The Editor's Cut

This episode is the the Q&A with Lisa Robison, CCE. Moderated by Kerry McDowall, Post Production Supervisor and Chair of the VPA.

Lisa has been editing for 20 years on a variety of television and film projects. She has been recognized for her work internationally. Lisa talks about her path on becoming an editor and her aspects of editing. Lisa entered the film industry in 1989, initially working as a camera assistant and in 1995 changed careers moving into post-production. She settled into her first editing job in 1998 and she has been editing ever since. Lisa is a highly regarded editor with movie and series credits for Lifetime, Disney, Sony, Showcase, Hallmark, USA, ABC, CBC, CTV, and Grenada. Her determination and work ethic as an editor has been recognized with many nominations and awards. Lisa has been nominated for three Daytime Emmys (Monsterville: Cabinet of Souls and two for R.L. Stine's The Haunting Hour), she has 10 Awards and 14 nominations. Lisa is best known for her work on My Life Without Me, Loudermilk, Unspeakable, The L Word, You Me Her, R.L. Stine's: The Haunting Hour and Continuum.

We are happy to present the second episode of our Francophone version of "The Editor's Cut" : "L'art du montage". David Di Francesco, our podcast co-host, interviewed Edith Bellehumeur on her work as an assistant editor in Montreal.

Nous sommes heureux de vous présenter le second épisode du podcast des Monteurs de cinéma canadien (CCE) : "L'art du Montage". David Di Francesco, notre co-animateur du podcast, s'est entretenu avec Edith Bellehumeur, assistante-monteure en cinéma et télévision. Edith nous parle de son cheminement professionnel, son travail à Montréal avec plusieurs monteurs réputés, sa vision du métier d'assistante-monteure et sa transition vers le montage.

This episode is the the panel Moving from Assisting to Editing that was recorded on October 16th 2019 at Finalé in Vancouver. The assistant editor is the foundation that holds the edit suite together, and is to the editor what Robin is to Batman. But you may not want to be Robin forever. How does one make the move from assisting to editing? How does Robin become the Batman? Have a listen to this informal Q&A session with Vancouver editors Justin Li and Greg Ng. Moderated by director Kaare Andrews.

We have been thinking about our fellow editors from around the world in this unique time. In this episode we hear from our past guests and editors down south from ACE about how life is for them. We hope these messages bring you hope in these uncertain times.

Thank you to the editors who contributed to this episode!

Cathy Gulkin, CCE, Kevin Tent, ACE, Nicole Ratcliffe, CCE, Justin Lachance, CCE, Liza Cardinale, ACE, Daria Ellerman, CCE, Zack Arnold, ACE, Stephen Philipson, CCE, Jesse Averna, ACE, Jonathan Dowler, Lesley MacKay Hunter, Paul Hunter, Stephen Rivkin, ACE, Pauline Decroix, Scott Parker, Jane MacRae, Ron Sanders, CCE, Jillian Moul, ACE, D. Gillian Truster, CCE, Paul Winestock, CCE, Sarah Hedar, Mike Munn, CCE, Michele Hozer, CCE, Paul Day, CCE and Krystal Moss.

What do you want to hear on The Editors Cut! Please send along any topics you would like us to cover or editors you would love to hear from! You can reach us at [email protected].

A special thanks goes Jane MacRae, Jenni McCormick from ACE, Stephen Philipson, CCE and Heather Urness.

Hosted, Produced and Edited by Sarah Taylor

Episode graphic designed by Jane MacRae

Mixed and Mastered by Tony Bao

Music from Soundstripe

In today's episode Sarah Taylor chats with Ricardo Acosta, CCE an editor based in Toronto, Canada. He is an Academy of Motion Picture Arts and Sciences Member and internationally renowned Film Editor, Story Editor, Creative/Editorial Consultant. Ricardo Acosta has been awarded with an Emmy, and has been nominated several times for 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. He has been a fellow of the Sundance Institute (as alumnus and adviser) for several years for the Documentary Editing and Story Lab and The Composer and Sound Design Lab. His film Sembene! (2015), premiered at the Sundance Film Festival and at the Cannes Film Festival. Marmato (2014) premiered at the Sundance Film Festival.

