QUEEN OF THE MORNING CALM (nominated for a DGC Editing Award), THE RETREAT (Showtime) and RUN WOMAN RUN. Most recently, Orlee locked picture on Michael McGowan’s latest feature ALL MY PUNY SORROWS, which premiered at TIFF 2021 as a Special Presentation.

Jorge Weisz, CCEJorge 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 recently on Danis Goulet’s NIGHT RAIDERS, which premiered at the 2021 Berlinale. Currently, he is teaming up again with Christian Sparkes for the film SWEETLAND.

Michelle Szemberg, CCEAfter graduating from the film program at York University, Michelle worked for many years as an assistant editor. This allowed her to be mentored and collaborate with some of the leading forces in Canadian cinema. Her selected film and TV credits include, NATASHA, BELOW HER MOUTH, BETWEEN, UN TRADUCTOR (which premiered at the 2018 Sundance Film Festival) and NORTHERN RESCUE. Her latest film is the DGC Award winning ALL MY PUNY SORROWS, which had its premiere at TIFF in 2021.

Arthur TarnowskiArthur Tarnowski, ACE is a prolific editor whose work ranges from auteur cinema to popular comedies – with a penchant for action films. His feature credits span many genres and include DRUNKEN BIRDS, BEST SELLERS, THE DECLINE, THE HUMMINGBIRD PROJECT, THE FALL OF THE AMERICAN EMPIRE, THE TROTSKY, BRICK MANSIONS, DEADFALL, WHITEWASH and COMPULSIVE LIAR. His television work includes 19-2, BAD BLOOD, BEING HUMAN, MOHAWK GIRLS, THE MOODYS and VIRAGE. He has also created over 150 film trailers, including some of the biggest Box-office hits in his native Quebec.

Rich WilliamsonRich Williamson is an Oscar-shortlisted filmmaker based in Toronto. His work blends the best of fiction and documentary technique together with a focus on social-issue subjects. SCARBOROUGH is his first dramatic feature with partner and co-director Shasha Nakhai. It made its World Premiere at the 2021 Toronto International Film Festival, where it won the Shawn Mendes Foundation Changemaker Award, was 1st runner up for People’s Choice, and received an Honourable Mention for Best Canadian Feature.

"Let the characters feel what they're feeling and give them space to do that. We all fell in love with the characters and wanted to spend some time with them."
Melissa McCoy, ACE
Melissa McCoy, ACE
Editor, TED LASSO

Flipping the Script

The age of streaming has fully arrived. We’ve experienced a boom of top-notch shows, but how do you set yourself apart in such a crowd? Whether it’s bucking the trend of antagonistic conflict to create the arc of TED LASSO; using comedy to punctuate the lives of non-binary characters in SORT OF or reinvigorating period drama with the diverse world of BRIDGERTON, these shows prove that discarding past norms leads to success. Sit with the editors behind these phenomenal series as they discuss the ins and outs of their groundbreaking approaches to storytelling.

D. Gillian Truster, CCEGillian 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.

Melissa McCoy, ACEMelissa first fell in love with editing while studying film at Western Michigan University. She then made her way to California and earned a Master’s in Editing from Chapman University Dodge College of Film & Media Arts. In 2007 she earned a coveted internship with ACE, which jump-started her career. Melissa credits include the CW’s LIFE SENTENCE and WHISKEY CAVALIER on ABC. Her work on TED LASSO earned her an Eddie Award and an Emmy nomination in 2021.

Nona Khodai, ACENona Khodai is an Iranian-American Picture Editor stemming from Southern California. Her most recent credits include Marvel’s WANDAVISION and the Amazon series THE BOYS. Her past editing credits include REVOLUTION, COLONY, THE STRAIN, and AMAZING STORIES. She is currently working on another Disney + series that will be released sometime late this year.

Omar MajeedOmar Majeed is a Pakistani-Canadian writer, editor, and filmmaker. His editing credits include THE FRUIT HUNTERS, OMEGA MAN: A WRESTLING LOVE STORY, WORLD IN A CITY, INSIDE LARA ROXX, THE ARTISTS: THE PIONEERS BEHIND THE PIXELS and SORT OF. In 2018 he received a CSA for his work on THE ARTISTS and in 2001 for QUEERTELEVISION. Although he’s called many cities home including Montréal, Baltimore, and Lahore, Omar currently resides in Toronto with his wife and young child.

Jim Flynn, ACEJim Flynn is an American born Editor. He studied film at Emerson college in Boston. He then moved to Los Angeles where he began working as an Assistant Editor. Teaming up with Alan Heim on Nick Cassavetes’ ALPHA DOG he began his transition to Editor. He edited several more films with Cassavetes including MY SISTERS KEEPER and THE OTHER WOMAN. Most recently, Jim has been editing Netflix series, including THE HAUNTING OF HILL HOUSE and BRIDGERTON.

Sam ThomsonSam is a picture and animatic editor based in Toronto, with over a decade of experience in scripted storytelling. In addition to SORT OF, his credits include the award-winning series SAVE ME AND FOR THE RECORD, CORNER GAS ANIMATED, and animated specials for BLACK-ISH and ONE DAY AT A TIME. Sam is a proud member of the Director’s Guild of Canada, The Academy of Canadian Film and Television, and the Canadian Cinema Editors.

Breakout Rooms - Day 1

Breakout_Day1_Rose_HontiverosFast thinking, deep technical skill and knowing your shortcuts are just some of what is needed to be a great Assistant Editor. Join the Assistant Editors behind COMPANY TOWN, BIG BROTHER CANADA, SCARBOROUGH and THE PORTER to ask your questions, get some answers and have a great time.

Array Crew logoCreated by filmmaker Ava DuVernay and led by an all-women executive team, ARRAY Crew is a personnel database, to ensure that studio executives, department heads and producers are able to access a robust pipeline of qualified below-the-line women, people of color and those from underrepresented backgrounds to staff their television and film crews. ARRAY Crew is partnered with all of the major Hollywood studios and streamers and has recently expanded to Canada. Join ARRAY Crew’s Director of Industry Relations, Meredith Shea, for an exclusive conversation with Editing Crew Members and Studio Executives.

