As editors our jobs are constantly expanding, with more and more tools at our fingertips it’s important to keep our technical skills as sharp as can be. Editing and co-ordinating with VFX can be daunting at times, but it’s always important to get it right. Editor Christopher Malanchen shares some tips, tricks and best practices that he learned from editing on Vice’s THE DEVIL YOU KNOW (Season 2) and Cooking Channel’s BITCHIN’ KITCHEN and from his tenure as the VFX Editor for BIG LITTLE LIES (Season 2). This panel, hosted by picture editor and sound editor Roderick Deogrades, will focus on the importance of mentorship and the editor/assistant relationship. This interactive discussion will cover topics like the importance of training, benefits of mentorship for both the assistant and the editor, paying it forward and building a network. George Appleby’s life was defined by love, success and adventure, all of which he shared freely with the people he met and worked with.

The 3rd Annual CCE Awards Nominees & Winners

His latest film, LUBA, won multiple awards at the Canadian Film Fest and earned him a CCE awards nomination. Recently completed are three short films screening at this year’s Available Light Film Festival in Whitehorse. He is currently editing Easy Land, the first feature of Serbian-Canadian director Sanja Zivkovic. Chris has served as vice-president of the CCE and continues to stay involved as part of the Global Opportunities Committee. Helen Haig-Brown (Tsilhqot’in) is an award-winning director and a leading talent in experimental documentary.

• Amy started as an Assistant Editor on films like MY OWN PRIVATE IDAHO, CORRINA, CORRINA, and TO DIE FOR.
• Most recently she contributed to HBO’s Big Little Lies, and is currently working on Jean-Marc Vallée’s next HBO series Sharp Objects.
• She has a passion for storytelling and has cut a wide range of documentaries, corporate videos, television programs, and full length feature films.
• Her credits at Cinepix included Bill Fruet’s Death Weekend, Eddie Matalon’s Blackout, Ivan Reitman’s Meatballs, Larry Kent’s Yesterday and J.
• He is a 2015 Canadian Film Centre alumni and since then has been cutting music videos, commercials and the highly anticipated PORCUPINE LAKE, which premiered this year at TIFF.
• This panel discussion focuses on their careers in indie film, their process in editing these films, getting a festival run, and what lies ahead.

Award Nominees & Winners

Since then he has been lucky to work on such diverse projects as The Daniels’ SWISS ARMY MAN, Denis Villeneuve’s ENEMY and Sundance hit JAMES WHITE. Nick Hector is a DGC, CCE, HotDocs and multi-Gemini Award winning film editor, story editor and consultant. He’s cut more than two-dozen feature and one hundred TV documentaries for filmmakers across the globe. Perhaps Nick’s best known work stems from his long creative relationships with legendary Canadian filmmakers Allan King, Yvan Patry, and Sturla Gunnarsson. With 2 films on Criterion, 3 Top Ten Canadian films, 5 films at MoMA, 10 at TIFF, and 15 at HotDocs, the first 30 years have been a lot of fun. Award winning editor Lisa Grootenboer is an industry staple with two plus decades of experience.

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

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

• Morsi participated at the 2012 Berlinale Talent Campus, 2016 TIFF Talent Lab and Women in the Director’s Chair.
• Ron Wisman, CCE, has been an integral component of the Canadian editing community for over 40 years.
• Paul has been a picture editor for 25 years and has worked with such companies as Netflix, MGM, AMC, Showtime and many more.
• Alan Collins was born in India and grew up in the UK where he studied Drama and Film at Bristol University.
• Instead you are building shows, updating episodes and providing necessary materials and inspiration to artists.
• He has recently worked with director Sam Levinson on the series EUPHORIA, as well as the upcoming feature MALCOLM AND MARIE.

