EditCon 2025 in Review
The CCE just completed its 8th annual EditCon with three days of amazing panel talks, virtual breakout rooms, and networking for over two hundred and ninety attendees from Canada and around the world. We hosted in five cities this year in Toronto, Montreal, Edmonton, Vancouver and Halifax.
It was our biggest year to date with 6 virtual panels, 7 In Person Panels and 5 virtual Breakout Rooms plus our Trivia Night!
It wouldn’t be EditCon without wrapping up the weekend with a good old-fashioned giveaway, thanks to prize donations from our generous sponsors.
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Presented in English
Presented in French
Podcast Exclusive
Deadpool & Wolverine
Tune in for an exclusive behind-the-scenes conversation with Shane Reid & Dean Zimmerman, ACE, the talented editors behind Marvel’s massive box-office hit, DEADPOOL & WOLVERINE. This year we explore the creative process, challenges, and excitement of shaping these fan-favourite antiheroes on the big screen. Whether you’re a long time Marvel fan or curious about editing action, you won’t want to miss this insightful discussion about pacing, glistening abs, deleted scenes, and the unique dynamics of editing two of the most unpredictable heroes in cinema.
Shane Reid is a feature and commercial editor and partner of the award winning post house Exile Edit. Nominated for an Emmy and Cannes Lion in the commercial space he quickly became one of the industry’s most trusted short form editors. In 2016 Reid edited the feature documentary ONE MORE TIME WITH FEELING, directed by Andrew Dominik which chronicled musician Nick Cave recording his studio album Skeleton Tree while grieving the tragic loss of his son. 2024 will be quite the year for audiences to see Shane’s feature work as he has 3 films releasing, GHOSTBUSTERS, DEADPOOL & WOLVERINE and SATURDAY NIGHT.
Dean Zimmerman, ACE is the Award-winning editor of over 50 feature films and television episodes. Dean’s most recent collaborations include DEADPOOL & WOLVERINE, ALL THE LIGHT WE CAN NOT SEE, STRANGER THINGS, THE ADAM PROJECT and FREE GUY. Zimmerman’s collaboration with Producer/Director Shawn Levy dates back nearly 20 years and a dozen films, films that have cumulatively grossed several Billion dollars at the worldwide box-office. These collaborations include the NIGHT AT THE MUSEUM franchise, DATE NIGHT, REAL STEEL, THE INTERNSHIP and THIS IS WHERE I LEAVE YOU.
A multi-award-winning editor with over twenty years of experience, Sarah has helped shape countless narratives that have been seen around the world. She has cut a wide range of documentaries, television programs, shorts, and feature films which have been screened at festivals including Tribeca, TIFF, and Sundance, and broadcast on networks like CBC, BBC, PBS, APTN, and AMI. Sarah’s most recent work includes the feature length documentary The Lebanese Burger Mafia which premiered at HOT DOCS in 2023 and the feature film Hey Viktor! which premiered at Tribeca in 2023. Sarah has seamlessly transitioned into the world of podcasting and also hosts and edits interview-based shows such as BRAAAINS and THE EDITOR’S CUT, adding another dimension to her multifaceted storytelling expertise.
Panels (Virtual)
VIRTUAL PANELS WILL BE RELEASEd
Behind the Screen: Furiosa
Step into the world of colour with the master behind FURIOSA, the much anticipated prequel to Mad Max: Fury Road. Multi-award winning colourist, Eric Whipp, will reveal the art and techniques of colour grading and how it brings the harsh, post-apocalyptic world to life. From creating a workflow across three countries, to the process for developing a film’s unique tone, we delve into the critical role colour plays in shaping the story. If you’re looking to deepen your understanding of how colour elevates a film’s mood and impact, this is a panel you won’t want to miss.
Eric Whipp is a distinguished colorist known for his exceptional work in film and television. With a keen eye for detail, he has contributed to a variety of notable projects, including the critically acclaimed film MAD MAX: FURY ROAD. His expertise in color grading played a vital role in enhancing the film’s striking visuals, helping to create its unique and immersive aesthetic. With a collaborative approach, Eric works closely with directors and cinematographers to bring their creative visions to life. His dedication to the craft and innovative techniques have solidified his reputation in the industry, making him a sought-after talent for filmmakers looking to elevate their storytelling through color.
Robots to Shapeshifters: Our Animated Heroines
Animation is often stereotyped as a children’s genre. The truth is that it is a versatile medium for all ages: one that allows storytellers to experiment, push boundaries, and captivate audiences around the world. This year, CCE proudly presents a panel featuring the editors behind INSIDE OUT 2, THE WILD ROBOT, SPELLBOUND and NIMONA. We will discuss the creative process behind these titles and the particularities of working in the editor’s chair on animated feature films of this caliber.
A DreamWorks Animation veteran of 20 years, editor Mary Blee most recently served as editor on the critically acclaimed feature film THE WILD ROBOT for writer/director Chris Sanders. Previously, she was the editor of THE BOSS BABY: FAMILY BUSINESS. Throughout her career with DreamWorks Animation, Blee has worked on multiple DreamWorks franchises, including HOW TO TRAIN YOUR DRAGON, THE CROODS, KUNG FU PANDA and THE BOSS BABY. She has had the pleasure of working on six DreamWorks Animation films nominated for a Best Animated Feature Film Academy Award.
Susan Fitzer is the lead editor on Skydance Animation’s upcoming musical-fantasy film SPELLBOUND, debuting this fall 2024 on Netflix. Susan has worked as an editor on many classic animated features including HOW TO TRAIN YOUR DRAGON, ABOMINABLE, TURBO, CAPTAIN UNDERPANTS: THE FIRST EPIC MOVIE, and JIMMY NEUTRON: BOY GENIUS. Before entering the world of animation, Susan worked as a live-action assistant editor on three Robert Altman features (THE GINGERBREAD MAN, COOKIE’S FORTUNE, and DR. T AND THE WOMEN). She has performed at LA’s Improv Olympics and is a member of SAG, having provided voices for SHREK THE HALLS, FLUSHED AWAY, TURBO, and SPELLBOUND.
Maurissa Horwitz joined Pixar Animation Studios in April of 2021. She most recently worked as the lead editor on Pixar’s feature film INSIDE OUT 2. Before joining Pixar, Horwitz was the lead editor on the film NIMONA at Blue Sky Studios, prior to the studio’s closing. She also edited PLAYMOBIL: THE MOVIE, OPEN SEASON: SCARED SILLY, and has worked in editorial for over 20 years at companies including DreamWorks Animation, Sony Pictures Animation, and Disneytoon Studios. Horwitz attended Dartmouth College in New Hampshire. She currently resides in El Cerrito, CA with her husband Travis, and supermutt, Maggie.
Randy is a Film Editor who has worked in Feature Animation for the past 20 years, mostly at Blue Sky Studios where he worked on Horton Hears a Who!, Rio, The Peanuts Movie, and Spies in Disguise. His most recent project is Nimona, for Annapurna and Netflix. Prior to Animation, he worked in Live Action, assisting on such films as Men in Black 2 and Gangs of New York. Randy was born in New York and studied film at Emerson College. When he’s not working, he can be found hiking, watching movies, making–or talking about making about pizza, and hanging out with his two kids and their insane dog Dizzy.
Lesley is a Toronto based, award winning feature film and television editor who has worked almost exclusively in animation — a medium that she loves! She has been fortunate enough to work on many international hit shows including JOHNNY TEST, TOTAL DRAMARAMA, BIG BLUE, THE NUT JOB 2 , ARCTIC DOGS and SAUSAGE PARTY- FOODTOPIA.
Assistant Editors: The Heart of Post Production (presented in english)
Our first ever assistant editor panel for EditCon! Join us for not one, but two discussions with highly renowned and award-winning French and English-speaking assistant editors, led by Pauline Decroix. In French we’ll welcome assistants from THE DISHWASHER, GHOSTS and UNIVERSAL LANGUAGE. In English we will welcome assistants from BEACON 23, HOME SWEET ROME, PUSH and MOONSHINE. They’ll discuss the assistant journey, from working with editors on projects to the differences between remote and office workflows, and navigating day-to-day operations in between the edit suites.
With 16 years of experience as an assistant editor, Tara has honed her skills on a diverse array of episodic shows and made-for-TV movies. Her show experience ranges from scripted dramas to youth dramatic series and she has played a crucial role in supporting many editors to develop the final product that captivates audiences. She brings a collaborative spirit and dedication to each project and takes pride in helping editors bring their creative vision to life.