Breakout_Day1_SteeleAdobeTell richer stories and evoke a mood using some of the powerful color and effects tools in Adobe Premiere Pro. Join editor, director, and producer Christine Steele to explore filmmaking techniques that make your video look and feel more cinematic. Discover how to edit video to inspire emotion and hook the viewer.

In this session, you’ll learn how to:

  • Identify visual interest inherent in your footage so you can enhance it
  • Play with color, lighting, and motion techniques to create a mood or focus viewer attention
  • Add visual punctuation to lead or influence viewer perception

Breakout_Day1_TarnowskiJoin the veteran editor behind DRUNKEN BIRDS to discuss his latest film, answer your burning questions, and talk about all things editing. Arthur’s extensive experience spans almost 3 decades, and includes documentary & narrative film of all genres, television, shorts and trailer editing. Don’t miss this chance to pick the brain of a master of the craft. This panel will run in English but questions in French are welcome and encouraged.

Breakout_Day1_WeiszPull up a seat, bring your questions and settle in for a riveting conversation with the editorial maven of NIGHT RAIDERS. Jorge’s knowledge and passion for film is boundless; his storytelling expertise runs deep. His prolific work in feature films over the past eleven years has continuously brought one festival hit after another. This conversation is a must for those interested in narrative feature editing.

Breakout_Day1_Buium_SzembergSpend some quality time with the brilliant dynamic duo behind ALL MY PUNY SORROWS. Michelle and Orlee will answer all your questions about their processes co-editing this award winning film, which marks their second outing as co-editors. Between them these two share over thirty years of experience in post production, from assistant editing to editing, these two know it all. This is a conversation you won’t want to miss.

Breakout_Day1_Thomson_MajeedGet comfortable with two of the editors of SORT OF as Omar and Sam answer your questions, queries, and curiosities. These great minds have extensive experience editing television, documentary, animation, and much more. Dig deeper into their experiences working on this game changing series in this intimate setting.

Omar Majeed and Sam Thomson will only be available in Session 1. There will not be a 2nd session.

Breakout_Day1_WilliamsonEnjoy some time with the unique talent behind the breakout film, SCARBOROUGH, a film which Rich co-directed as well as edited. Rich has a deep understanding of documentary and short film. His latest film marks his first foray into editing fiction. Dive in, ask your questions, and get insights into the unique process behind this great film.

DAY 2

"I needed someone to help me push my own boundaries."
Brina Romanek (Mentee) Mentorship program 2020 CCE
Brina Romanek
Editor, A CURE FOR THE COMMON CLASSROOM

Learning from the Best

Documentary editing is a craft of perpetual learning. Not only do our tools change constantly, but so do approaches to storytelling. Mentorship has long been at the heart of developing the next generation of talent in all mediums, and documentary is no exception. It can be difficult for new and aspiring editors to gain access to the suite to sit, watch, listen, and learn the intangible skill of editing. Pull up a seat as two apprentices interview their mentors on their approach to storytelling, and the importance of passing the torch to the next generation.

Chris Mutton, CCEChris is a Toronto-based film and television editor. His credits include four films which premiered at the Toronto International Film Festival (TIFF) including EASY LAND, PORCUPINE LAKE, CLEO and SILAS. The film LUBA won the Audience Choice Award at the Canadian Film Fest and earned Chris a CCE award nomination. Chris’ television work includes four seasons of the Emmy nominated and CSA winning Hulu series HOLLY HOBBIE, CBC Gem comedy THE COMMUNIST’S DAUGHTER, and music documentary series ON THE RECORD.

Michèle Hozer, CCEWith two films on the Oscar shortlist, multiple award winning Michèle Hozer has been working as a filmmaker and editor since 1987. PROMISE TO THE DEAD picked up her first Emmy nomination and her co-directorial debut of GENIUS WITHIN: THE INNER LIFE OF GLENN GOULD was on the Oscar shortlist. In 2015 Michèle completed SUGAR COATED which won The Donald Brittain Award at the CSAs. Today Michèle is exploring new adventures in Prince Edward County as story editor on multiple projects including Buffy Sainte Marie’s feature length doc.

Michèle Hozer, CCE Ricardo has been working in the film industry for over 25 years. He has been awarded with an Emmy, and has been nominated several times to Genie, Gemini, CCE and CS Awards Ricardo came to Canada from his native Cuba in 1993, where he studied and worked at the world-renowned Cuban Film Institute in Havana. His outstanding work and keen sense of the human condition has contributed to the making of several award-winning and award-nominated films. Some credits include: 15 TO LIFE, MARMATO, THE SILENCE OF OTHERS and HERMAN’S HOUSE.

Brina RomanekBrina Romanek is a documentary filmmaker and editor. She has directed work for True Calling Media, RogersTV and CBC Short Docs. As an editor Brina has worked on films that have aired on Zoomer Media, Crave TV, The Travel Channel, TVO and CBC. Most recently, Brina had the honour of working with the team at Cream Productions to create the two part horror doc series BATHSHEBA. Brina is also the resident audio editor for the Indigenous Climate Action Podcast.

Jordan KawaiJordan Kawai is a documentary film editor based in Toronto. He has edited for both short form (BOAT PEOPLE) and feature documentary film (CHANNEL’S STAGE: THE CULINARY INTERNSHIP and BANGLA SURF GIRLS), as well as video installation (NOTES FROM THE UNDERGROUND). Jordan holds an MFA in Documentary Media Studies from Ryerson University and was a participant in the Mentorship program at the Montreal International Documentary Festival. His personal film work explores family lore and narratives of Japanese Canadian Internment.

