• 20 Sep 2016

    If you are unable to attend the AGM in person on October 22nd, it is vital that you return your proxy.  You must be a member in good standing to be able to submit your proxy Thanks c-c-e-agmproxy2016 Email your proxy to:

  • 16 May 2016

    Congratulations to the following CCE members who were nominated for a Leo Award.

    Best Picture Editing in a Motion Picture

    Elad Tzadok: She Who Must Burn

    Daria Ellerman, CCE: The Birdwatcher  

    Best Picture Editing in a Television Movie

    Lara Mazur, CCE: On the Farm

    Lisa Robison, CCE: R.L. Stine's Monsterville: The Cabinet Of Souls  

    Best Picture Editing in a Short Drama

    Elad Tzadok: Run Aaron May: The Mary

    Alice Brandon File Jamie Alain, CCE: Victory Square  

    Best Picture Editing in a Dramatic Series

    Lisa Binkley, CCE: Motive - The Suicide Tree

    Jane Morrison, CCE: The Romeo Section - Elephant Faces East  

    Best Picture Editing in a Youth or Children's Program or Series

    Jamie Alain, CCE: Mark & Russell's Wild Ride

    Daria Ellerman, CCE: Some Assembly Required - K-Kube

  • 02 May 2016

    We would like to congratulate our Student Merit Nominees for the 6th Annual CCE Awards

    Eric Bos – Leader (Sheridan College)

    Eric Bos – Lockwood (Sheridan College)

    Kevin Horan – Voskhod (Vancouver Film School)

    Andriy Koval - As I Like Her (Centennial College)

    Chi-Hsin Lui – Reflect (Vancouver Film School)

    Harrison Perez – Evan (Humber College)

    Rene Seijas Zamboni & Miguel Quintero - Reconnection (Vancouver Film School)

  • 06 Apr 2016

    Congratulations to CCE member, Lisa Robison for her Daytime Emmy Nomination for "Outstanding Single Camera Editing -R.L. Stine's Monsterville: Cabinet of Souls Editor

  • 28 Mar 2016

    The CCE was a sponsor at the Vancouver Short Film Festival.  The winner was Ian MacDonald.  Not only did her receive some prize money, he also received a 1 year membership to the CCE.  Canadian Cinema Editors President, Kelly Morris CCE, met with Ian.

    You did an excellent job on the edit of imperial, and it really showed in the visual rhythm, choices of performance and attention to mix...  
    What was your favourite part of the editing experience?
    Probably my favorite part of the experience was the opportunity to work closely with the director Tim Sharp. He is very skilled, talented man with a strong vision, but one that always left room for my creative input. He always valued my opinion, which is a blessing for anyone working in the creative field. He was incredibly organized, I think we used every shot but 1 or 2, and all the shots looked beautiful and cut together seamlessly. I learned a lot from him. It was a great learning experience for me.
    What part of the montage are you most proud of, creatively?
    Probably the most aha! moment of the editing process is the quick cut from Marcos dream where he is watching himself dance on the street to the abrupt wakeup. The cutaway happens before you could expect it - as the spotlight moves, which really accentuates the jolt out of the dream. When we played with the timing and landed where it is in the movie, Tim and I just looked at each other and grinned.
    What are your top 3 greatest strengths as an editor?
    I come from a musical background, having first obtained a degree in music composition, which has influenced my editing tremendously. To me, editing is all about rhythm, which is what drives home the emotional or comedic impact. I always loved the editing style of the movie Dark Knight, a great example of a movie that feels like a piece of music. Steven Spielberg movies feel that way to me as well. It ups the replay value of a movie, and increases the lasting emotional impact of a movie.
    I am someone who tends to think outside of the box. I don't rely so much on convention or a vast knowledge of movies or techniques. My approach has always to try and trust, and continue to hone my instincts.
    Problem solving is probably another strength. whether its technical or something to do with coverage or the story, my mantra is - there is always a way. Don't settle when you know something isn't right.
    Any plans for the prize money?
    I need to get a new macbook. Filmmaking is an expensive habit! The prize money was a wonderful surprise and honor.
    What are your dreams for your editing career?
    Just to get the opportunity to make work that comes from a genuine place. Its a tough industry and we all need to make ends meat, but the hopefully at the end of the day we can find ways to work on projects that are works of passion, and making a positive impact on the world.
  • 10 Mar 2016