Will Mitchell (Haudenosaunee) is an assistant editor with 14 years of experience in the film and television industry. His passions include working with other First Nations film creators and being a role model for his community in Akwesasne.
Will was the first assistant editor for all 3 seasons of SORT OF, THE OFFICE MOVERS and is currently a first assistant on WAYWARD. Will graduated from Humber’s post-production program in 2010. He also has a degree in Film Studies from Brock University. Will grew up in the Mohawk Territory of Akwesasne in NY/Que/On and now lives in Toronto with his wife and two young children.
Blair Drover has spent twenty years in the music industry, focusing on music production and audio engineering while performing with acts such as Audio/Rocketry and Marlaena Moore. In 2021, his lifelong interest in cinema led him to film editing. He has since served as an assistant editor
on features such as THE LAST VIDEO STOP, DARK MATCH, and SOUL’S ROAD alongside CBC’s PUSH and Canada’s longest-running drama, HEARTLAND. Beyond his assistant editing roles, his editorial portfolio includes music videos, commercials, feature films, and docuseries, earning him a Rosie Award nomination for PAIN AND OFFERING.
Maria has been working in the film industry in Halifax, Nova Scotia, since 2013 and considers herself a Career Assistant Editor. With a degree in Digital Filmmaking from the Centre for Arts and Technology, she has worked on projects like MR. D, HOPE FOR WILDLIFE, and MOONSHINE. With a decade of experience in post-production, she prioritizes organization and continually developing skills across various editing software. Maria is passionate about supporting the creative process and enjoys the collaborative nature of the editing room.
Pauline Decroix is an award-winning Picture Editor based in Toronto with almost 25 years of experience in both Canada and France. Since she moved here, she has made a name for herself on the Canadian scene. In 2020, she received her first CSA for Best Editing on the documentary ON THE LINE. Pauline also won the CCE award for best editing in a short film two years in a row (2020 & 2021). She recently worked on BEYOND BLACK BEAUTY, a new Amazon series, HOW TO FAIL AS A POPSTAR, Best Web Series at the 2024 CSA, and on SON OF A CRITCH.
Assistant Editors: The Heart of Post Production (presented in French)
Our first ever assistant editor panel for EditCon! Join us for not one, but two discussions with highly renowned and award-winning French and English-speaking assistant editors, led by Pauline Decroix. In French we’ll welcome assistants from THE DISHWASHER, GHOSTS and UNIVERSAL LANGUAGE. In English we will welcome assistants from BEACON 23, HOME SWEET ROME, PUSH and MOONSHINE. They’ll discuss the assistant journey, from working with editors on projects to the differences between remote and office workflows, and navigating day-to-day operations in between the edit suites.
Émilie is a passionate assistant based in Montréal, with genuine technical skills and creativity. She has worked on many TV series, including all seasons of 5e RANG and L’OEIL DU CYCLONE. She developed good relationships with the editors with whom she worked. She has collaborated on several TV series and movies with editor Isabelle Malenfant, including the films FABULEUSES and LE PLONGEUR and the TV series LE PHOENIX, POUR TOI FLORA, and DOUBLE JEU. This long-standing collaboration has allowed them to create a strong relationship built on trust and communication. She won the Assistant Editor Recognition Award at the CCE Awards 2024.
After earning a college degree in communication and literature, and dreaming of the theatre, Véronique decided to change courses and study at the Cégep de Jonquière’s school of media arts and technologies. She graduated in 2008 and enjoyed a wonderful internship at Radio-Canada, then joined the team at the now-closed STATION 29. It was during her time at the post-production studio that she fell in love with everything to do with assistant editing. It was also there that she connected with Muse Entertainment and its numerous editors, giving her the chance to work on many of their projects—an opportunity that saw her working not only in Montreal, but in Toronto and Los Angeles as well. Over the past year, she has worked on an impressive collection of projects, including co-production series SO LONG MARIANNE for Crave, THE STICKY for Amazon, and the fourth season of hit sitcom GHOSTS for CBS.
Jeannick has loved the art of cinema since childhood, which eventually led her to study media arts and technologies at the Cégep de Jonquière. She has flourished as an assistant editor for more than three years, working on several notable projects like the series IN MEMORIAM and, more recently, the feature films UNIVERSAL LANGUAGE and SHEPHERDS. From synchronization to picture lock, she is meticulous in her support for editors. Her technical savvy is paired with artistic sensibility, allowing her to bring a personal touch to every project. Jeannick is driven by her desire to tell stories that speak to the public… while squashing some technical bugs along the way!
Pauline Decroix is an award-winning Picture Editor based in Toronto with almost 25 years of experience in both Canada and France. Since she moved here, she has made a name for herself on the Canadian scene. In 2020, she received her first CSA for Best Editing on the documentary ON THE LINE. Pauline also won the CCE award for best editing in a short film two years in a row (2020 & 2021). She recently worked on BEYOND BLACK BEAUTY, a new Amazon series, HOW TO FAIL AS A POPSTAR, Best Web Series at the 2024 CSA, and on SON OF A CRITCH.
This Year in Canadian Film
We want to feature the editors of four Canadian films that are not only critically acclaimed in this year’s festival circles but also reflect the great community spirit behind their creation. Whether it’s the utterly independent visions of MATT AND MARA and UNIVERSAL LANGUAGE or the deeply necessary stories of the Indigenous community in ABERDEEN and THE STAND, this year’s Canadian films, in all their shapes and forms, are not short of boldness and style.
Sara Bulloch is an editor and filmmaker in Winnipeg, Canada. She’s edited films and series like ABERDEEN (premiered at TIFF2024), ALTER BOYS, SEEKING FIRE, ANCIENT BODIES, and many short films including I WOULD LIKE TO THANK MY BODY which won Audience Choice Award at Gimli Film Fest 2023. Short films she’s written/directed have screened with Toronto Jewish Film Fest, the8fest, Gimli Film Fest, and more. Her films often explore mental health, identity, and relationships. Her short film, HOT DOG GUY won a People’s Choice Award at Vox Popular Media Arts Fest 2022. She’s also a motion graphics artist and community organizer. From 2019-2023 she organized OurToba Film Network & Fest, a community group for women, non-binary and gender diverse Manitobans in film.
Xi Feng is a 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 editor on award winning films including CETTE MAISON, CAITI BLUES and most recently UNIVERSAL LANGUAGE, which won the inaugural Audience Award at the Directors’ Fortnight at Cannes and is Canada’s 2025 submission for the Oscars. Her filmography includes films premiered at major festivals such as Berlinale, Cannes, Sundance, TIFF, Vision du Réel, HotDocs, etc.
Nathalie Massaroni is a Winnipeg-based editor and post production supervisor of more than 400 hours of television. Since graduating from the University of Winnipeg’s film program, she has edited features and series including WINTERTIDE, ALTER BOYS, SEEKING FIRE, and ABERDEEN (which premiered at TIFF 2024). Nathalie has also edited other short form series and films such as D DOT H, TAILOR MADE, and I HURT MYSELF. If she’s not working on a computer, you can find Nathalie at the dance studio or sipping coffee with a cat on her lap.
Ajla Odobasic is a Bosnian-Canadian film editor based in Toronto. Her credits include MATT AND MARA, THE WHITE FORTRESS, the TFCA Best Canadian Film Award-winning ANNE AT 13000 FT, A.W: A PORTRAIT OF APICHATPONG WEERASETHAKUL, and the CSA-nominated HELLO DESTROYER. Her work has screened at several festivals and platforms including Locarno, TIFF, the Berlinale, MoMA, CBC Gem, and the Criterion Channel. Ajla teaches editing in Humber College’s Film and Television program.
Sarah Hedar is a Vancouver-based editor and story editor. Her patience and sense of humour keeps the challenges that so often bog down the creative process at bay. Sarah’s award-winning work on provocative and original films spans both documentary and narrative projects, from features to shorts. Her keen eye for visual storytelling reflects her belief in the power of community, and the importance of continuously reassessing the status quo while building a world filled with empathy and hope for a brighter future. Her work has screened at festivals across the globe, but most notably, Sundance, TIFF, and VIFF.
Kelly Boutsalis is the International Programmer, Canada for the Toronto International Film Festival. She’s also a freelance writer, and has written about film and television for the New York Times, NOW Magazine, Elle Canada, Flare, POV Magazine and more. She’s also written about lifestyle, design, and culture for publications including Vogue, Toronto Star, Chatelaine, VICE and Toronto Life. Originally from the Six Nations reserve, she lives in Toronto. She is on the board of imagineNATIVE and a member of the Toronto Film Critics Association.