"There are cultural biases that I need to be aware of, so I make sure I am not bulldozing a beat. Making sure every character has what they care about - their stakes - are clear, to make these people pop off the screen as real people so we can identify with them."
Nathan Orloff
Nathan Orloff
Editor, GHOSTBUSTERS: AFTERLIFE

Cutting for the Big Screen

Like it or not, the landscape of cinema is changing quickly. With more films at our fingertips than ever before, it’s becoming harder and harder to draw audiences to the theatres. But people still flock to the tentpole films that we all know and love. Join us behind the scenes as we chat with the editors of: SHANG-CHI AND THE LEGEND OF THE TEN RINGS, ETERNALS and GHOSTBUSTERS: AFTERLIFE as they take a deep dive into their workflows, share their tips on managing large teams and visual effects, and get into the nitty gritty of cutting for the big screen.

Sarah TaylorSarah Taylor is a multi-award winning editor with over nineteen years of experience. She has cut a wide range of documentaries, television programs, short and feature films. Sarah strives to help shape unique stories from unheard voices. Her work has been seen in festivals around the world including Sundance. She is a member of the Directors Guild of Canada (DGC), on the board of The Canadian Cinema Editors (CCE) and is the host of the CCE podcast The Editor’s Cut.

Elísabet Ronaldsdóttir, ACEElísabet Ronaldsdóttir was born and raised in Reykjavik, Iceland. She has edited over 40 feature films, television programs, and documentaries, as well as an animated feature film. Her editing work also includes active industry participation. She is best known for her collaborations with film directors David Leitch for JOHN WICK, ATOMIC BLONDE, DEADPOOL 2 and the upcoming film BULLET TRAIN. She recently partnered with director Destin Daniel Cretton on the Marvel film SHANG-CHI AND THE LEGEND OF THE TEN RINGS.

Nathan OrloffNathan Orloff is an American film editor and Chapman University graduate. Raised in Seattle, Orloff began his career at JJ Abrams’ BAD ROBOT Productions. His time there includes work as Associate Editor on 10 CLOVERFIELD LANE and Digital Intermediate Supervisor on STAR WARS: THE FORCE AWAKENS. Since his breakout, Orloff became a frequent collaborator with director Jason Reitman, notably cemented through TULLY and THE FRONT RUNNER. Orloff’s most recent work includes editing credits on PLAN B and GHOSTBUSTERS: AFTERLIFE.

Harry Yoon, ACEHarry Yoon is a Korean American editor based in Los Angeles. Yoon’s previous credits include SHANG-CHI AND THE LEGEND OF THE TEN RINGS, MINARI, EUPHORIA, THE NEWSROOM, DRUNKTOWN’S FINEST, HALF-LIFE, DETROIT, THE BEST OF ENEMIES and THE LAST BLACK MAN IN SAN FRANCISCO. Yoon has also worked as a VFX editor and assistant editor on ZERO DARK THIRTY, THE REVENANT, THE HUNGER GAMES, FOOTLOOSE, THE CRAZIES and LORD OF DOGTOWN.

Dylan Tichenor, ACEDylan Tichenor, ACE got his start in editing as an assistant on Robert Altman films including: THE PLAYER, SHORT CUTS, PRÊT-À-PORTER, KANSAS CITY, and as co-editor on the documentary JAZZ ’34. His credits as editor include: BOOGIE NIGHTS, MAGNOLIA, THERE WILL BE BLOOD, UNBREAKABLE, THE ROYAL TENENBAUMS, BROKEBACK MOUNTAIN, THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD, DOUBT, WHIP IT, THE TOWN, LAWLESS and ZERO DARK THIRTY. Recent projects include: PHANTOM THREAD, ANTLERS and ETERNALS.

Nat Sanders, ACENat Sanders, ACE has edited a range of acclaimed films such as MOONLIGHT, SHORT TERM 12 and IF BEALE STREET COULD TALK. He is a two-time winner of the Independent Spirit Award and was nominated for an Academy Award for his work on MOONLIGHT. SHANG-CHI AND THE LEGEND OF THE TEN RINGS marks his fourth collaboration with writer/director Destin Daniel Cretton, following his work on JUST MERCY, THE GLASS CASTLE and SHORT TERM 12. Other credits include: MEDICINE FOR MELANCHOLY, YOUR SISTER’S SISTER, HUMPDAY, GIRLS and TOGETHERNESS.

Breakout Rooms - Day 2

Breakout_Day2_WapikoniStories are powerful; they teach; they hold language, community and culture. They also tie the past to the present and the present to the future. Join Tania Choueiri and Elie-John Joseph from Wapikoni as they discuss narrative sovereignty and the importance of it within indigenous storytelling.

Please note that Session 1 with Wapikoni will be presented in FRENCH only.

Breakout_Day2_Cioni_AdobeFrame.io Camera to Cloud (C2C) enables footage to be delivered instantly from set to editorial. It’s a whole new way of working that lets everyone from editors to producers and other key stakeholders provide real-time collaborative feedback during production. In this interactive demo, you’ll learn how easily C2C enables production to automatically transmit proxies, audio, camera reports, and more — as soon as the Director calls “cut.” Once you use C2C, you’ll wonder how you worked any other way.

Breakout_Day2_TichenorJoin the two time Oscar nominated editor behind Marvel’s recent blockbuster, ETERNALS. With a career spanning 25 years there’s nothing Dylan hasn’t tackled. From BOOGIE NIGHTS; THE ROYAL TENENBAUMS; BROKEBACK MOUNTAIN and ZERO DARK THIRTY are just a few of the brilliant films from his back catalog. Bring your questions and grab your notebook, you’re going to want to take notes.

Breakout_Day2_RonaldsdottirBrace yourself for a thrilling question period with one of Hollywood’s go to action editors. Her work co-editing SHANG-CHI AND THE LEGEND OF THE TEN RINGS is her latest outing in her long run of action packed features including JOHN WICK; ATOMIC BLONDE and DEADPOOL 2 to name a few! If action is your thing this is a room you won’t want to miss.

Breakout_Day2_YoonGather your best questions and get ready for an amazing session with one of the co-editor’s of SHANG-CHI AND THE LEGEND OF THE TEN RINGS. Harry’s rock solid knowledge of editing such dramas as DETROIT, EUPHORIA and the Oscar nominated MINARI was instrumental in creating this film’s smashing success. Make sure you’re prepared to take in all you can from this rare talent.