    Congratulations to CCE members James Bredin, CCE and Matthew Anas for each winning a Canadian Screen Award last night at the Westin Harbour Castle, Toronto.

    Best Picture Editing in a Comedy Program or Series

    James Bredin, CCE  - Schitt's Creek: Surprise Party, CBC (CBC)

    Best Picture Editing in a Dramatic Program or Series

    Matt Anas - Orphan Black: Newer Elements of Our Defence Space, (Bell Media)        

  • 09 Mar 2016

    Congratulations to CCE members Jonathan Dowler and Michele Hozer, CCE, for winning a Canadian Screen Award last night at the Westin Harbour Castle, Toronto.

    Best Picture Editing in a Reality/Competition Program or Series

    Jonathan Dowler (+4 other editors) - The Amazing Race Canada: Who’s Feeling Sporty Now, CTV (Bell Media)           

    Donald Brittain Award for Best Social/Political Documentary Program 

    Michele Hozer (+1) - Sugar Coated

  • 22 Jan 2016

    Congratulations to everyone who is nominated for the 2016 Canadian Screen Awards.  We would like to give a special congratulations to our Canadian Cinema Editors who received nominations.

    Best Picture Editing in a Comedy Program or Series

    James Bredin, CCE  - Schitt's Creek: Surprise Party, CBC (CBC) Paul Winestock, CCE  - Young Drunk Punk: The Clash is Coming City, CBC (Rogers Media / CBC)

    Best Picture Editing in a Documentary Program or Series

    Nick Hector, CCE  - War Story: Liberation, History Channel Canada (Shaw Media)

    Best Picture Editing in a Dramatic Program or Series

    Lisa Binkley, CCE - Motive: The Suicide Tree, CTV (Bell Media) Jay Prychidny - Orphan Black: Certain Agony of the Battlefield Space, (Bell Media) Matt Anas - Orphan Black: Newer Elements of Our Defence Space, (Bell Media) Aaron Marshall - Vikings: Warrior’s Fate  History Channel Canada, (Shaw Media)

    Best Picture Editing in a Factual Program or Series

    Rob Chandler - Surviving Evil: Nightmare Before Christmas, OWN Canada (Corus Entertainment)

    Best Picture Editing in a Reality/Competition Program or Series

    Jonathan Dowler (+4 other editors) - The Amazing Race Canada: Who’s Feeling Sporty Now, CTV (Bell Media) Jonathan Dowler (+3 other editors) - Big Brother Canada:Finale,  Global (Shaw Media)

  • 26 Oct 2015

    Congratulations to Don Cassidy, C.C.E. for his win at the DCG Awards for Best Picture Editing in a Television Series for Vikings, The Lord's Prayer

  • 12 May 2015

    Congratulations to Alan Collins on his Canadian Cinema Editors 2015 Lifetime Achievement Award.   Alan Collins was born in India and grew up in the UK where he studied Drama and Film at Bristol University. In the late 1960’s, Alan was hired by Roger Corman as an Assistant Editor on the World War 1 feature Von Richthofen and Brown. He was later promoted to co-editor of Von Richthofen and Brown and edited 3 more features for New World Pictures. While in Los Angeles he edited I Escaped from Devil’s Island starring Jim Brown.