Behind the Screen: Halo
Come join us for a behind-the-scenes peek at the editing process of a few episodes from the live-action sci-fi series HALO! We’ll have a great panel where we’ll discuss with picture editors, Nicholas Wong, CCE, moderated by Roderick Deogrades, CCE about the creative process, workflow, and the challenges faced in shaping memorable action sequences known as ‘oners’ — those awesome moments that feel like one continuous take. If you’re curious about how action scenes with visual effects and sound design come together, or if you just love sci-fi, this is the perfect event for you!
Nicholas Wong, CCE is an award-winning editor, whose work spans a variety of formats, including television series and features. His latest work can be seen on the first season of BRILLIANT MINDS, HALO and SNOWPIERCER. His past credits include THE EXPANSE, CODE 8, UTOPIA FALLS and BARONESS VON SKETCH SHOW. Nicholas has just wrapped editing on set in Winnipeg for the action film NORMAL, starring Bob Odenkirk.
Roderick is an award-winning Picture and Sound Editor who has worked in the film industry for over 25 years. His experience in feature films, TV series and documentaries has established him as one of the industry’s most sought-after collaborators. On the picture side, he is known for his work on STILL MINE, VICTORIA DAY, and ONE WEEK. For television, he has edited THE EXPANSE, CHAPELWAITE, HIGH SCHOOL and HALO. He edited the acclaimed documentaries such as 100 FILMS & A FUNERAL, THE GHOSTS IN OUR MACHINE, DAVID & ME and SILAS. His sound work includes SPLICE, PASSCHENDAELE and SILENT HILL.
In Person Events
Edmonton- From Cut to Score: How Collaboration Shapes Film and TV
Post production is all about collaboration! Join a talented panel of editors, sound designers, and composers as they reveal the behind-the-scenes magic that brings films to life. From the precision of sound design to the emotion of the score, learn how every element comes together to create unforgettable cinematic experiences. Don’t miss the chance to hear from the experts and see how teamwork transforms great ideas into compelling stories on the screen!
Charlene Rule has edited a diverse portfolio spanning museum installations, unscripted shows, music videos, and award-winning documentaries. Her first documentary, FRAMES premiered at Tribeca and also showed at the Museum of Modern Art, New York. Recent work includes FOUR STRINGS GOOD, the documentary commemorating the British sessions bassist Mo Foster, which has just premiered at the DocNRoll festival in London. She has also contributed to notable projects like THE ALZHEIMER’S PROJECT, SAME SEX AMERICA, and LEVI: BECOMING HIMSELF. Charlene’s work has appeared on networks including A&E, AMI, CBC, Discovery+, FoxSports1, HBO, Max, Showtime, Sundance Channel, and VICE.
Hans Olson is an editor with a passion for observational storytelling. He has worked on three films directed by Tasha Hubbard – SINGING BACK THE BUFFALO, NÎPAWISTAMÂSOWIN: WE WILL STAND UP and BIRTH OF A FAMILY. His documentary editing credits also include SIKSIKAKOWAN: THE BLACKFOOT MAN, ARAB WOMEN SAY WHAT?! and KÍMMAPIIYIPITSSINI: THE MEANING OF EMPATHY. Hans studied screenwriting at Langara College and is an alumnus of the Canadian Film Centre (Directors’ Lab) and Berlinale Talents. He has volunteered with the Nordlys Film & Arts Festival since its inception in 2010.
John McMillan is an award-winning composer, producer, and educator. He is a Ph.D. candidate at the University of Westminster in London, UK, and is currently serving as Head of Songwriting with the Department of Music at MacEwan University in Edmonton. From an early age, John has been interested in the art of storytelling through film. This fascination, coupled with a love of music composition, songwriting, music technology and recording, has led to his career in music for visual media. Select screen credits include SINGING BACK THE BUFFALO, CRACKED: THE PERPLEXING WORLD OF EGG DONATION, THE GOOD VIRUS, WOCHIIGII LO: END OF THE PEACE, BLIND AMBITION: THE WOP MAY STORY, IRONMAN III and ASSASSIN’S CREED BLACK FLAG. John is most passionate about his musical contributions to the Canadian documentary film industry.
Johnny began his sound recording education at the age of 16 and has been working with audio professionally for more than 35 years. With a diploma in Music and Recording Arts from MacEwan University, he is both a musician and audio engineer, with the unique ability to receive the world through sound. The recipient of thirteen Alberta Motion Picture Industry Awards, two Canadian Screen Award Nominations, his position as a premiere audio authority is well established. There is no project Johnny is not equipped to tackle. He has a strong understanding of the technical and creative elements involved in audio production, and he has the skill to balance both.
A multi-award-winning editor with over twenty years of experience, Sarah has helped shape countless narratives that have been seen around the world. She has cut a wide range of documentaries, television programs, shorts, and feature films which have been screened at festivals including Tribeca, TIFF, and Sundance, and broadcast on networks like CBC, BBC, PBS, APTN, and AMI. Sarah’s most recent work includes the feature length documentary The Lebanese Burger Mafia which premiered at HOT DOCS in 2023 and the feature film Hey Viktor! which premiered at Tribeca in 2023. Sarah has seamlessly transitioned into the world of podcasting and also hosts and edits interview-based shows such as BRAAAINS and THE EDITOR’S CUT, adding another dimension to her multifaceted storytelling expertise.
Halifax- FINDING THE STORY
Editing is storytelling, and telling stories is what makes us human. But how do editors find, refine, and reconstruct the stories upon which we work? What differences and similarities exist across genres? Join us for an in-depth discussion spanning scripted television, documentary, reality and feature editing.
Amy Mielke is an accomplished feature film editor based in Halifax, Nova Scotia, whose work has earned awards and international festival recognition. Her feature credits include NIGHT BLOOMS, DAWN, HER DAD, AND THE TRACTOR, FREEDOM SWELL, BYSTANDERS, LAKEVIEW, and TO THE MOON, showcasing her versatility across genres and her commitment to compelling storytelling. Amy’s thoughtful approach to every frame continues to set her apart as a standout talent in feature film editing.
Wes Paster is an editor that resides in Wolfville, Nova Scotia. Six years ago he moved there with his family from Los Angeles thinking he could survive off of remote work. That’s worked out pretty well. He usually cuts reality shows. Emmy-Nominated four times for EXTREME MAKEOVER: HOME EDITION, he has worked on many reality shows from THE BACHELOR to SALVAGE KINGS.
Kimberlee McTaggart has been working in the Canadian film industry for over 25 years. She has produced and directed, but editing is her first love. She began her career editing documentaries, but is now mainly in the world of drama. Kim has edited several dramatic series such aS LEXX, MADE IN CANADA, THIS HOUR HAS 22 MINUTES, CALL ME FITZ, STUDIO BLACK, SEED, PURE, and DIGGSTOWN. She won a Gemini for the CALL ME FITZ pilot and was nominated for a Canadian Screen Award for her work on both CALL ME FITZ and SEED, as well as the feature film BLACKBIRD.
Sarah Byrne is a versatile, creative picture editor who has worked in both the mainstream and independent film communities of Nova Scotia for over 20 years. She started her career on the cult hit Trailer Park Boys, and has been a passionate collaborator on broadcast documentaries, half-hour comedy series and independent feature films ever since. In 2022, she was the recipient of the Best Atlantic Editor award (AIFF) for her work on Jackie Torren’s feature length documentary BERNIE LANGILLE WANTS TO KNOW WHAT HAPPENED TO BERNIE LANGILLE. Her recent editing work includes THIS HOUR HAS 22 MINUTES and the half-hour comedy series THE TRADES.
Taylor Olson (he/they) is a queer filmmaker living with invisible disabilities. A CSA nominee, Olson made his feature directorial debut with BONE CAGE, which received critical acclaim, swept the FIN Atlantic International Film Festival, and won over 30 awards globally. The film competed at Camerimage and the Beijing International Film Festival before earning two CSA nominations for Adapted Screenplay and Supporting Actress. Olson’s second feature, LOOK AT ME, premiered at the Slamdance Film Festival, where he won Best Performance at the Canadian Film Fest. In 2024, he directed his third feature, WHAT WE DREAMED OF THEN. For television, Olson has directed THIS HOUR HAS 22 MINUTES, three seasons of DISRUPT, a series for Swearnet, and two short-form comedies, KING & PAWN and 2GETHER 4EVER.