Harry Yoon will only be available in Session 1. There will not be a 2nd session.

Breakout_Day2_Hozer_RomanekSit down with this mentor/mentee pair to answer your questions regarding all things mentorship. Learn more about their process and collaboration on A CURE FOR THE COMMON CLASSROOM, the importance of mentorship and much more.

Breakout_Day2_Acosta_KawaiPut on your thinking cap and bring your queries for this mentor/mentee pair. They’ll dig into your questions about how their mentorship relationship has evolved, how BETRAYAL came to be and all things mentorship.

EditCon 2022 Community Partners

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Thank you to our board & volunteers:

CCE EditCon Committee:

Rick Bartram

Xi Feng

Stephen Philipson, CCE

CCE Communications Committee:

Pauline Decroix

Jennifer Kidson

Jane MacRae

Stephen Philipson, CCE

Sarah Taylor

Volunteers:

Kathryn Dickson

Jonathan Dowler

Jason Konoza

Isabelle Malenfant, CCE

Greg Ng

Janet Savill

Adam van Boxmeer

Thank you to our CCE Staff:

CCE Operations Manager:

Alison Dowler

CCE Communications Specialist:

Andreia Furtado

About EditCon

March 5-6, 2022

Online

Categories
Members Past Events

EditCon 2021

EditCon 2021

EditCon 2021 in Review

In the editing room, everything is new.
EditCon 2021 Jinmo Yang
Jinmo Yang, ACE
Editor, PARASITE
The CCE took the 4th annual EditCon online with two days of amazing panel talks, virtual breakout rooms, and networking for over two hundred attendees from Canada and around the world.
 
Presented under the theme “Shifting World, Shifting Industry,” keynote discussions on both days featured award-winning editors Michelle Tesoro, ACE (THE QUEEN’S GAMBIT, GODLESS, WHEN THEY SEE US), and Jinmo Yang, ACE (PARASITE, OKJA, TRAIN TO BUSAN). Additional panels featured editors from the hit TV series EUPHORIA, I MAY DESTROY YOU, THE HANDMAID’S TALE, NORMAL PEOPLE, VIDA, #BLACKAF, as well as feature films BLOOD QUANTUM, BACKCOUNTRY, MAMA, RABID, and many more.
 
The CCE rounded out the weekend with our traditional EditCon raffle, thanks to prize donations from our generous sponsors, and attendees mingled in a unique virtual networking world. 

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Presented in English

Presented in French

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DAY 1: Panels & Talks

WELCOME ADDRESS

Working from home: has Covid-19 changed the collaboration dynamic forever, or are we just waiting to head back into the office? Stephen Philipson, CCE, and D. Gillian Truster, CCE, kick things off by sharing stories of rolling with the punches this past year, and reflecting on how the job of editing may or may not change when the pandemic finally ends.

Stephen is an award-winning editor of TV series such as ALTERED CARBON (Netflix), AMERICAN GODS (Starz), ANNE WITH AN E (CBC/ Netflix), and HANNIBAL (NBC), and films such as THE WILD HUNT (by Alexandre Franchi), GROWN UP MOVIE STAR (by Adriana Maggs) and documentary PROM NIGHT IN MISSISSIPPI (starring Morgan Freeman), which premiered at Sundance, broadcast on HBO, and screened at The White House. Stephen is honoured to serve as CCE President and help the CCE advocate for editors across Canada.

Hailing from Toronto, Gillian began her career as an assistant editor. She has since had a diverse career editing drama series, feature films, and MOWs in a variety of genres, and the good fortune to work 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 eleven award Nominations.

Keep cutting, keep challenging yourself.
Editcon 2021 Michelle Tesoro
Michelle Tesoro, ACE
Editor, THE QUEEN'S GAMBIT

KEYNOTE: In Conversation with Michelle Tesoro, ACE

Michelle Tesoro, ACE, is a master of drama, intrigue and suspense. From FRINGE to THE NEWSROOM, Michelle’s work shows a range of storytelling techniques. Join Paul Day, CCE, and Michelle Tesoro, ACE, as they discuss Michelle’s work, including her most recent feat of editing an entire mini-series, THE QUEEN’S GAMBIT.

Paul has been a picture editor for 25 years and has worked with such companies as Netflix, MGM, AMC, Showtime and many more. Some of his recent editing credits include ANOTHER LIFE, RANSOM, INTO THE BADLANDS, DARK MATTER and LOST GIRL. He is one of the Canadian Cinema Editors’ co-founders and currently sits on the National Board for the Directors Guild of Canada.

Cutting-edge picture editor Michelle Tesoro, ACE, is an industry rising star. Tesoro cut Netflix’s top-rated series THE QUEEN’S GAMBIT, Emmy-nominated series WHEN THEY SEE US, GODLESS, HOUSE OF CARDS, and HBO’s series THE NEWSROOM. She also cut features like Focus Features’ Supreme Court Justice Ruth Bader Ginsburg biography ON THE BASIS OF SEX, Participant Media’s SHOT CALLER, and SXSW’s Grand Jury Prize-winning film NATURAL SELECTION, which earned Tesoro the 2011 SXSW Award for Best Editing.

Making a jug of coffee, sitting down at my desk, and watching dailies has got to be the best feeling. We're all creatives. We have a need to output.
EditCon 2021 Stephen OConnell
Stephen O'Connell
Editor, NORMAL PEOPLE

PANEL: When TV Saved Us - The Shift to Home Viewing

As the world settled into lockdown, TV entertainment went from distraction to lifeline. With audiences trying to make sense of world events, stories and characters matter more than ever. As the entertainment landscape shifts to meet an unprecedented need for engaging content delivered on-demand to an audience stuck at home, how will this change the stories we tell, and the way we tell them? The editors of some of the most binge-worthy shows reflect on how their work landed in this time and place, what the stories meant to audiences, and how that affected their process during a pandemic.