    Alan moved to Toronto in 1975 where he edited The Clown Murders (starring John Candy) and Love at First Sight, starring Dan Aykroyd, a comedy about a blind man in love with a young woman whose father opposes the match. The movie received a Best Editing Award from the newly formed Canadian Film Editors guild in 1977. Collins then edited The Brood, directed by David Cronenberg, starring Oliver Reed and Samantha Eggar, which later became a cult classic. In 1987 Alan was series editor on the original Degrassi High series directed by Kit Hood.

    Alan taught at Ryerson University for over a decade,and in 2006 moved to Halifax. He was invited by Focal Press to write the Foreword to the second edition of The Technique of Film Editing, sometimes regarded as the bible of film editing, a book that had played a central role in his life as an editor. He describes this as one of the proudest moments in his life along with receiving a Lifetime Achievement Award from the C.C.E. While continuing his prolific editing career, in 2015 Collins produced his first feature Relative Happiness based on the best selling novel by Nova Scotia author Lesley Crewe.

  • 14 Jan 2015

    Best Picture Editing in a Comedy or Variety Program or Series

    Matthew Hannam: Sensitive Skin - The Return Of The Other Davina


    Best Picture Editing in a Documentary Program or Series

    Steve Weslak: Our Man in Tehran


    Best Picture Editing in a Dramatic Program or Series

    Teresa De Luca: 19-2 - Deer Alison Grace: Babysellers Alison Grace: Motive - Kiss of Death D. Gillian Truster: Orphan Black - Governed As It Were By Chance


    Best Picture Editing in a Reality/Competition Program or Series

    Jonathan Dowler (plus 4 other editors) The Amazing Race Canada - What's it Take to Get a Cup of Tea Jeremy Schaulin-Rioux: Brojects - The Ultimate Hockey Rink Cottage Life Jason Cook: One Flew Over the Cocoa Nest


    Achievement in Editing | Meilleur montage
Sponsor | Commanditaire | The PostMan Post-Production Studios

    Greg Ng – Afflicted  
  • 11 Jan 2015

    CFC Cineplex Entertainment Film Program: Directors' Lab, Editors' Lab, Producers' Lab, and Writers’ Lab   The Cineplex Entertainment Film Program champions original voices, entrepreneurism and collaboration. We encourage filmmakers to take creative risks and help them develop and package original content for the global entertainment market.  

    Applications are now available online: Application Deadline: January 26th, 2015  

    The 2014 CFC Film Program Showcase Reel:  

    CFC Film Program Infographic:

  • 16 Dec 2014

    The Canadian Cinema Editors are saddened to hear of the passing of Randy Roberts, A.C.E. on Monday in Los Angeles.  Randy had been battling stomach cancer and succumbed to the illness Monday at age 69.  He served on American Cinema Editors’ board of directors for nearly two decades, as vice-president from 2005-08 and as president from 2008-12. Randy was a great supporter and advisor to the Canadian Cinema Editors and will be missed. Earlier this year, he received ACE’s Heritage Award for his lifetime commitment to ACE. And last month, he received a Lifetime Achievement Award from the Hollywood Post Alliance.

  • 14 Oct 2014

     On the morning of September 25nd, 2014, a group of family members, friends and colleagues gathered in North Vancouver to pay their respects to Haida Paul, who, for much of her extraordinary life, represented better than anyone else the joy of film making and the spirit of irreverence and independence that has always distinguished the Vancouver film scene. She was beautiful; may I say that? She had an easy elegance, a wicked sense of humour, a wonderful laugh, a finely tuned moral compass and the kind of lively intelligence that made everyone want to be in the room with her. She was a great reader. Her curiosity was unquenchable; her friendship and her loyalty were legendary. As a director, and particularly as a brilliant, inventive picture and sound editor, Haida made a profound contribution to the emotional sensibility and intellectual tone of the films she worked on—at the NFB and independently, in fiction, animation and documentary, from the 1970s until very recently. As an editor she understood the power of restraint and the dangers of sentimentality. She found her way to the heart of every sequence, and, no matter what it took, gave every sequence a heart. In her role as a director and a champion of films by women she helped change the film making culture in Vancouver. Her genius in the editing room won her a Genie for My American Cousin, but every film she worked on benefitted from what was essentially a poetic sensibility. She was an artist. Early in the 1990s she began to work with Hugh Brody on a series of celebrated documentaries focusing on Indigenous life in Canada and Africa, and theirs was a true partnership, forged through two decades that saw them working at common purpose. In March, 2012, Haida was presented with the Lifetime Achievement Award at Vancouver Women in Film and Television’s annual celebration and awards night. The following citation and the note from Hugh Brody were read out to a packed house.  