Montréal- Editing Reality
Reality TV—a genre with well-known series like The Real World, Pignon sur rue, La Course destination monde, and Survivor—has been a staple on our screens for more than 30 years. Millions of people tune in to these shows each day; they feed meme culture and tap into the universal guilty pleasure that is gossip. Unlike traditional television, the stories on reality TV are not written by screenwriters, but rather by a team of people, including editors. Editors work tirelessly behind the scenes, using tools like music and pacing to make sure viewers can enjoy the action while growing attached to characters. See what these wizards of Québec storytelling have to say about their work.
Joanne Codère is a post-production editor and director who has specialized almost exclusively in reality TV for almost 8 years. She got her start in 2012 working on the second season of L’AMOUR EST DANS LE PRÉ, then worked in different styles of shows including CÉLIBATAIRES AU MENU, À TABLE AVEC MON EX, L’ENTREVUE, LES CHEFS! (which she has been editing for 10 seasons and been nominated twice for Gémeaux Awards), and LE LOT DU DIABLE (which earned her a 2017 Gémeau Award for best editor). She has been a post-production director on the hit show LES TRAÎTRES for the past two years.
Juliette Guérin is an editor who has been in love with documentaries and reality TV since 2012. Her body of work is varied, ranging from social documentaries like GUERRIÈRES, AMOUR ET DIFFÉRENCES, ADAPTÉS, and ENGAGEZ-MOI, to true crime (PRÉSUMÉ INNOCENT season 3) and cinematic documentaries (CHAMPIONS, PICHÉ RETURNS TO THE RING). She is also credited in season 2 of the fiction series FÉMININ/FÉMININ. Since 2018, she has helped edit a number of popular reality series like SURVIVOR, MASTERCHEF, LES TRAÎTRES, OCCUPATION DOUBLE, STAR ACADÉMIE, SORTEZ-MOI D’ICI!, and L’ÎLE DE L’AMOUR. She especially enjoys that style of show for its energy and collaborative nature.
From his days of stealing his dad’s VHS camcorder to filming his friends, to his current work in television, Alexandre has always seen editing as an important way of creating unique, singular moments. While his studies at UQAM and participation in numerous short film festivals originally led to an interest in cinema, his 2010 work on OCCUPATION DOUBLE introduced him to the world of reality TV. Above all, he loves the potential of the participants and the real emotions they are experiencing. The genre is also a wonderful way to tell stories, using unconventional editing to transform an ordinary moment into an epic adventure! Alexandre now has more than 15 years of experience under his belt; while he is primarily known for his work on OCCUPATION DOUBLE, he has also worked on shows like LAST ONE LAUGHING, SORTEZ-MOI D’ICI, and QUEL TALENT!. He is currently a post-production director and while he’s generally found behind the keyboard, he’s always happy to share his passion with other editors.
Marie-Eve Proulx is a Montreal native with a degree in communications (cinema profile) from UQAM. She has more than 20 years of experience working on magazine and reality TV shows, as well as documentaries. Over the course of her career, she has worked on popular shows like LOFT STORY, UN SOUPER PRESQUE PARFAIT, TAXI PAYANT: L’ESCOUADE, and PIGNON SUR RUE. She’s a curious and passionate person who’s always looking for the best way to tell stories and evoke emotions on screen.
David Émond-Ferrat has been responsible for editing fiction series like LE 422 (a Gémeaux Awards nominee) and APRÈS LE DÉLUGE. He has directed and edited the first two seasons of SURVIVOR QUÉBEC, as well as the third season, which is coming out this spring. Other achievements include directing and editing the second season of SORTEZ-MOI D’ICI! and the first two seasons of PHILO POP, an award-winning philosophy series that earned him a Gémeau Award as best director. He is well known for his ability to magnify realism while bringing a touch of fiction to the documentary style of reality TV.
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, Locarno as well as the small screens of HBO, Netflix, FX, Hulu, Crave, SRC, TVA, and Télé-Québec.
Toronto- Tragically Hip: No Dress Rehearsal
Join us for a conversation with Peter Denes and Steve Taylor, CCE, as they discuss their editing of the opus documentary THE TRAGICALLY HIP: NO DRESS REHEARSAL. This DGC Award-winning, four-part series tells the story of a bunch of scrappy kids from Kingston, Ontario, who went on to make music history. Denes and Taylor will reflect on the mammoth task of shaping 40 years of music and memories into a rock and roll story that defined Canada to Canadians. Moderated by Nick Hector, CCE, BFE.
Peter Denes is an award-winning picture editor with two decades of experience in both documentary and scripted content. His work has premiered at TIFF, VIFF, SXSW, and Hot Docs, streamed on Prime, Hulu, and Showtime, and aired on PBS, Vice, A&E, BBC, and more. He brings a cinematic and thoughtful approach to storytelling, influenced by his passion for art, music, and design. Recent projects include THE TRAGICALLY HIP: NO DRESS REHEARSAL, winner of the People’s Choice Documentary Award at this year’s TIFF, and the critically acclaimed THE KIDS IN THE HALL: COMEDY PUNKS.
Steve Taylor, CCE is a multi-award winning documentary editor with twenty years in the industry. His work has premiered at festivals around the world including TIFF and Hot Docs and he has been nominated for 14 editing awards with 6 wins, including Canadian Screen, Director’s Guild of Canada, and Canadian Cinema Editors. His projects have also won an International Emmy and a Peabody. Working on TRAGICALLY HIP: NO DRESS REHEARSAL alongside editor Peter Denes and director Mike Downie was a dream for Steve. It was one of those rare unicorn projects where everything came together to create something magic.
Nick Hector, CCE, BFE is a Canadian Screen, HotDocs, Canadian Cinema Editors, Directors Guild of Canada, and Gemini Award-winning film editor of more than 150 films and programs. His work has been included in the Criterion Collection and screened at most major international festivals, including the Berlinale, Sundance, and TIFF. Nick is an Associate Professor of film production at the University of Windsor. His scholarly research explores the relationship between the craft process and artistic outcomes in documentary film editing. Nick holds a Master of Arts in Media Education and a Doctorate in Fine Art.
Toronto- Who Am I? Crafting Stories on Identity
How do issues of representation and identity shape the art and craft of film editing? Join editors Lara Johnston (FELLOW TRAVELERS), Gloria Tong (BRIA MACK GETS A LIFE), and Fabiola Caraza (THE POPULARITY PAPERS) as they discuss the intersection of film editing and cinematic explorations of race, class, gender, and culture. Moderated by D. Gillian Truster, CCE.
Lara Johnston is a Toronto-based film and television editor. Her most recent credits include FELLOW TRAVELERS and BRILLIANT MINDS, and she has worked for such filmmakers as Patricia Rozema, Ron Nyswaner, and Brian De Palma. She was nominated for a CSA for Patricia Rozema’s MOUTHPIECE,, and won the CCE and DGC Feature Editing awards for that film, and most recently won the DGC editing award for her work on FELLOW TRAVELERS. She holds a BA in Cinema Studies from the University of Toronto and an MFA in Documentary Media from Ryerson University.
Fabiola Caraza is a Picture Editor of over 15 years. She has edited short and feature films, television and web-series. Born and raised in Mexico, Fabiola has a passion for travel and has lived, worked and studied in New York, Vancouver, Saskatoon and Toronto. She has garnered over 35 editing credits, DGC and CCE nominations, and had her work exhibited at film festivals around the world, including TIFF, the Moscow Biennale, and the Cannes Film Festival. Her next production, THERE WERE WITCHES will return her to her native country as lead Producer and Editor. She was a participant in this last year’s cohort of Women in Post with the Academy of Canadian Film and Television.
Gloria Tong is an award-winning editor based in Toronto. She kicked off her career in broadcast television, working as an editor, then producer-editor for MuchMusic and E! under CHUM/CTV/Bell Media. After completing the Editor’s Lab at the Canadian Film Centre, she began cutting scripted television and films including UNDER THE CHRISTMAS TREE, Lifetime’s first lesbian Christmas movie, which earned a DGC nomination for Best Editing in an MOW. Recent credits include FRIDAY NIGHT SEXT SCANDAL (DGC nominated for Best Editing in MOW) DON’T EVEN and BRIA MACK GETS A LIFE which premiered at Tiff in 2023, was nominated for a CSA and won a DGC award for Best Editing in Comedy.