Christopher Donaldson’s work as an editor spans an extensive variety of dramatic and documentary features and television. His credits include THE HANDMAID’S TALE for Hulu, AMERICAN GODS for Starz, PENNY DREADFUL for Showtime/SkyAtlantic, Atom Egoyan’s REMEMBER, Sarah Polley’s TAKE THIS WALTZ, THE KIDS IN THE HALL: DEATH COMES TO TOWN for CBC, and SLINGS & ARROWS for TMN/Showcase/Sundance Channel.

Amy started as an Assistant Editor on films like MY OWN PRIVATE IDAHO, CORRINA, CORRINA, and TO DIE FOR. She edited 20 features, including HIGH ART, LAUREL CANYON, ELEGY and Gus Van Sant’s remake of PSYCHO, and TV series such as DEXTER, THE KILLING, VIDA and most recently, HUNTERS. She is currently editing the limited series MARE OF EASTTOWN, starring Kate Winslet, for HBO. Amy graduated from the University of Arizona with a BFA in Fine Arts Studies.

Multiple award-winning editor Wendy Hallam Martin is best known for her work on the Emmy and Golden Globe winning series, THE HANDMAID’S TALE. Wendy has received two Emmy nominations and won her first Emmy for the second season premier entitled “June”. She also won an ACE/Eddie award for the pilot, “Offred”. Her other work includes the critically acclaimed cable series AMERICAN GODS, MGM’s spy thriller CONDOR which she edited and co-produced, Showtime’s THE TUDORS, THE BORGIAS and QUEER AS FOLK, to name a few.

Born in Dublin, Ireland, Stephen has been editing drama & documentary across Europe for 25 years. His work spans time with U2 on music promos and documentaries in the 1990’s to television dramas for BBC, RAI, Amazon, Netflix, Starz, CBC, HULU, SKY amongst others. Projects include THE NAME OF THE ROSE, HOWARD’S END and NORMAL PEOPLE, to feature films VIVA, THE MAN WHO INVENTED CHRISTMAS, and MAUDIE for which he won the CSA award for best editing in 2018.

Laura Zempel grew up in Sacramento, CA and received a BFA in Film Production from Chapman University. She began her career in Film and TV as an assistant editor on DEXTER, and has gone on to edit HBO’s ROOM 104, EUPHORIA, and most recently AMC’s DISPATCHES FROM ELSEWHERE.

BREAKOUT ROOMS

Adobe presents an interactive demo of Premiere Pro Productions for editors working independently, collaborating with a team, or needing remote editing workflows. Designed from the ground up with input from top filmmakers and Hollywood editorial teams, this suite provides new tools for managing projects, sharing assets between them, and keeping everything organized. Early versions of the underlying technology were battle-tested on recent films such as MANK, TERMINATOR: DARK FATE, and DOLEMITE IS MY NAME.

Tucked away in a cabin in the woods, Geoffrey Boulangé and Sophie Deraspe set about editing the award winning film, ANTIGONE. In this session Geoffrey Boulangé discusses the processes that went into editing the film; including cutting while shooting; working in FCPX, and co-editing with director Sophie Deraspe.

The new workflows are already a challenge, but how do we deal with the mental and physical difficulties of working from home during a pandemic? Join a panel of IATSE 891 members to discuss keeping yourself motivated; mental & physical health (e.g. feeling low and what to do about it); communicating with your team, how to keep the lines open; changes to the editor / assistant relationship; scheduling challenges and managing your hours. Over the 2 days we will have various IATSE 891 editors and assistant editors joining the discussion: Daria Ellerman, CCE, Gordon Rempel, CCE, Rehan Khokar and Lianne Oelke.

The skills required of an assistant editor in animation are quite different from those working in live-action. There are no takes to log, nor dailies to process and sync. Instead you are building shows, updating episodes and providing necessary materials and inspiration to artists. Animation editor Merissa Tse shares her wisdom and experience of what makes a good assistant editor in the field of animation.

The post production supervisor is often a mystery to many. What do they do, who are they and does every show need one? Join Nahid Islam for an intimate Q&A on the ins and outs of post production fundamentals and answering your questions about the process behind the scenes.

This panel, hosted by picture editor and sound editor Roderick Deogrades, will focus on the importance of mentorship and the editor/assistant relationship. This interactive discussion will cover topics like the importance of training, benefits of mentorship for both the assistant and the editor, paying it forward and building a network.

It’s about how to be a storyteller, it’s not about the technical. I want to create an environment that is nurturing and offer opportunities for assistants to cut.
EditCon 2021 Rod Deogrades
Roderick Deogrades
Editor & Mentor

DAY 2: Panels & Talks

KEYNOTE: In Conversation with Jinmo Yang, ACE

Action, comedy, drama, romance, horror and thriller – Jinmo Yang, ACE’s outstanding body of work covers almost every genre in filmmaking. His mastery of pacing and tone is often on display as he rides the line between genres, from the action/comedy of LUCK-KEY, to the thriller/comedy PARASITE. Whether working on or off set Mr. Yang is truly a master of his artform. Multitalented moderator Sook-Yin Lee sits with Oscar-nominated editor Jinmo Yang, ACE for an in-depth conversation about the craft of Picture Editing.

Sook-Yin Lee is a Canadian filmmaker, musician, actor, and multimedia artist. The award-winning radio and TV broadcaster starred in John Cameron Mitchell’s ground- breaking LGBTQ movie, SHORTBUS, which premiered at Cannes. YEAR OF THE CARNIVORE, Leeʼs feature film debut as writer-director, premiered at TIFF. Sook-Yin won the 2014 Canadian Screen Award for Best Performance by a Lead Dramatic Actress for her role as “Olivia Chow” in JACK. Her movie, OCTAVIO IS DEAD! won Best Director and Best Picture awards at the Downtown LA Film Festival 2018. Her feature movie DEATH AND SICKNESS streams on CBC Gem in Canada.

Jinmo Yang is an award-winning South Korean film editor who has edited over a dozen feature films, including the international hits PARASITE, OKJA, and TRAIN TO BUSAN. With PARASITE, directed by Bong Joon-ho, Mr. Yang gained international acclaim and recognition including an Academy Award nomination for Best Editing, and an American Cinema Editors Award for Best Edited Feature Film (Dramatic), the first non-English-language film to win this top prize.