    Colin Browne March 2012 Haida Paul is best known as a film and sound editor for dramatic and documentary films, although those who know her, love her, and have worked with her will quickly remind you that she is a loyal friend, teacher, a mentor, and, during the late 1970s and 1980s in Vancouver, she was a mainstay and an inspiration in our small but growing independent film community. At that time, the National Film Board doubled as a government production office and, after five p.m., an independent post-production studio. Most independent filmmakers in Vancouver at the time passed through the NFB, creating films for the organization and/or editing their own projects late into the night in NFB cutting rooms (for which we should all be very grateful). Haida was in high demand. If you look at her filmography, you’ll see that in those days she went directly from one project to the next. Everyone wanted his or her film to benefit from Haida’s poetic touch, and so many of us learned so much from her. When Sandy Wilson joined forces with Peter O’Brian in 1984 to produce My American Cousin, for example, she insisted on Haida as the picture editor and the film was edited at the Vancouver NFB offices. It went on to win six Genies, including a Best Achievement in Film Editing award for Haida Paul. Haida’s genius as a film artist lies in a combination of passionate, boundless curiosity, a lyrical intelligence, a gift for empathy, an infectious sense of humour, an educated imagination, an abhorrence of convention and a rare fearlessness. She has always taken risks in her work, seeking out unexpected connections and juxtapositions at every turn. With her colleague Ray Hall she took a mighty risk in 1973 when they established Petra Post, a small, lively post-production company that helped to launch the careers of many British Columbia filmmakers. Petra was like Mecca for filmmakers in those days. It’s where Philip Borsos’ The Grey Fox (1982) was edited, and where Ray cut Nails (1979), which won a Genie and which was nominated for an Academy Award. In the 1990’s, Haida began to work closely with documentary filmmaker Hugh Brody and producer Betsy Carson, a creative relationship that continues to this day. Hugh’s most recent project, Tracks Across Sand (2012), which Haida edited over a number of years, has since been screened all over the world. It’s a brilliant, innovative collection of seventeen films that follow the recent history of San land claims and the rescue of their language in the southern Kalahari. The introductory, half-hour “Overture” represents an extraordinary editing achievement. A glance at the list of films Haida has directed and edited reveals one more important fact about her, and it has to do with the social responsibility of the artist. In her case, and in her time, women’s participation in the film industry was limited to a very few roles—a situation that mirrored women’s participation in the larger society—and Haida has always been determined to do what she can about changing societal attitudes. She has consistently been a role model for women entering and surviving in the Canadian film and television industry. Her devotion and commitment to human rights, including women’s rights, equality, the right to speak freely and to make films that speak truth to power, have made her a beloved and revered figure in our film community. Her courage, her imagination, and her curiosity, along with her technical skills, years of experience, and her poetic sensibility, combine to make Haida, quite frankly, one of our national treasures.   A NOTE FROM HUGH BRODY March 2012 How am I to describe the skills and the sparkling brilliance of Haida Paul? I sat next to her for hundreds of hours, shoulder to shoulder at the steenbeck and then the computer screens. I learned from her, was inspired by her, and depended on her for the last twenty years. She had a miraculous ability to see what was in the footage, to spot the magic and reveal the story. She had astonishing determination and strength when it came to working film into what it needed to be. She was the most intelligent and creative of sound editors – a composer, a magician. And she had unbelievable patience when it came to coping with, indeed rescuing, the footage that was not quite good enough. The vision, the ability to reveal, the determination to rescue, the patience – no editor I have known or heard of could equal Haida in these crucial skills. I owe her more respect, more admiration more thanks than I know how to say. Two decades of collaboration, and of the inestimable, overwhelming, wonderful experience of the best of editors, the most thoughtful of film-makers and greatest, dearest, most beloved of friends. It would take the genius of Haida to edit the multitude of thoughts and memories I have of working with her into any adequate summary of what it has meant.