Gillian is a Toronto-based editor with a diverse career editing drama series, feature films, and MOWs in a variety of genres. She has had the good fortune of working with many prominent and celebrated producers, directors, and screenwriters. Gillian is best known for her work on ORPHAN BLACK, ANNE WITH AN E, and THE EXPANSE. She has won two CSA awards, a DGC award, and has earned thirteen award nominations. She is currently working on WAYWARD, a new limited series for Netflix.
Vancouver- Finding the Story
Editing is storytelling, and telling stories is what makes us human. But how do editors find, refine, and reconstruct the stories upon which we work? What differences and similarities exist across genres? Join us for an in-depth discussion spanning scripted television, documentary, reality and feature editing.
Lisa Binkley began her career after having studied theatre and film production at U.B.C. and Capilano University. Lisa was recognized when she received a Canadian Screen Award for her editing of the mini-series, HUMAN CARGO. Her work on the critically acclaimed series, THE L WORD has given Lisa the opportunity to work with such directors as Marleen Gorris (Academy Award Winner –ANTONIA’S LINE), Moisés Kaufman (THE LARAMIE PROJECT), Helen Shaver (VIKINGS), Lynne Stopkewich (KISSED), and Kimberly Peirce (BOYS DON’T CRY). Lisa is a full member of IATSE 891, ACFC West and a voting member of the Academy of Television Arts & Sciences. In 2008, she was inducted as a full member of the Canadian Cinema Editors.
Jamie Alain, CCE, is a Vancouver based film and television editor. He is currently in production on season three of SILO after having cut three episodes of season two. Previous projects include LUCKY HANK, WARRIOR NUN, and DIRK GENTLY’S HOLISTIC DETECTIVE AGENCY.
Ted Tozer is a Vancouver based editor with over 20 years experience in factual storytelling, He has been nominated for a Canadian Screen Award and has won a Leo for his editing on RUST VALLEY RESTORERS. Recent credits include Pamela’s COOKING WITH LOVE, YUKON RESCUE, RUST VALLEY RESTORERS and PAMELA’S GARDEN OF EDEN.
Tanya has been writing and editing documentaries for over 20 years, and she’s most passionate about stories that can evoke social change or give a glimpse into another world through intimate verité footage. Tanya recently completed 500 DAYS IN THE WILD, following Dianne Whelan’s 24,000km non motorized journey along the longest trail in the world. Tanya has won Leos for her work on BRITISH COLUMBIA: AN UNTOLD HISTORy and AITAMAAKO’TAMISSKAPI NATOSI: BEFORE THE SUN. Other notable works include DO YOU REALLY WANT TO KNOW? and WILD HORSE REDEMPTION with Academy-award winning director John Zaritsky, and biopics I AM JACKIE O and JOHNNY CASH AMERICAN REBEL.
Mauri Bernstein is a Vancouver-based motion picture editor with a focus on life-affirming entertainment. Her early career is distinguished as a performer in film and television spanning from a supporting role on DOOGIE HOWSER, MD to dozens of puppets in TEAM AMERICA, WORLD POLICE. After emigrating to Canada in 2008, her work increasingly shifted behind the camera as she expanded her technical capacities and applied her storytelling prowess to editing. Mauri has helped shape numerous feature-length projects airing around the world including a narrative feature in Chinese, FATAL VISIT, as well as collaborating on two works with Multi-Media Artist, Althea Thauberger.
Vancouver- VFX EDITING: Making Movie Magic with VFX Editors
If visual effects are the magic of movies, then the VFX editors are the ones making magic happen in the edit suite. But what does that entail? As the bridge between editorial and VFX artists, how do VFX editors support the storytelling process and what do they do? Where did they come from and how has the position evolved?
Gary Lam is a 25 year veteran First Assistant Editor and Visual Effects Editor based out of Vancouver and Los Angeles, whose credits include District 9, Elysium, Terminator: Dark Fate, and Violent Night, as well as Neill Blomkamp’s Oats Studios as a Post Production Producer. He was most recently a VFX editor on Netflix’s feature film Lift, starring Kevin Hart. He is also in his 10th year as an elected co-chair of the I.A.T.S.E. local 891 Editing Department.
Warren made his start in the film industry in 1998 and has spent his time finishing projects as a VFX Editor and Assistant Editor ever since. Over the years he’s had the opportunity to play a key role in the storytelling process on a number of notable projects with a wide range of local editors, directors, and producers, as well as some of the top names in Hollywood and abroad. Warren’s most notable recent credit was VFX Editor on the series SHOGUN, where upon release, it was met with high praise from both critics and viewers, ultimately breaking TV history with a record shattering 25 Emmy nominations resulting in 18 wins. SHOGUN has since gone on to earn a multitude of other awards and has taken a spot among the best of the best in series television.
Bob Dewald has spent 15 years working various roles in editing departments, gleaning tricks of the craft from his many collaborators. He recently completed additional editing on the feature HERETIC for A24 and Directors Scott Beck and Bryan Woods. Other career highlights include editing on TERROR: INFAMY for AMC, FLOWERS IN THE ATTIC: THE ORIGIN and FIFTY STATES OF FRIGHT produced by Sam Raimi.
Kelsy, a 20 year veteran of the VFX and animation industry, is a firm believer in doing her part to create a more progressive and diverse professional community and to help pave the way for the next generation of filmmakers. She volunteers her time to several professional organizations and is an active mentor within the community. Kelsy is the Executive Producer at Mr. Wolf VFX in Vancouver. While there, she oversees a very talented team of artists and production staff as they produce top calibre visual effects for the likes of HBO, Netflix, Disney, Amazon, and the rest of the usual suspects. Kelsy is a very proud enabler of both creative talent and technical innovators.
Breakout Rooms (Virtual)
What is a breakout room?
Hosted by post-production professionals these rooms offer the opportunity for participants to engage and ask questions on specific topics. Each session will run consecutively, so you won’t need to choose! You can attend them all if you want.
Zoom, Discord, Slack: Managing Your Career in the Hybrid Era | 12PM EST
Remote editing was rare a decade ago. In the post-COVID workplace, it’s becoming the new normal. What does assistant editing look like in the hybrid era? What tools, workflows, and protocols are best for working remotely? Join assistant editors Daisy MacLean (HALO, RANSOM) and Shelley MacLean (ORPHAN BLACK, THE HANDMAID’S TALE) as they discuss success career strategies in contemporary hybrid editing.
Shelley MacLean is a Toronto-based 1st Assistant Picture Editor, with a background in Film Studies from Concordia University, Montreal. Her experience as both Assistant Editor and VFX Editor in Post-Production spans 15 years working on Feature Films, Reality, Documentary Series, Unscripted and Scripted projects. Shelley’s passion for Assistant Editing is inspired by the technological aspects of post-production and motivated by supporting and collaborating with Editors. Her goals are to implement and execute efficient workflows for Editors, to ensure a smooth editing process and establishing a productive environment for the Post-Production team. Outside of Assistant Editing, Shelley is a tennis enthusiast, loves horror films and is fascinated with disease ecology.
Daisy MacLean is a member of the DGC, the CCE, the Academy of Canadian Cinema and Television, and the American Television Academy. She has worked on productions like MURDERBOT, HALO, VIKINGS: VALHALLA, THE VVITCH, MR. D and CHRISTMAS LAND. Daisy embraces the hybrid work model introduced post-pandemic, combining flexible in-office and remote work through tools like Jump Desktop. While remote work reduces stress and promotes work-life balance, she values in-person collaboration for problem-solving and connection. This new approach has significantly improved her mental well-being, underscoring the importance of flexibility in the entertainment industry.
Agent and No Agent: A Tale of Two Editors | 12:40 PM EST
Should you have an agent? Can you succeed without one? What are their benefits and are there any pitfalls to signing with one? If you’re at the stage of your career where you’re beginning to consider an agent but still can’t decide if it’s the right move, you’re not alone. Join editors Xi Feng (CAITI BLUES, CETTE MAISON) and Greg Ng as they discuss the pros and cons of artistic representation.
Xi Feng is a 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 editor on award winning films including CETTE MAISON, CAITI BLUES and most recently UNIVERSAL LANGUAGE, which won the inaugural Audience Award at the Directors’ Fortnight at Cannes and is Canada’s 2025 submission for the Oscars. Her filmography includes films premiered at major festivals such as Berlinale, Cannes, Sundance, TIFF, Vision du Réel, HotDocs, etc.
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 LONGLEGS, BONES OF CROWS, and I’M JUST HERE FOR THE RIOT.