I love cutting horror. Especially ghost stories...because it is magical in the edit suite.
EditCon 2021 Michele Conroy
Michele Conroy
Editor, MAMA

PANEL: Thrills & Chills - Editing Dark Genre in Feature Film

The past year has brought our lives no shortage of fear-inducing moments, and yet films that offer us frights continue to be one of our greatest escapes. Join editors Michele Conroy (IN THE TALL GRASS, THE SILENCE, MAMA), Jeff Barnaby (BLOOD QUANTUM, RHYMES FOR YOUNG GHOULS), Dev Singh (INCIDENT IN A GHOSTLAND, BACKCOUNTRY) and moderator Erin Deck (RABID) as they share their insights into crafting successful films that both entertain us and play upon our fears and anxieties.

Erin Deck is an editor in both film and television. Her work has earned her multiple nominations and awards through the DGC, CSA and CCE. Some of her TV credits include ALTERED CARBON, INTO THE BADLANDS, GINNY & GEORGIA, and KILLJOYS. Her film credits include RABID, OUR HOUSE, BIG SKY, AFTER THE BALL, and THE BARRENS

Jeff Barnaby was born and raised on the rural Mi’gMaq reserve of Listuguj, Quebec. A multi-disciplined artist, he has won several awards for his artwork, pœtry, short stories, music and films. His work provides a bare-knuckled view of post-colonial Mi’gMaq life, defying stereotypical treatments of First Nations’ narratives by using horror/sci-fi tropes to explore themes of violence, gender, race and Indigenous futurism.

Michele Conroy is a veteran film and television editor. Her work has earned multiple DGC awards including: MAMA, POMPEII and SPLICE, which was produced by Guillermo del Toro and directed by long- time collaborator Vincenzo Natali. Other collaborations with Natali include the ensemble romance PARIS, JE T’AIME, NOTHING, GETTING GILLIAM, and most recently IN THE TALL GRASS. Other theatrical releases include LITTLE ITALY, THE GRIZZLIES, and GINGER SNAPS: UNLEASHED. Her TV credits include VIKINGS, PENNY DREADFUL, FLASHPOINT, and THIS IS WONDERLAND

I edit movies and television. I hold a BSc in Biochemistry from Queen’s, attended Ryerson’s Film Studies program, and was a resident at the Canadian Film Centre. I’ve been fortunate to work with many wonderful artists and it is a joy to count them amongst my friends and collaborators. My credits include the acclaimed Backcountry, PEOPLE OF EARTH, and PICTURE DAY. In theatres and festivals soon: CINEMA OF SLEEP and SPIRAL. I’m currently working on the RESIDENT EVIL reboot.

Playing in the sandbox and creating that space in the edit suite is the best way to support the creators.
Christine Armstrong
Editor, #BLACKAF

PANEL: Breaking the Mold in Series TV

We’re currently experiencing a watershed moment for increased representation in storytelling. This year we’ve seen a wealth of stories originating from the BIPOC, LGBTQ2S and female perspectives that not only tackle tough topics surrounding mental health, addiction, sexual assault and racial prejudice, but also present powerful aesthetic and editorial triumphs. The editors behind I MAY DESTROY YOU, EUPHORIA, and #BLACKAF join us to discuss their groundbreaking work.

Shonna Foster is an award-winning director, storyteller, and producer. She received her BFA honors degree in Theatre from York University, where she studied in the Creative Ensemble Conservatory. She currently works as a freelance director, producer, and story consultant in film, television, and branded content, and is a longstanding board member of BIPOC TV and Film.

Christine Armstrong is a picture editor splitting her time between Los Angeles and Toronto. She has edited a variety of feature films, television series, short films, web series and commercials. Armstrong’s recent work includes editing the series #BLACKAF (Netflix), BARBELLE (Amazon) and feature films SUGAR DADDY, MARY GOES ROUND and THE NEW ROMANTIC which premiered at SXSW and won the Special Jury Recognition for Best First Feature. She is currently editing the series RUTHERFORD FALLS (NBCUniversal/Peacock) starring Ed Helms.

Shannon Baker Davis is an award-winning television and film editor. She began her career in unscripted television on iconic and Emmy-winning shows such as TOP CHEF and PROJECT RUNWAY. Her feature film credits include collaborations with directors Stella Meghie (THE WEEKEND, THE PHOTOGRAPH), and Ali LeRoi (THE OBITUARY OF TUNDE JOHNSON). She has worked with creators Issa Rae (INSECURE), Ava DuVernay (QUEEN SUGAR), and Kenya Barris (GROWN-ISH, #BLACKAF).

Julio C. Perez, IV lives and works in Los Angeles, editing in both narrative and documentary. His feature film work includes Chad Hartigan’s award-winning THIS IS MARTIN BONNER, which screened at Sundance, and an ongoing collaboration with director David Robert Mitchell, editing THE MYTH OF THE AMERICAN SLEEPOVER, IT FOLLOWS, and UNDER THE SILVER LAKE which have all screened at Cannes. He has recently worked with director Sam Levinson on the series EUPHORIA, as well as the upcoming feature MALCOLM AND MARIE.

Christian is a film editor, and occasional screenwriter. His career started in the writers room and as editor on the surreal comedy series CAMPUS. Recent work includes I MAY DESTROY YOU, SALLY4EVER, LOVE WEDDING REPEAT, and the upcoming FROM DEVIL’S BREATH, directed by Orlando von Einsiedel (VIRUNGA/THE WHITE HELMETS). In 2018 he wrote and edited TO WENDY WHO KICKED ME WHEN I SAID I LOVE YOU, an off- beat, romantic short film which premiered at the London Film Festival.

BREAKOUT ROOMS

Join editor Ryan Morrison (STOWAWAY, ARCTIC) and assistant editor Russell Anderson (MANK) as they explore the challenges with remote editing work- flows and how they have solved them in their recent projects.