The 4th Annual CCE Awards Nominees & Winners

We’re currently experiencing a watershed moment for increased representation in storytelling. The editors behind I MAY DESTROY YOU, EUPHORIA, and #BLACKAF join us to discuss their groundbreaking work. The past year has brought our lives no shortage of fear-inducing moments, and yet films that offer us frights continue to be one of our greatest escapes. Action, comedy, drama, romance, horror and thriller – Jinmo Yang, ACE’s outstanding body of work covers almost every genre in filmmaking. His mastery of pacing and tone is often on display as he rides the line between genres, from the action/comedy of LUCK-KEY, to the thriller/comedy PARASITE.

King Street West, Toronto

Roushell learned to edit with glue and hot-splices, then Steenbecks arrived from Germany, and she progressed to splicing tape and the splicer. That, of course, lasted for a few decades until the big transition to digital in the early 1990s. Andrew has enjoyed a career working with studios such as Fox, CBS, ABC, Marvel, and Netflix, including popular shows such as Sleepy Hollow and Bull. His work on the pilot episode of APB with Director Len Wiseman secured a first season pick up order from Fox Television.

The 5th Annual CCE Awards Nominees & Winners

In 2018 he wrote and edited TO WENDY WHO KICKED ME WHEN I SAID I LOVE YOU, an off- beat, romantic short film which premiered at the London Film Festival. ADAM PERRY – Adam Perry is an award winning director and screenwriter from Charlottetown, Prince Edward Island. He got his start writing and directing web-series, shorts and over a dozen food-based series with celebrity Chef Michael Smith. Recently, Adam has focused his attention on writing for the big screen and has seen some early success.

Chris Mutton

Bellevue, starring Anna Paquin, is screening on WGN America at the moment another series that Teresa edited and got to co-produce. Prior work includes award nominated series; 19-2, Bomb Girls, Camelot and the influential Durham County. Teresa is very excited to be part of the industry at a time when the boundaries of TV storytelling are being pushed like never before- it truly is the Golden Age.

Main Features

For over 25 years, Paul has worked as an online, offline and supervising editor, cutting everything from animatics, 2D/3D animation, and stop-motion. Projects include Freaky Stories, Angela Anaconda, Franny’s Feet, Iggy Arbuckle, Johnny Test, Glenn Martin DDS and Nature Cat. When given the chance to work on it, Paul thought that he would be nuts not to!

En discussion avec Myriam Poirier, CCE

This panel discussion focuses on their careers in indie film, their process in editing these films, getting a festival run, and what lies ahead. Some of her other credits include the series The Expanse, Houdini & Doyle, The L.A. Complex, and the feature films Seven in Heaven, for Blumhouse Productions, A Christmas Horror Story, for Copperheart Entertainment, and Compulsion, for Dimension Films. Cutting-edge picture editor Michelle Tesoro, ACE, is an industry rising star. Tesoro cut Netflix’s top-rated series THE QUEEN’S GAMBIT, Emmy-nominated series WHEN THEY SEE US, GODLESS, HOUSE OF CARDS, and HBO’s series THE NEWSROOM.

DAY 1: Panels & Talks

Andrew has sliced through numerous feature films including comedy/horror Bloodsucking Bastards, post-apocalyptic thriller The Day, which premiered as part of TIFF’s popular Midnight Madness program, and the hugely successful Saw VI and Saw 3D. Mike’s work has been recognized formally through award nominations as well as being highlighted in film reviews from around the world. Films he has edited have played at Cannes, Berlin, Venice and Sundance, among other festivals, with 11 features accepted at TIFF. Sarah Polley’s Stories We Tell was shortlisted for the documentary Oscar as well as being voted in a TIFF poll as one of the 10 best Canadian films of all time. Narrative, character & emotion –  how do we as storytellers bring these elements to an audience in a compelling and dramatic way? In documentary filmmaking, there are the added challenges of ethics, honesty, and “truth,” in however we are able to define them for ourselves.

Gillian is best known for her work on ORPHAN BLACK, ANNE WITH AN E, and THE EXPANSE. She has won two CSA awards, a DGC award, and has earned eleven award Nominations. Isabelle Malenfant began her career as an assistant editor learning alongside Emmy Award winning director Yves Simoneau, on his films Napoléon, Free Money, and Nuremberg.