*SNEAK PEEK* The Editor’s Taskbook: Responsibilities and Best Practices (English) | 1:20 EST
The CCE and the Comité des treize are proud to present The Editor’s Taskbook: Responsibilities and Best Practices, a comprehensive guide that has been over four years in the making. From pre-production to final delivery, the Taskbook outlines every stage of the editing process in detail, addressing critical topics such as staffing, contracts, workflows, and ergonomic best practices. In this breakout room, Jane MacRae, Pauline Decroix, Annie Jean, CCE and Michel Arcand, CCE will provide an overview of the Taskbook and discuss how it can be used to empower editors and assistants in all genres and budget levels.
Join Jane MacRae and Michel Arcand, CCE in our English Room and Pauline Decroix and Annie Jean, CCE, in our French Room.
Jane was 10 years old when she started her first editing gig by hooking up two VCRs to cut the commercials out of her favourite TV shows. Since then, she’s been fortunate enough to find some folks to trust her with their own projects, and she now has over 15 years’ experience in feature films and series. She has been nominated for three CCE Awards and two Canadian Screen Awards for editing, and her work has screened at festivals around the world. She loves to aim for projects across all genres, and can usually be talked into working when she should be taking time off.
Michel Arcand’s career as an editor has spanned more than 40 years, earning him a unique place in the Canadian cinema community amongst the artists and professionals whose careers he has watched emerge and mature. Michel Arcand is part of that elite group of artisans and creators whose reputation transcends borders. His work, too, is internationally recognized, with movies like Tomorrow Never Dies: James Bond #18, Sunshine, and The Sixth Day being enjoyed by hundreds of thousands around the world. Generous with his time and wealth of experience, he is a founding member of the Comité des Treize, an independent group whose mission is to unite editors of all stripes to promote the field and restore its prestige. Arcand has long been a freelancer, which likely fuels his drive to ensure better working conditions not just for himself, but also for his fellow editors. His mission to support his community led him to sit on the Board of Directors of the Academy of Canadian Cinema.
*SNEAK PEEK* The Editor’s Taskbook: Responsibilities and Best Practices (French) | 1:20 EST
The CCE and the Comité des treize are proud to present The Editor’s Taskbook: Responsibilities and Best Practices, a comprehensive guide that has been over four years in the making. From pre-production to final delivery, the Taskbook outlines every stage of the editing process in detail, addressing critical topics such as staffing, contracts, workflows, and ergonomic best practices. In this breakout room, Jane MacRae, Pauline Decroix, Annie Jean, CCE and Michel Arcand, CCE will provide an overview of the Taskbook and discuss how it can be used to empower editors and assistants in all genres and budget levels.
Join Jane MacRae and Michel Arcand, CCE in our English Room and Pauline Decroix and Annie Jean, CCE, in our French Room.
Pauline Decroix is an award-winning Picture Editor based in Toronto with almost 25 years of experience in both Canada and France. Since she moved here, she has made a name for herself on the Canadian scene. In 2020, she received her first CSA for Best Editing on the documentary ON THE LINE. Pauline also won the CCE award for best editing in a short film two years in a row (2020 & 2021). She recently worked on BEYOND BLACK BEAUTY, a new Amazon series, HOW TO FAIL AS A POPSTAR, Best Web Series at the 2024 CSA, and on SON OF A CRITCH.
Annie Jean made her debut in film in the late 80’s in Montreal. She started out as assistant editor, mainly in fiction, working on, among others, Léolo by Jean-Claude Lauzon and Mouvements du désir by Léa Pool. She also worked at sound editing on a number of films and on post-synchronization for Denys Arcand’s Jésus de Montréal and as dialogue editor in Pierre Falardeau’s Octobre. For over 28 years she has been chief editor on a vast number of documentaries and fictions. Her recent work has been concentrated on independent documentary productions. Her films have been recognized in festivals, both abroad and in Canada. Some of her most notable contributions are Grabrielle Roy by Léa Pool, What remains of us, by Hugo Latuluppe and François Prévost, Nous autres, les autres by Jean-Claude Coulbois, The Phantom of the Operator by Caroline Martel, My Father’s Studio by Jennifer Alleyn, Alphée of the Stars by Hugo Latulippe, My Real Life, by Magnus Isacsson, Ziva Postec, the editor behind the film Shoah by Catherine Hébert or The Forbidden Reel by Ariel Nasr. The films on which she worked have won over forty awards in various national and international film festivals. Annie has received three Genie Awards for her work on What remains of us, for La part d’ombre, and also for Ziva Postec, the editor behind the film Shoah. She also recieved an IRIS awards for best editing for her work on Ziva Postec, the editor behind the film Shoah. Over the years she has taught film editing in various institutions like L’Institut national du son et de l’image (INIS) in Montreal.
Deadpool & Wolverine - Shane Reid | 2:00 PM EST
Re-listen to the podcast and then join Shane in the Breakout Room to ask any questions you have about what it was like to edit DEADPOOL & WOLVERINE!
Shane Reid is a feature and commercial editor and partner of the award winning post house Exile Edit. Nominated for an Emmy and Cannes Lion in the commercial space he quickly became one of the industry’s most trusted short form editors. In 2016 Reid edited the feature documentary ONE MORE TIME WITH FEELING, directed by Andrew Dominik which chronicled musician Nick Cave recording his studio album Skeleton Tree while grieving the tragic loss of his son. 2024 will be quite the year for audiences to see Shane’s feature work as he has 3 films releasing, GHOSTBUSTERS, DEADPOOL & WOLVERINE and SATURDAY NIGHT.
Furiosa - Eric Whipp | 2:40 PM Est
Watch the panel and then join Eric in the Breakout Room to ask any questions you have about what it was like to work on FURIOSA!
Eric Whipp is a distinguished colorist known for his exceptional work in film and television. With a keen eye for detail, he has contributed to a variety of notable projects, including the critically acclaimed film MAD MAX: FURY ROAD. His expertise in color grading played a vital role in enhancing the film’s striking visuals, helping to create its unique and immersive aesthetic. With a collaborative approach, Eric works closely with directors and cinematographers to bring their creative visions to life. His dedication to the craft and innovative techniques have solidified his reputation in the industry, making him a sought-after talent for filmmakers looking to elevate their storytelling through color.
CCE EditCon Raffle
Our annual raffle features the fabulous prizes listed below. The draw will take place during EditCon.
- 1 Davinci Resolve Editor Keyboard
- 2 x 1 Davinci Resolve Speed Editor
- 3 x 1 year subscription to Boris FX Suite
- 2 x 1 year Adobe Creative Cloud subscription
Thank you to our board & volunteers:
CCE EditCon Committee:
Adam van Boxmeer
Xi Feng
Nick Hector, CCE
Daisy Maclean
Malcolm Mistry
Alejandro Tello
James Tracey
Volunteer:
Idriss Askour
Shavari Barfiwala
Mac Dale
Roderick Deogrades, CCE
Jonathan Dowler, CCE
Thank you to our CCE Staff:
CCE Operations Manager:
Alison Dowler
CCE Communications Specialist:
Nick Houy, ACE, is a film editor based in New York. Before editing BARBIE, Houy edited both of Greta Gerwig’s previous Oscar-nominated films, LITTLE WOMEN, and LADY BIRD for which he was nominated for the ACE award in 2017. Houy also won the Emmy Award in 2017 for editing the miniseries, THE NIGHT OF. He was nominated for the Independent Spirit Award for editing MID90S in 2018, and in 2022 Houy edited the critically acclaimed Netflix documentary, STUTZ.
Sarah Taylor, CCE, a celebrated award-winning editor, is known for amplifying underrepresented voices through her work that has been showcased globally at TIFF, Tribeca, Sundance, Hot Docs, and the Imaginative Film Festival. Her talent spans across documentary, TV series, short and feature length films, making her a versatile force in storytelling. Beyond her editing expertise, she hosts THE EDITOR’S CUT and BRAAAINS podcasts. 
Beth Biederman, editor with 17 years experience in Canada, New Zealand and Australia working on documentary, reality, current affairs and children’s programming. No matter the genre above all they strive to bring a sense of humour and realness to each story. When not editing you can find Beth biking, dancing or giving talks on important topics such as bagels. Credits include: CANADA’S DRAG RACE, BONDI VET, THE PROJECT, GABY’S FARM, STYLED and MY RESTAURANT IN INDIA.
Dean’s passion for visual storytelling has guided his more than 20 years in the film and television industry in the roles of editor and director. He began this journey creating experimental short films, performing arts shorts, and music videos. From there he entered the world of factual television working in various genres including competition, true crime and docuseries. The recipient of multiple production grants, and a CSA nomination for best editing, Dean is continually pursuing the next visual storytelling challenge.