As editors our jobs are constantly expanding, with more and more tools at our fingertips it’s important to keep our technical skills as sharp as can be. Editing and co-ordinating with VFX can be daunting at times, but it’s always important to get it right. Editor Christopher Malanchen shares some tips, tricks and best practices that he learned from editing on Vice’s THE DEVIL YOU KNOW (Season 2) and Cooking Channel’s BITCHIN’ KITCHEN and from his tenure as the VFX Editor for BIG LITTLE LIES (Season 2).

The new workflows are already a challenge, but how do we deal with the mental and physical difficulties of working from home during a pandemic? Join a panel of IATSE 891 members to discuss keeping yourself motivated; mental & physical health (e.g. feeling low and what to do about it); communicating with your team, how to keep the lines open; changes to the editor / assistant relationship; scheduling challenges and managing your hours. Over the 2 days we will have various IATSE 891 editors and assistant editors joining the discussion: Mauri Bernstein, Sabrina Pitre, Gloria Mercer and Kelvin Tseng.

Every production starts with a solid plan but step by step as each phase inches closer and closer to being received by an editor’s invisible hand, that plan will unravel. Even if it is due to a global pandemic, it is on the editor to shift gears, to persevere for the story and aim to produce beyond what was undone. Let us discuss how we do this. Join the editor behind THE NATURE OF THINGS episode “The Covid Cruise” for a conversation about filmmaking in the Covid era.

Join editors Adam Phipps and Francis Laliberte, as they discuss the post-process for AMPLIFY, a 13-part documentary series about Indigenous musicians creating new works. Each episode features a different songwriter working through the creative process in-studio, while revealing how they personally relate to their new song. Further insight is brought to bear as Indigenous experts weigh-in on the deeper meaning of the song’s inspiration. All of this … on FCPx … seriously!

Cool heads, quick wits and sharp technical knowledge are just some of what is needed to be a great Assistant Editor. They are the lifeblood of post-production and our guests are at the top of their game. Join the Assistant Editors behind some of Canada’s most anticipated films from 2020: POSSESSOR, PERCY, and FUNNY BOY, as they discuss their approaches, challenges and answer your questions.

The moment someone feels less alone because of something I did, I've done my job.
Editcon 2021 Julio Perez
Julio C. Perez IV, ACE
Editor, EUPHORIA

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Thank you to our board & volunteers:

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About EditCon

February 2021

Online

Categories
Past Events

EditCon 2020

EditCon 2020

EditCon 2020 in Review

EditCon 2020 took place on Saturday February 1, 2020 at the TIFF Bell Lightbox in Toronto. A sold-out crowd of CCE members and friends were very excited to welcome master editor Susan Shipton for an in-depth discussion of her work. The day also featured panel discussions on editing comedy, theatrical films, and unscripted programming with some of Canada’s top editors sharing a wealth of knowledge and experience. 

One crisp December morning, I woke up to a constant pinging sound as my phone started going off. Bleary eyed, I check my notification screen – I had won the CCE raffle to go to EditCon!
Jon Anctil
EDITCON 2020 RAFFLE WINNER

MISSED SEEING IT LIVE? Check out the podcasts!

Panel #1: No Script? No Problem!

Hours and hours of footage, tight deadlines, and no script? No problem! Editors from hit shows including Big Brother, The Amazing Race, Yukon Gold, and In The Making share how they get to the finish line. Featuring clips from these and other top-rated and award-winning reality and factual programs, this discussion breaks down the process of cutting unscripted programming, both creatively and technically.

Jonathan Dowler has been in the industry since 2001, both in Australia and Canada. He has cut everything from documentaries, animation, sports news, but his extensive experience has been in cutting reality TV.  He has worked on many of the large format shows such as Big Brother, So You Think You Can Dance, Masterchef and The Amazing Race Canada.  He is a 12-time CSA and 15-time CCE nominated editor and has won five consecutive CSA’s and four CCE Awards.

Elianna Borsa graduated from Seneca College in 2014 and quickly rose to the top of her profession as an editor working on Canada’s top reality shows The Amazing Race CanadaTop Chef Canada, and Big Brother Canada. Elianna earned multiple Canadian Screen Award nominations and won a CCE Award for Best Editing in Reality/Competition/Lifestyle in 2019.

Born and raised in Vancouver, Jenypher has worked mainly in documentary and factual storytelling for the past 15 years. Recent series include The Nature of Things (CBC / Smithsonian), Wild Bear Rescue (Animal Planet / Discovery),Queen of the Oil Patch (Aboriginal Peoples Television Network), This is High School (CBC), EXPECTING! (UPtv), ER: Life & Death at VGH & PARAMEDICS: Life On The Line (The Knowledge Network), Yukon Gold (History), The Bachelor Canada (W Network), Ice Pilots (History) and Glutton for Punishment (The Food Network).

Baun Mah has worked as an editor and director on top-rated shows like Big Brother CanadaThe Amazing Race Canada, and Chopped Canada. He’s earned several CSA nominations for his editing and won one at the 2018 CCE Awards for Top Chef Canada. In the past year, Baun has also worked on several scripted shows such as the comedy Rogue Bridal and the Netflix horror series Slasher.

Ian Sit was born in Regina, Saskatchewan and grew up in Mississauga, Ontario. He is an editor working primarily in documentary film and television. He has been nominated for a Canadian Screen Award for his work on Where the Universe Sings and is the winner of the 2019 CCE Award for Best Editing in Docu-Series for his work on In The Making. Ian lives in Toronto and is a longtime passionate fan of the Raptors. 

Panel #2: This Year in Dramatic Film

There’s no formula to a festival hit, but the three editors behind the recent critically-lauded feature films Freaks, Mouthpiece, and Genesis share how they did it. This panel discussion focuses on their process, their career trajectories, and what lies ahead.

Raised on Star Trek: The Next Generation, 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 as an editor. His work has been seen ‘round the world in festivals such as Sundance, Berlinale, SXSW, TIFF, as well as the small screens of SRC, TVA, Télé-Québec and HBO.