• Inbal began making films when she was in high school and later produced training films for the Israeli Defense Forces.
• Projects include Freaky Stories, Angela Anaconda, Franny’s Feet, Iggy Arbuckle, Johnny Test, Glenn Martin DDS and Nature Cat.
• Editing and co-ordinating with VFX can be daunting at times, but it’s always important to get it right.
• In 1987 Alan was series editor on the original Degrassi High series directed by Kit Hood.

He would go on to work steadily as an editor right up until his death in December 1999. “Kelly” Smith, CCE, was amongst the pioneers of electronic post production and widely known in the Toronto and L.A. His career began at CKNX-TV in Wingham, Ontario in the late 1960’s and flourished until his passing. Also premiering at TIFF was the feature documentary SILAS, executive produced by Leonardo DiCaprio’s Appian Way productions, which Chris came on board to complete. The documentary POPCORN AND MAPLE SYRUP that Chris co-edited for the CBC, won the Special Jury Award at Worldfest.

Editing Seduced: Inside the NXIVM Cult with Inbal B. Lessner, ACE and Gillian McCarthy

• Join Nahid Islam for an intimate Q&A on the ins and outs of post production fundamentals and answering your questions about the process behind the scenes.
• Ron Wisman, CCE, has been an integral component of the Canadian editing community for over 40 years.
• He is currently editing Easy Land, the first feature of Serbian-Canadian director Sanja Zivkovic.
• With an unconventional background in stage performance, music and sound, which she uses to enhance her storytelling techniques.
• (March 23, 2017 – Toronto, ON) The Toronto Screenwriting Conference (TSC) has announced the recipients of this year’s Telefilm Canada New Voices Award.
• Paul Hunter (Nut Job, Spark) and Lesley Mackay Hunter (The Nut Job 2 – Nutty by Nature, Arctic Justice) shed light on their careers in animated film and television, and the unique role of the editor from storyboard to screen.
• THE LEAGUE is her first documentary short, funded via the NSI Aboriginal Documentary Program.
• Paul has been a picture editor for 25 years and has worked with such companies as Netflix, MGM, AMC, Showtime and many more.
• Roushell Goldstein was born and raised in Ottawa, Canada, received her BA from Carleton University, and immediately left Ottawa on her “Grand Tour” of Europe.

Never one to turn down an adventure, he once traveled to Sri Lanka to edit an epic Action/Romance about the Sri Lankan civil war (in Tamil and Singhalese) for a director who contacted him randomly over the internet. The first annual EditCon took place on Saturday February 10th, 2018 at the TIFF Bell Lightbox in Toronto. The event was sold out to 150 guests and included 4 informative, lively and open discussion panels. Join Nahid Islam for an intimate Q&A on the ins and outs of post production fundamentals and answering your questions about the process behind the scenes. The eighth annual Toronto Screenwriting Conference takes place at the Metro Toronto Convention Centre on April 22 and April 23. Each winner receives a pass to the TSC and a meeting with representatives from Telefilm Canada.

Michèle’ short documentary, The Barber of Augusta film just recently won the Dodie Spittal Award at 2017 The Picture This Film Festival. She just completed SponsorLand the feature length doc for TV Ontario on a Syrian refugee family with 11 children resettling in the tiny town of Picton Ontario. Chris Mutton brings over 15 years of film and television experience to the edit suite.

After editing 13 features and numerous documentaries he began teaching Film Editing at Ryerson University in Toronto from 1994 to 2006, just as the industry was shifting from flatbed editing to digital editing. Ron has worked with directors including, Robert Longo, Daniel Petrie Jr., Sturla Gunnarson, Norman Jewison, and Henry Sellick. He collaborated with David Cronenberg on 19 films winning Genie Awards for Dead Ringers (1989), Crash (1996), eXistenZ (2000) and Eastern Promises (2007) and DGC Awards for A History of Violence (2006), Eastern Promises (2008) and A Dangerous Method (2012). He was nominated for an American Cinema Editors Award for his work on Coraline (2010).