Jonathan 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, DRAG RACE CANADA, TOP CHEF CANADA, THE AMAZING RACE CANADA and LOVE ISLAND and LOVE ISLAND GAMES. He is a 17 time CSA and 17 time CCE nominated editor and has won five consecutive CSA’s and five CCE Awards.
Lindsay Ragone is a Toronto-based editor with over 20 years of experience. She’s been nominated twice at the Canadian Screen Awards for her work on CANADA’S DRAG RACE and was an Emmy-nominee for the Scripted/Reality hybrid series THE QUEST on Disney Plus. Other recent credits include BLOWN AWAY for Netflix and ALL-ROUND CHAMPION for BYU.
Drew MacLeod is a Picture Editor based in Toronto with a resume that spans over 40 episodes of Comedy TV and counting. Recognized with award nominations for the Canadian Cinema Editors (CCE), Directors Guild of Canada (DGC), and Canadian Screen Award (CSA), Drew has made a mark on the industry early in his career. His recent accomplishments include cutting the series finale for the final season of Crave TV / Hulu’s LETTERKENNY and is currently in the editing room for the third season of SHORESY. Drew can often be seen sporting a warm smile, a fun attitude, and a healthy moustache.
While living in Halifax, Nova Scotia and collaborating with some of the finest directors and showrunners from across Canada, Kimberlee McTaggart, CCE has been remote editing since before it became cool. She has edited feature documentaries, music videos, and everything in between in her thirty year career. More recently, she has been working exclusively in the world of scripted shows – with a soft spot for comedy. Kim’s work has brought her several awards and nominations including a Gemini for CALL ME FITZ and five CSA nominations in the categories of comedy, drama and feature film, with the most recent for the comedy series MOONSHINE.
Sabrina Pitre, CCE is an award-winning editor with a natural instinct for storytelling across a wide variety of formats and genres. She approaches her work with unfailing dedication, and thrives on the creative challenges that each project can afford her. Armed with a personable and collaborative spirit, she has formed many professional relationships. She is currently cutting the indie horror film CLOWN IN A CORNFIELD, and is slated to start work on the next feature film installment of FINAL DESTINATION. Outside of editing, Sabrina holds a second career as a voice actor for cartoons. In her spare time, she is secretly training to become an Olympic Curling Champion. Hurry Hard!
Jay Prychidny, CCE is a multiple award-winning producer and picture editor, including back-to-back CSA wins in 2017 & 2018 for ORPHAN BLACK and THE AMAZING RACE CANADA. His factual work includes THE WEEK THE WOMEN WENT, TOP CHEF CANADA, and CANADA’S NEXT TOP MODEL, for which he won a Gemini and CCE award in 2010 & 2011. As a producer on ORPHAN BLACK, LOST & FOUND MUSIC STUDIOS, THE NEXT STEP and SNOWPIERCER, he supervised the editing, sound, music, and visual effects for every episode. He just recently finished editing his first feature, SCREAM VI. His latest project is BEETLEJUICE 2, which is his second time working with Tim Burton. He previously edited WEDNESDAY, for which he won a CCE award in 2023.
Maureen Grant, CCE, is an award-winning film and television editor based in Toronto. She takes pride in being part of projects that are changing and challenging onscreen representation. Her recent work in feature film includes director Molly McGlynn’s FITTING IN (SXSW ‘23, TIFF ‘23), and director V.T. Nayani’s THIS PLACE (TIFF ‘22). Recent television credits include season 3 of SORT OF, STOLEN BY THEIR FATHER, which won a DGC award for Best Editing in MOW, and I HATE PEOPLE, PEOPLE HATE ME, which premiered at Tribeca.
Isabelle Malenfant, CCE is a talented and passionate film editor based in Montreal. Over the years, she has worked on a variety of films and television series, earning a reputation for her exceptional collaboration with Francis Leclerc and other renowned filmmakers, such as Yves Simoneau, Louise Archambault, Quentin Dupieux, Olivier Asselin and Mélanie Charbonneau. Isabelle’s talent for storytelling and meticulous editing brings out the best in actors’ performances, earning her several award nominations, including Gémeaux, Jutra, and Iris. Additionally, she has won two CCE awards. Isabelle is also committed to the CCE board of directors, where she serves as Québec representative.
Justin Oakey is a bilingual filmmaker from rural Newfoundland raised on hunting, fishing, and storytelling. His award-winning short films brought his atmospheric vision of Newfoundland to festivals around the world before his feature debut RIVERHEAD – a micro-budget drama about small town feuding, nominated at the CSAs after a number of festival accolades. A FIRE IN THE COLD SEASON – a rural noir set against remote highway towns, was also nominated at the CSAs. He currently has several features in development – with feverish seal hunt thriller HANGASHORE. Also an accomplished editor of film and television, Justin has most recently worked on the acclaimed fantasy drama THE KING TIDE and the highly-anticipated crime thriller BLOOD FOR DUST.
Chandler Levack lives in Toronto, where she studied cinema at the University of Toronto and screenwriting at the Canadian Film Centre. She has directed numerous music videos, earning two JUNO nominations, and is a film critic for the Globe & Mail. In 2022, her debut feature I LIKE MOVIES premiered at TIFF, was selected for Canada’s Top Ten and won prizes around the world. She is currently working on her second feature ANGLOPHONE, a portrait of the 2011 Montreal music scene, with Zapruder Films.
With over 15 years of award-winning experience, Krystal strives to inspire, educate, and captivate her audiences through exceptional documentary editing. Born and raised in Edmonton, she developed a love for editing while studying Design & Motion Image at MacEwan University, and has since become a sought-after collaborator in the Alberta Film & TV industry. Her work has been featured on CBC, PBS, UnisTV, in film festivals and concert halls across Canada. Noteworthy projects include EQUUS: STORY OF THE HORSE, FRICK I LOVE NATURE, PUSH SEASON II and SEND KELP. In addition to being an editor, Krystal is francophone, a dancer, and mama.
Sarah Taylor, CCE, a celebrated award-winning editor, is known for amplifying underrepresented voices through her work that has been showcased globally at TIFF, Tribeca, Sundance, Hot Docs, and the Imaginative Film Festival. Her talent spans across documentary, TV series, short and feature length films, making her a versatile force in storytelling. Beyond her editing expertise, she hosts THE EDITOR’S CUT and BRAAAINS podcasts.
Weyme [way-mee] is an award winning, freelance video editor based in Edmonton, Alberta. Her range of experience includes corporate video, documentary, indie film and broadcast television projects. Weyme has been professionally editing since 2013 and has been part of several award-winning projects including: BLIND AMBITION: THE WOP MAY STORY (EIFF 2021), and was awarded Best Editor for an episode of the APTN docu-series RODEO NATION (AMPIA 2022) and the Storyhive short film ONE, ONE THOUSAND (AMPIA 2017). With her love of storytelling and digging for the truth, Weyme brings a fresh and unique voice to each project she works on.
Colin Waugh is an Alberta based documentary filmmaker and editor. As part of the creative team at Sticks & Stones, his work shares the stories of mountains, prairies, and the people who live there. Colin’s previous projects have received a CSC Award (2019), CCE Award (2020), 8 AMPIA Rosie Awards – including Best Documentary Over 30 Minutes (2023), and nominations at the Banff World Media Festival (2018) and Webby Awards (2018 and 2020). Beyond commercial and documentary work, Colin teaches an intro to video production course at MacEwan University.
Amélie Labrèche is an editor based in Montreal. She has edited 13 narrative feature films, including NADIA, BUTTERFLY by Pascal Plante, selected at the 2020 Cannes Film Festival, and various documentaries, series and short films. Recognized for her dedication to each projects, directors and producers appreciate her sensitivity, attention to detail, speed, sense of rhythm, rigour and sincere point of view allowing her to push the work to its apogee. A film buff, her desire is to deepen the creative process of editing and to contribute to profound and innovative works through the narrative and emotional power of film editing.
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.
Mike has edited several award-winning scripted and documentary features, including STORIES WE TELL for director Sarah Polley, BATATA for Noura Kevorkian, winner of a 2023 Peabody Award, and TO KILL A TIGER for Nisha Pahuja, winner of the 2023 Canadian Screen and DGC Awards for best feature documentary and editing. As well, TO KILL A TIGER won the 2023 Canadian Cinema Editors award for documentary.
