The Editor's Cut

This episode took place on June 21st in Vancouver. An in depth conversation with Sabrina Pitre, CCE, as they dig deep and discuss the story behind the stories of editing FINAL DESTINATION: BLOODLINES and CLOWN IN A CORNFIELD. They discuss the editor/director relationship, navigating notes, working with visual effects, testing, and other nerdy editing things.

This event will be moderated by Greg, Ng, CCE.

Today's episode is a panel from EditCon 2026 that took place in February 2026.

Assistant Editors: The Heart of Post Production

This panel has assistants from DAVEY & JONESIE'S LOCKER, DISCO'S REVENGE and LOVE ISLAND USA. 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. The assistant editors joining us are Alexander DeSouza, Emily Gilhooley and Lester Lubuguin.This panel was moderated by Victoria Cho.

Today's episode is a panel from EditCon 2026 that took place in February 2026.

ROOTED IN STORY: IDENTITY, LEGACY AND DECOLONIZATION

Three visionary documentary storytellers explore how the editor's hand shapes narratives rooted in memory, identity, and the contested spaces of land and legacy.

Featuring Elad Tzadok (TREASURE OF THE RICE TERRACES), Ryan Mullins (YINTAH), and renowned editor Mary Stephen, CCE (PALIMPSEST: THE STORY OF A NAME), the panel dives into the unique editorial challenges of crafting vérité-based, community-centred narratives. From remote rice terraces in the Philippines, to the frontline of land defense in northern B.C., to a quiet meditation on ancestral naming across continents, these films each required distinct approaches in balancing structure, ethics, and emotional truth.

Enjoy an inspiring and practical look at the art of shaping multi-layered documentary narratives. Where place becomes a character, sound becomes testimony, and the cut becomes an act of cultural care.

This panel was moderated by Nick Hector, CCE, BFE, ACE

Today's episode is a panel from EditCon 2026 that took place in February 2026.

Canadian independent films, with their unique funding structures, have fostered a new wave of distinct cinematic voices. From coast to coast, Canadian film editors have shaped a diverse array of stories that reflect the country's rich tapestry of characters, narratives, and forms. Many of these films have shone on international stages and in theatres across the nation.

We are thrilled to welcome three prolific editors: Kurt Walker, behind the multi-award-winning BLUE HERON; Amélie Labrèche, known for the dreamy and theatrical LE TRAIN; and Brendan Mills, editor of the TIFF-selected 100 SUNSET.

This panel was moderated by Justin Lachance, CCE

Today's episode is a panel from EditCon 2026 that took place in February 2026.

From one of the most innovative drama series in recent years, we are thrilled to welcome the Emmy-nominated editing team behind SEVERANCE — Geoffrey Richman, Joe Landauer, and Keith Fraase. Together, they will share insights into their mysterious and essential work shaping the show's complex world and emotional depth.

This panel explores the art of storytelling through editing, diving into how the team built the psychological tension and intricate character arcs — both for the innies and outies — within and beyond the walls of Lumon.

This panel was moderated by Sarah Taylor, CCE

Today's episode was a panel that took place on June 4th with editor Eugene Weis, CCE & DP Lucas Joseph. They talk about their collaboration on the CCE nominated & CSA winning documentary BAM BAM: THE SISTER NANCY STORY.

This event will be moderated by Monica Guddat.

In today's episode we are joined by Irish editor Brian Philip Davis about his work on HOKUM which had its world premiere at SXSW in 2026. We talk about how to create the best jump scare and how to leave the audience on the edge of their seats in a case scene!

Brian Philip Davis is known for his work in genre cinema, with films showcased at prestigious festivals like Sundance, Tribeca, TIFF, SXSW, Frightfest, and Fantastic Fest. Recent projects include Damian Mc Carthy's Oddity, which won audience awards at SXSW and the Overlook Film Festival, as well as a Saturn Awards nomination for Best International Film.

Upcoming projects include Hokum, another collaboration with Damian Mc Carthy (starring Adam Scott) to be released by NEON on May 1st, as well as The Incomer, a folk comedy (starring Domhnall Gleeson) written and directed by Louis Paxton premiered at Sundance Film Festival 2026.

Additional titles include Bad Day for the Cut, Boys from County Hell, The Occupant, Here Before, The Devil's Doorway.