Stephen Philipson CCE is an award-winning editor and proud member of the CCE since the very start. His credits include high profile TV series such as American Gods, Hannibal, and Orphan Black. He also cut Canadian film favourites such as The Wild Hunt, voted Best Canadian First Feature and one of Canada’s Top Ten by the Toronto International Film Festival, and Grown Up Movie Star, a prize-winner at Sundance. Roslyn’s television projects can be seen on NETFLIX, HBO Canada, ABC, Syfy, Lifetime, Global and the CBC. She has earned CCE and DGC Nominations for her editing in the categories of documentary, TV Movie and Mini-Series. With a background in theatre, Malenfant is an editor with a passion for bringing out an actor’s talents and crafting their best performance.

Her work is broad-ranging, from intimate autobiographies to forays into Science Fiction. Anx (The Cave), an adaptation of a Tsilhqot’in story was named to Canada’s Top Ten Shorts by TIFF and was an Official Selection at Sundance Film Festival. My Legacy, her first feature documentary, focuses on the transformation and healing of intergenerational trauma to trust, worth, intimacy and love. Her work has aired on APTN, CBC, Knowledge, NITV (Australia) and has been showcased around the world at film festivals such as Berlinale, Rotterdam and Sundance. Michèle’ short documentary, The Barber of Augusta just recently won the Dodie Spittal Award at 2017 The Picture This Film Festival.

Throughout his career he has enjoyed working with many great filmmakers, developing lifelong friendships and creative collaborations. Debra Karen became interested in film when she took an elective course in Cinema at Dawson College in Montreal which was taught by Larry Kent. While studying, she was hired as a second assistant editor to work mgm grand onion at Cinepix on their production of Across This Land with Stompin’ Tom Connors. Chris Mutton brings over 12 years of film and television experience to the table. He is a 2015 Canadian Film Centre alumni and since then has been cutting music videos, commercials and the highly anticipated PORCUPINE LAKE, which premiered this year at TIFF.

Morsi’s short scripts were finalists for Robert Bosch Film Fund (Berlin Film Festival) in 2013, 2014 and 2016. Morsi participated at the 2012 Berlinale Talent Campus, 2016 TIFF Talent Lab and Women in the Director’s Chair. Morsi’s short films scripts LIPSTICK, CHECK POINT & MANGO were named finalists for Robert Bosch Film Fund in 2013, 2014 and 2015 (affiliate with the Berlin Film Festival). As well, Mike has edited several award-winning documentaries, including Stories We Tell, for director Sarah Polley. His many television credits include Shaftesbury’s The Shields Stories and Sienna Film’s mini-series Diamonds, nominated for 9 Gemini awards.

• Some of his recent editing credits include ANOTHER LIFE, RANSOM, INTO THE BADLANDS, DARK MATTER and LOST GIRL.
• Andrew has sliced through numerous feature films including comedy/horror Bloodsucking Bastards, post-apocalyptic thriller The Day, which premiered as part of TIFF’s popular Midnight Madness program, and the hugely successful Saw VI and Saw 3D.
• EditCon 2019 took place on Saturday February 2, 2019 at the TIFF Bell Lightbox in Toronto.
• Her feature film credits include collaborations with directors Stella Meghie (THE WEEKEND, THE PHOTOGRAPH), and Ali LeRoi (THE OBITUARY OF TUNDE JOHNSON).
• He was promoted to Editor in Charge at age 27 and a year later to Assistant Supervising Editor in charge of the day to day running of the Film Department.
• The past year has brought our lives no shortage of fear-inducing moments, and yet films that offer us frights continue to be one of our greatest escapes.

As long-time editor for critically-acclaimed director Francis Leclerc, she worked on the popular sitcom Les beaux malaises, the dramatic series Marche à l’ombre, and Mon meilleur ami and the poetic short Trotteur, amongst others. Their latest collaboration, the feature film Pieds nus dans l’aube, is an adaptation of Félix Leclerc’s autobiographical novel of the same name. Over the years, she has also collaborated with directors François Jaros, Philippe Gagnon, Quentin Dupieux (a.k.a. Mr Oizo), Olivier Asselin and Mélanie Charbonneau.