Jon Anctil
Jon is an award winning picture editor from beautiful British Columbia, Canada. Having worked across a wide variety of genres, formats, and styles, he loves to find the why in every scene, not just the what, and always aims to turn good moments into great ones.
Selected Work
Selected Credits
Complete credits on IMDbCrew Girl
LatestEditor
Netflix
2026, Season 1
Allegiance
Editor
CBC
2025, Season 3
The Chicken Sisters
Editor
Hallmark+
2024, Season 1
Murder in a Small Town
Editor
FOX
2023-2026, Seasons 1, 2, 3
Americana
Additional Editing (uncredited)
Lionsgate
2023
Fakes
Editor
Netflix
2022, Season 1
50 States of Fright
Editor
Quibi
2020
Van Helsing
Editor
SYFY
2017-2021, Seasons 2, 3, 4, 5
Awards
Leo Award
Best Picture Editing in a Drama Series · Murder in a Small Town
Winner
2025
Leo Award
Best Picture Editing in a Comedy Series · Fakes
Winner
2023
Leo Award
Best Picture Editing in a Drama Series · The Chicken Sisters
Nominee
2025
Sxsw
Americana
Premiere
2023
Leo Award
Best Picture Editing in a TV Movie · Secrets of a Marine's Wife
Nominee
2022
Leo Award
Best Picture Editing in a Dramatic Series · 50 States of Fright
Nominee
2021
About
Ever since he watched the T-Rex step out from its pen and bellow at Dr. Grant in "Jurassic Park", Jon has been fascinated with movies. He found the spectacle and storytelling of cinema to be captivating and wanted to be a part of it. In high school he edited his first film on two VHS tape decks wired together and realized that the editing department was where he wanted to be.
He attended the Motion Picture Arts program at Capilano College (now University) and in 2011 graduated with a Bachelor's of Motion Picture Arts degree.
Ever since he watched the T-Rex step out from its pen and bellow at Dr. Grant in "Jurassic Park", Jon has been fascinated with movies. He found the spectacle and storytelling of cinema to be captivating and wanted to be a part of it. In high school he edited his first film on two VHS tape decks wired together and realized that the editing department was where he wanted to be.
He attended the Motion Picture Arts program at Capilano College (now University) and in 2011 graduated with a Bachelor's of Motion Picture Arts degree. He went right into post production, starting as the dubber/runner on TV series and low budget movies of the week and slowly worked his way up the department, putting in the night shift hours as a 2nd Assistant Editor and then the day shift hours as a 1st Assistant Editor. On "Van Helsing" his wonderful editor and mentor Bridget Durnford encouraged him and the production to give him an episode to edit. It was a challenging but thrilling process and it turned out well, netting Jon his first of many Leo Award nominations. The following season, he was assistant editing again but was able to edit two episodes which also turned out well, and then going into the following season he was hired as one of the editors full time and hasn't looked back since.
Jon enjoys mentoring upcoming assistants and editors as he was once mentored and gives time back into the local post production community. He has been a mentor with the Vancouver Post Alliance and has served on numerous Editing awards juries, as well as committees with the Canadian Cinema Editors. When he's not immersed in work, Jon loves powerlifting and Crossfit (with the occasional detour into Hyrox), sharing some videogame time with his two young boys and chasing them around on their bikes.
Process
“The goal is always to dig a little bit deeper with the footage than, at a surface level, what the script has asked for. Simply arranging the words and action in the right order tells the story but it's not enough to truly immerse and captivate the audience. You have to find the nuance in the performances, the unscripted moments between moments, or even create whole new unplanned concepts within the existing footage in order to make a sequence that is greater than the sum of its parts. That is the hallmark of a great edit and a great editor.”
“If the story in the footage doesn't quite match the script, then I try to sit back and see what was the underlying intention or motivation of the scene, both on the page and in the footage. More often than not you can find a common thread between them, so I'll use that as an emotional north star and stay true to that idea while still trying to honour the Director's intentions with what they shot.”