He is a member of Irish Screen Editors, British Film Editors, BAFTA and is represented by UTA.

In today's episode Amanda Pollack, ACE, BFE joins us to talk all things Palm Royale.

Amanda Pollack, ACE, BFE is a born and raised New Yorker, who spent a number of years in the UK as well. She has always loved the way pictures, sound, and music work together to tell stories. Amanda believes her affinity for music and sense of rhythm contribute greatly to the craft of editing. Television Credits include The Patient, The Good Fight, The Sinner, Smash, Skins, In Treatment, The Americans, Godfather of Harlem, and Palm Royale.

In Feature Films, Amanda has worked with an impressive list of directors, including Robert Altman, Terry Gilliam, Ang Lee, Sidney Pollack, Martin Brest, and David Frankel. Amanda also earned credit as Additional Music Editor on The Devil Wears Prada, after finding and editing much of its songs and score.

Amanda loves her work, and feels very fortunate to be in this collaborative business of storytelling as an Editor.

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In today's episode we're joined by editor Jane MacRea, who has over 15 years of experience in TV and feature films. Her work spans comedy, horror, drama, and science fiction in both short and feature formats, and has been featured at film festivals around the world.

Today we discuss her work on the feature film NIKA AND MADISON, which had its world premiere at the 2025 Toronto International Film Festival. We also dive into her work on the Netflix series XO, Kitty.

You can now watch Nika and Madison on CBC Gem!

Today's episode is a Master Series panel that took place virtually on May 13th, 2026.

Jerry Skibinsky, editor of Heartland sits down with Sarah Taylor, CCE to talk about his path from AD and location management departments to the edit suite, and what that on-set foundation brings to his work as an editor.

Today's episode is a panel that took place virtually in June 2025.

Editor Xi Feng sits down with director and editor Catherine Legault about her second feature documentary, Larry (they/them).

Catherine is a prolific, award-winning editor and the host of the CCE's French podcast L'Art du Montage. In Larry (they/them), she takes on the dual role of director and editor, following the vibrant and deeply personal journey of non-binary Montreal photographer Laurence Philomène. Their colourful and intimate photography not only shines throughout the film but also offers a poignant glimpse into the evolving experience of embracing a gender-nonconforming identity.

Today's episode is a panel that took place on June 18th, 2025 in Toronto.

It was an in depth conversation with Sonia Godding Togobo and Tom Third. They discussed the documentary A MOTHER APART, a story about Jamaican-American poet and 2SLGBTQ+ activist Staceyann Chin and how she courageously reclaimed the art of mothering. We'll learn more about the edit and how the music added to the story.

This event will be moderated by Ricardo Acosta, CCE.

Today's episode is a master series panel that took place on June 4, 2025 in Toronto.

Award winning editor Ricardo Acosta, CCE talks with Nick Hector, CCE, BFE about how the film PARADE: QUEER ACTS OF LOVE & RESISTANCE, captured the pivotal moments that sparked Canada's 2SLGBTQI+ movement, honouring the activists and elders whose resistance led to the rights we have today.

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? VFX editors Gary Lam, Warren Mazutinec and Bob Dewald answer these questions and more! This panel was moderated by Kelsy Wittman

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.

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. Hear from editors Charlene Rule and Hans Olsen, composer John McMillan and sound designer Johnny Blerot and see how teamwork transforms great ideas into compelling stories on the screen! This panel was moderated by Sarah Taylor, CCE

Panelists:

Charlene Rule - Editor

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 Olsen - Editor

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 - Composer

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 Blerot - Sound Designer

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.

Sarah Taylor, CCE (Moderator)

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.

Today's episode was a panel that took place in Vancouver as part of EditCon 2025. 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 Lisa Binkley, CCE, Jamie Alain, CCE, Ted Tozer, Tanya Maryniak for an in-depth discussion spanning scripted television, documentary, reality and feature editing.

This panel was moderated Mauri Bernstein

Today's episode is a conversation that took place in Toronto during EditCon 2025 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.

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 Amy Mielke, Wes Paster, Kimberlee McTaggart, CCE and Sarah Byrne for in-depth discussion spanning scripted television, documentary, reality and feature editing. This panel was moderated by Taylor Olsen.

Join us for a conversation led by Pauline Decroix with assistants from BEACON 23, HOME SWEET ROME, PUSH and MOONSHINE. They 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.