In this episode we discuss Ricardo's role as a story rescuer and his work on Shooting Indians, Heman's House, The Blessing and I am Samuel.

In this episode Sarah Taylor sits down with the 2019 career achievement recipient Doug Wilkinson. Doug is a post production supervisor based in Toronto and has worked on many Canadian classics like "My Secret Identity", "Street Legal" and "The Kids in the Hall". Doug has also worked on films like "Requiem for a Dream." and "The Shape of Water".

Over those years Doug has earned the respect and friendship of many in the editing department as well as producers. His leadership has put him at the forefront of in-demand Post Supervisors and is a model by which all in editing strive to achieve.

What do you want to hear on The Editors Cut! Please send along any topics you would like us to cover or editors you would love to hear from! You can reach us at [email protected].

We are thrilled to present you with the first episode of our new Francophone version of "The Editor's Cut" : "L'art du montage". We will be sharing our French episodes on The Editor's Cut channel until 2021. At that time we will be officially launching "L'art du montage" own channel! We hope that all you francophile editors enjoy these episodes!

Nous sommes heureux de vous présenter le premier épisode du podcast des Monteurs de cinéma canadien (CCE) : "L'art du Montage".

Le 7 novembre 2019, le CCE a organisé une projection du film "Ziva Postec, la monteuse derrière le film Shoah", à l'Alliance Française de Toronto, en présence de la réalisatrice Catherine Hébert, et de la monteuse Annie Jean, CCE. Cette soirée a été animée par Paul Ruban. Nous avons le plaisir de vous partager cette belle soirée de discussion autour de ce film.

Un grand Merci à Laetitia Delemarre, Mélissa Cuvilliez, Marin Stemmelen, de L'Alliance Française de Toronto, Sarah Taylor, Isabelle Malenfant, Annie Jean, CCE, Catherine Hébert, Paul Ruban, Clotilde Vatrinet et les Les Films du 3 Mars, Claire Pochon, Claudia Hébert, Maud Le Chevallier

Animatrice : Myriam Poirier

Montage : Pauline Decroix

Design sonore du générique : Jane Tattersall, adapté en version française par Pauline Decroix

Mixage : Tony Bao

Musique offerte par Bam Library

In today's episode Sarah Taylor sit down with Kimberlee McTaggart, CCE. Kimberlee has been working in the Canadian film industry for over 30 years.

She graduated from York University with a BFA in film, where she won the Dean's Prize for Excellence and a national prize from the Academy of Canadian Cinema and TV. More importantly, she met a bunch of cool people who inspired her then and continue to do so today. Despite spending her university years in Toronto, a city she loves, she was immediately drawn back to her home province of Nova Scotia where she has carved out a varied and successful career.

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

Kim took a break from editing for a few years to run a production company where she and her business partner produced several documentaries and two documentary series. She also worked as a business affairs consultant for other companies during this time, and executive produced several short dramatic films. And now, after being back in the editor's chair for 10 years, she is dipping her toes back in to the producing waters, beginning with the award-winning short film Pearls. In addition to serving on the Board of the CCE, Kimberlee serves as the Chair of Women in Film and Television – Atlantic as well as the Editing Caucus Representative of the Atlantic Regional Council of the DGC.

This episode is the the panel The A-Team: Inside the World of Assistant Editing that was recorded on October 17th 2019 at Jaxx - A Creative House in Toronto. For many post-production professionals, their introduction to the cutting room is through the world of Assistant Editing. This talk provides a deep dive into the role of the Assistant Editor across the spheres of scripted and unscripted film and television. Panelists Shelley Maclean (Master Chef Canada, Kim's Convenience, Jann Season 2), Maja Jacob (Loudermilk, Percy, Take Two), and Xi Feng (Last Train Home, The Apology) They bring a wealth of experience to this discussion on workflow, technology, collaboration and teamwork in the cutting room. The panel was moderated by award-winning editor D. Gillian Truster, CCE.

This episode was generously sponsored by Jaxx - A Creative House

In this episode Sarah Taylor sits down with award winning editor Pia Di Ciaula, CCE, ACE. Pia is originally from Toronto and is now based in the UK. She is a BAFTA and CCE award winning editor best known for editing Tyrannosaur, The Crown and A Very English Scandal.