    Hugh Brody  

  • 06 Oct 2014

    The C.C.E., a national organization promoting the art and science of editing, representing over 200 in post-production, held their Annual General Meeting on October 4th to elect a new national Executive.

    After seven years as Co-Presidents, co-founders Paul Day, CCE and Paul Winestock, CCE handed over the proverbial gavel to Kelly Morris of Vancouver who takes over as President. Chris Mutton of Toronto was elected Vice President. The new Board represents a fantastic invigoration on the West Coast, with four of the seven Board members residing in Vancouver.
    The Board is rounded out with Jason Hujber as National Membership Liaison, Nina Hirten as Web Administrator, Gordon Burkell as Education Advisor, Jorelle Miranda as Secretary, and Matt Lyon as Treasurer.
    For more information and industry outreach, please contact Alison Dowler at
  • 23 Sep 2014

    Annual General Meeting - October 4, 2014 Toronto 12pm - 5pm EST Deluxe Toronto (901 King St. W., #700) Take west elevators to PH (8th floor) If you are late and need to be buzzed into building please text 416 899 6688 Vancouver 9am - 2pm PST Gloo Studios, 206-3701 Hastings street  


    Proxy Vote:  For those not attending, please complete the C.C.E.AGMProxy2014 and submit it by October 1st to:  Please see our website for the CCE Constitution and bylaws, should anyone have motions for amendment.

    Agenda:  can be found at: AGM_agenda_2014   All members are encouraged to attend or submit their proxy in advance of the AGM.

  • 19 Sep 2014

    This is an ELECTION year and nominations are welcome.

    Paul Day and Paul Winestock are resigning their seats as co-presidents, as is our treasurer, Dale Gagne. And competition for any of these posts is always great!  We need energetic, passionate people to step forward and continue the fantastic growth of the C.C.E. If you have ever said, “if I were on the Board I’d do __”, then you should run in the election! If you would like to run for a position on the board, please submit your name, position interested in running for and a brief blurb about why you think you would be a good Board member to: . Your bio will be circulated to the membership in advance of the AGM.Board positions include: President, Vice President, Secretary, Treasurer, Membership Chair, Education Outreach Chair and Web Administrator.  Current Board members who are again running are: Gordon Burkell (Education), Nina Hirten (Web Admin), Kelly Morris (Secretary) and Jason Hujber (Membership). For those not attending, please complete the C.C.E.AGMProxy2014 and submit it by October 1st to:  Please see our website for the CCE Constitution and bylaws, should anyone have motions for amendment.

  • 09 Sep 2014

    Thanks to all who came and joined in the festivities at the C.C.E. TIFF Party.

  • 24 Aug 2014

    September 1st is the next deadline for Associate & Student membership application to the Canadian Cinema Editors. Please see the link below for more information:

  • 24 Aug 2014

    The C.C.E. thanks Diane Brunjes for her outstanding work helping the organization grow and discover a greater identity.  Diane was the centre of the organization and became well known to many members. We owe a lot of gratitude for her efforts and wish her best luck on her future editing endeavours. And now we welcome Alison Dowler to the C.C.E. as administrator.  We are thrilled to have such a wonderful talent and person anchoring the C.C.E. We are sure she will help foster the growth of the C.C.E. and help it mature.  If you have any questions/concerns or just wish to welcome Alison, she has taken over the email address.

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