Lucie Fortier
As a dialogue editor, you have to be organized, meticulous, methodical, patient and detail-oriented. “That might explain why we’re all women,” jokes Lucie Fortier, who has worked as a dialogue editor for 30 years.
You also need a keen intuition for dramatic intent. “You have to be able to pinpoint where you can go to make it work on an emotional level.”
While sound editors usually work alone, Lucie enjoys the creative synergy she has with her longtime coworkers in postproduction. “Directors who come to MELS benefit from that richness.”Our Artists
Jean-Francois Sauvé
"I am the summation of every meeting and every project I’ve ever been involved with for the last 20 years."
See
Maxime Voinson
Perspectives in sound are very important to me. I have a special relationship with sound.
See
Karim El Katari
“Colour grading animated images supports the director’s intention. It’s something that should be felt without being seen. I try to be a colour chameleon.”
See
Alex Léger
“I believe a good online editor in advertising must be a creative. We also have to be experts in the tools of the trade and in overcoming obstacles, because in advertising, things move quickly and everything has to be just right!”
See
Nicolas Fournier
“I’m a creative techie, but you’ll never see me sacrifice creativity to technology.”
See
Robert Labrosse
Like a hockey coach, I strive to ensure everyone is skating in the same direction and playing the same game.
See
Samuel Boisvert
“I love people. I love working with people, and I think people love working with me!”
See
Pierre-Luc Lévesque
“I sift carefully through the brief for each new film or TV project for a word that resonates, that will give me a handle on the idea behind the project, its spirit, its personality.”
See