Mathieu Bouchard-Malo is an editor of feature films and documentaries. He has worked on Philippe Lesage’s films: Genesis, The Demons, Maxime Giroux; The Great Darkened Days, Felix and Meira; Jean-François Caissy: First Stripes, Guidelines, Anne Émond; Nelly, Night #1; as well as Zayne Akyol’s film: Gulîstan Land of Roses. In 2019, he was a finalist at the Quebec Cinema Gala for the editing of Genesis and The Great Darkened Days.

Genese | rent on iTunes and Amazon

Lara Johnston is a Toronto-based editor. She has worked with such filmmakers as Patricia Rozema, Brian DePalma and Cary Fukunaga. She studied Cinema Studies at UofT and did an MFA in Documentary Media at Ryerson. She also teaches editing at Humber College. In 2019 she won the CCE and DGC award for best feature editing for her work on Rozema’s Mouthpiece.

Mouthpiece | rent on iTunes

From her humble beginnings working as an assistant, Sabrina’s first real kick at the can came in the form of a feature in 2011 called Sisters & Brothers. Upon completion, she stood up from her desk, declared herself an Editor at the top of her lungs, and never looked back. Since then, she’s dabbled in just about every genre, and cut every format. Recent credits include Disney’s Kim Possible, and a Sam Raimi Produced Quibi series 50 States of Fear.

Panel #3: Timing is (Almost) Everything

This panel explores the mechanics of making us laugh–how do you take what’s on the page and make it land? From sketch comedy to sitcoms, editors from Schitt’s Creek, Letterkenny, Baroness Von Sketch Show (and more) explore what makes cutting comedy unique and particularly challenging.

Elvira Kurt, comedy legend, gay icon and freakin’ national treasure, is a multiple award-winning, stand-up comic and Second City veteran whose credits as star, host, guest, writer, story editor and or talent director are simply far too many to mention. Except for these: The Debaters, Canada’s Drag Race, Baroness Von Sketch Show, The Great Canadian Baking Show, Master Chef Canada, Iron Chef Canada, YTV’s The Game, Four Weddings Canada, and, of course, Elvira’s unforgettable stint on CBC Radio’s hit show, ‘Q’. And, lol, ‘q’.

James Bredin has over 35 years’ editing experience. His work spans a variety of genres including comedy, drama, feature films, MOWs, documentary and unscripted. James has recently worked on Workin’ Moms, Cavendish, and the first three seasons of Schitt’s Creek, for which he won the CSA in 2016 and the CCE Award in 2015. Other career highlights include Little Mosque on the Prairie, Nero Wolfe, Total Recall 2070 and numerous MOWs and feature films, including Blood, A Wake, and the recent Netflix feature, He Never Died.

Originally from Newfoundland, Jonathan Eagan is a Toronto based editor whose credits include The Animal Project, Cast No Shadow, and We Were Wolves. In 2014 Cast No Shadow swept the awards at the Atlantic Film Festival before being honoured with four CSA nominations. His most recent feature film is a collaboration with co-editor Mike Reisacher on The Lockpicker, winner of the inaugural John Dunning Discovery Award for Best Micro-Budget Feature at the CSAs. In television, Jonathan’s credits include Workin’ Moms, Letterkenny, Carter and currently Ginny & Georgia for Netflix.

Marianna Khoury is an Antiguan film and television editor based in Toronto. She joined Baroness von Sketch Show in 2017, editing seasons three through five. More recently, she edited Tallboyz and Workin’ Moms. Marianna began editing on web series The Amazing Gayl Pile, Space Riders: Division Earth, Filth City and True Dating Stories. Her work in film includes She Stoops to Conquer, 7A, and When The Storm Fades. Marianna’s work has garnered two Canadian Screen Awards and a CCE nomination.

Panel #4: Master Class, Behind the Cut with Susan Shipton

Multi-award-winning editor Susan Shipton shares her vast knowledge and experience from a long career in film and network television. Susan has over 40 feature films to her credit. She has cut eight films with director Atom Egoyan (including Oscar-nominated The Sweet Hereafter), as well as many critically-acclaimed television series such as The Book of Negroes, and The Expanse.

Sarah Taylor is an award-winning editor with 18 years of experience in documentary and narrative films. She focuses her work on stories that have the power to change lives. Her recent credits include the short documentary FAST HORSE, that screened at over 15 festivals and won the short film special jury award for directing at Sundance Film Festival 2019, the sketch comedy series Caution: May Contain Nuts on APTN, and the lifestyle series Cow-boy Urbain on TV5 Unis. Her notable documentary credits include Dino Trails and Coastal Revival (Air Canada), The Harder I Fight II and Rare Mettle (TELUS Optik Local), The Match (bravoFACTUAL), Breaking Loneliness and Ms. Scientist, (CBC). Sarah is a Directors Guild of Canada (DGC) member, on the board of directors for the Canadian Cinema Editors (CCE) and is the host of the CCE podcast The Editor’s Cut.

A graduate of Queen’s University, Susan is best known for editing all of Atom Egoyan’s films from The Adjuster to Guest of Honour. Her credits also include the films Barney’s Version and Mr. Nobody, and TV shows Book of Negroes, Nurses, Burden of Truth, and The Expanse. She won DGC Awards for Being Julia and The Adjuster, and Genie Awards for Exotica, Possible Worlds, and Oscar-nominated film The Sweet Hereafter. She is currently cutting Ginny and Georgia for Netflix.

EditCon 2020 Sponsors

About EditCon

February 2020

8:30am - 11:00pm

350 King Street West, Toronto

Categories
Past Events

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 and 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 and 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 and 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 and 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 and 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, and 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, and 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), VFX projects (Marie-Antoinette, Assassin’s Creed), 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

About EditCon

February 2019

8:30am - 11:00pm

350 King Street West, Toronto

Categories
Past Events

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, and 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 and Queer as Folk, History’s Camelot and Vikings and hit Canadian dramas like Saving Hope, Rookie Blue and 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, and 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, and 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 and 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 is an award-winning editor and proud member of the CCE since the very start. His credits include high profile TV series such as American Gods, Hannibal, and Orphan Black. He also cut 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. 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

8:30am - 11:00pm

350 King Street West, Toronto

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