Nisha Pahuja is an Emmy-nominated filmmaker based in Toronto. Her latest film, TO KILL A TIGER, had its world premiere at TIFF where it won the Amplify Voices Award for Best Canadian Feature Film. Since then, it’s won 21 awards including Best Documentary Feature, Palm Springs International Film Festival and three Canadian Screen awards. The film grew out of a long career of addressing various human rights issues, notably violence against women in India. In 2015, she won the Amnesty International media award for Canadian journalism after making a short film about the Delhi bus gang rape for Global News. Pahuja’s other past credits include the multi-award-winning THE WORLD BEFORE HER, the series DIAMOND ROAD and BOLLYWOOD BOUND.
Nick Hector, CCE, BFE, is a Canadian Screen, HotDocs, Canadian Cinema Editors, Directors Guild of Canada, and Gemini Award-winning documentary film editor, producer, and professor. His research explores the possibilities of constructed narrative in observational documentary and actuality drama. Nick’s work has been included in the Criterion Collection and screened at most major international festivals, including the Berlinale, Sundance, and TIFF. He is perhaps best known for his work on the feature documentaries DYING AT GRACE, FORCE OF NATURE, SHARKWATER EXTINCTION, and PREY. Nick is an Associate Professor of film production at the University of Windsor’s School of Creative Arts.
Cindy Au Yeung is a Vancouver-based editor with over seven years of experience in both scripted and documentary content. Even though she didn’t sleep well for weeks after watching Hereditary, she does enjoy horror films and thrillers. Her recent horror-related works include an independent sci-fi thriller 
Justin is a CCE award-winning film editor based in Vancouver with a diverse portfolio in film and TV, including contributions to shows like LUCKY HANK, DIRK GENTLY’S HOLISTIC DETECTIVE AGENCY and THE TERROR all on AMC, and ANOTHER LIFE, the second season of SNOWPIERCER, and THAI CAVE RESCUE, all on Netflix. Currently immersed in the world of feature films, Justin is collaborating on the A24 project HERETIC with directing duo Scott Beck & Bryan Woods.
Graham Kew crafts compelling and emotionally-driven documentaries. Selected credits include SATAN WANTS YOU, exploring the origins of the Satanic panic; WOMEN WHO ROCK, a tribute to iconic female musicians; and PUNK,a deep dive into the history of punk culture. His work extends to AGE OF AI, discovering the cutting edge of artificial intelligence, and I AM RICHARD PRYOR, a nuanced depiction of the iconic comedian. In SOMEONE LIKE ME, he wove together the story of 11 strangers uniting to help a gay youth escape life-threatening violence in Uganda. His CV’s most unsettling horror project is THE REAL HOUSEWIVES OF VANCOUVER.
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. 
Nick Houy, ACE, is a film editor based in New York. Before editing BARBIE, Houy edited both of Greta Gerwig’s previous Oscar-nominated films, LITTLE WOMEN, and LADY BIRD for which he was nominated for the ACE award in 2017. Houy also won the Emmy Award in 2017 for editing the miniseries, THE NIGHT OF. He was nominated for the Independent Spirit Award for editing MID90S in 2018, and in 2022 Houy edited the critically acclaimed Netflix documentary, STUTZ.
Jane was 10 years old when she started her first editing gig by hooking up two VCRs to cut the commercials out of her favourite TV shows. Since then, she’s been fortunate enough to find some folks to trust her with their own projects, and she now has over 15 years’ experience in feature films and series. She has been nominated for three CCE Awards and two Canadian Screen Awards for editing, and her work has screened at festivals around the world. She loves to aim for projects across all genres, and can usually be talked into working when she should be taking time off.
Roderick is an award-winning Picture and Sound Editor who has worked in the film industry for over 25 years. His experience in feature films, TV series and documentaries has established him as one of the industry’s most sought-after collaborators.
Adam van Boxmeer has been assisting for the last 6 years on various scripted formats from 10-minute children’s television to hour-long episodic and feature films. He began his career at Sinking Ship where he was first introduced to heavy-VFX workflows on their live action shows ODD SQUAD: MOBILE UNIT, ENDLINGS, and GHOSTWRITER. Most recently he assisted on the shows GINNY AND GEORGIA and THE LAKE which he wrapped in March 2023.
Victoria Cho is an assistant film and television editor with a background in the literary arts. She blends together an easy-going spirit with a driven work ethic and thrives on collaboration and teamwork. She is dedicated to telling stories that imagine new ways of being and belonging. In 2022, she completed the DGC-Ontario Guild Apprenticeship Program as a trainee on GINNY AND GEORGIA and I WOKE UP A VAMPIRE. Her most recent credits include I HATE PEOPLE, PEOPLE HATE ME and ORPHAN BLACK: ECHOES.
Eugene Weis is an award winning film editor. His keen sense of storytelling has allowed him to craft films tackling important social issues (CATEGORY: WOMEN) as well as covering some of the most prolific pop icons in history (REVIVAL69). Eugene’s work has gone on to receive numerous awards and accolades including a nomination for a CSA (WHO THE F**K IS ARTHUR FOGEL) and two nominations from the CCE (HOWIE MANDEL: BUT ENOUGH ABOUT ME and METAMORPHOSIS). Tackling such a diverse range of films (OUR DANCE OF REVOLUTION), Eugene strives for excellence on each project he works on (DON’T TRY THIS AT HOME: THE JEFF WITTEK STORY) and is committed to bringing an unbiased approach to his storytelling (PAIN WARRIORS). Eugene most recently completed the upcoming film BAM BAM, THE SISTER NANCY STORY
For more than 20 years, Kathryn has proven herself to be an industrious, creative storyteller, and post-production supervisor who has the versatility to jump from factual programming to reality, to experiential reality-docs and even old-school documentary, without losing her mind (unverified). Kathryn comes to a post-supervisory role after many years in the cutting room on almost every different kind of show you can imagine. Most recently, Kathryn has been the post-production supervisor for FULLY AND COMPLETE; The Tragically Hip doc series for Amazon Prime, and will soon be returning to her role as post-production supervisor for BIG BROTHER CANADA, one of the biggest and longest-running competition shows in Canada.
Arthur Tarnowski, ACE, CCE is a prolific, award winning editor whose work ranges from auteur cinema to popular comedies – with a penchant for action films. His feature credits both in French and in English span many genres and include; TESTAMENT, IRENA’S VOW, 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 THE STICKY, 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.
Catherine Legault is an award-winning documentary filmmaker and film editor. She graduated from Film Production at Concordia University’s Mel Hoppenheim School of Cinema, in Montreal. Over the past 20 years, she has worked on several films that have screened internationally in theatres, festivals, and on television. Her collaborations have included PilgrIMAGE, by Peter Wintonick and Mira Burt-Wintonick, Mort subite d’un homme-théâtre, by Jean-Claude Coulbois, Fair Sex, by Martin Laroche, Family Demolition by Patrick Damien, My Mother’s Letters, by Serge Giguère, and Rebels on Pointe and FANNY: The Right to Rock, by Bobbi Jo Hart. Recipient of two Gémeaux awards for her TV series editing work, she received the Iris award for Best Documentary Editing at the Gala Québec Cinéma for Family Demolition, in 2017. She was nominated again for My Mother’s Letters and Fanny: The Right to Rock. In 2019, Catherine directed her first feature documentary, Sisters: Dream & Variations, which was awarded at the IndieFEST Film Awards in five categories, including editing, and at the Gala Québec Cinéma for Best Documentary Original Score. Catherine is currently in post-production for her next film, LARRY (they/them), which will be released in 2024.
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.
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. 
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.
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.
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.
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.
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.
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.
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.
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. 
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!
Simone 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 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, 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.
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 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 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 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.
Gillian is a Toronto-based editor with a diverse career editing drama series, feature films, and MOWs in a variety of genres. She has had the good fortune of working with many prominent and celebrated producers, directors, and screenwriters. Gillian is best known for her work on ORPHAN BLACK, ANNE WITH AN E, and THE EXPANSE. She has won two CSA awards, a DGC award, and has earned twelve award nominations.
Melissa 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 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 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 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 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.
Fast 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.
Created 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.
Tell 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.
Join 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.
Pull 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.
Spend 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.
Get 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.
Enjoy 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.
Chris 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.
With 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.
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 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 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.
Sarah 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 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 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 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, 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, 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.
Stories 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.
Frame.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.
Join 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.
Brace 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.
Gather 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.
Sit 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.
Put 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.
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