Editorial Work
I've been fortunate enough to work on some exceptional IPs in my career. My expertise is primarily focused on animatic and animation editing, and above all else, storytelling. Over the past decade I've been nominated for an Emmy, a CCE Award, and an Irish Animation Award.
My background in editing, storytelling and audio engineering give me a broad pool of skills to bring to a project. My IT background means I'm never without a quick fix to tech problems.
For me, a good animatic has a few boxes it must check: good dialogue and picture pacing, important sound effects considered and covered, and music to help us sell the emotion. I take great pride in my animatics coming in mostly polished and close to time at the first round. My favourite animatics to work on are musicals/songs.
In production editing/offline, I shift gears towards the technical side of the content. Smoothed cuts, proper hookups, well cut action, etc. All these things, and more, can be further polished in the post animation edit.
It's Andrew!
Senior Editor - Animatics
Mainframe Entertainment
Comedy, Kids, Preschool, 3D
40 x 7 minutes
2024–2025
This is an ambitious project for a new IP about a rhino living in a world of magical unicorns, and finding his own way to fit in. In some ways I think that It's Andrew really encapsulates the feeling of being an excitable and curious tot.
Created in collaboration with Pirate Size Productions in Australia and Mainframe Studios in Vancouver, it features an outstanding voice cast of young Australian actors. I was lucky to join this project from the pilot, working again with directors Katrina Hadley and Jos Humphries.
This show was another opportunity to work on a production that features musical numbers, composed by the show's co-creator, Dan Nixon. Starting a show from scratch is always a challenge, but it was also exciting to see the world and characters develop into the personalities they have now. Prior to wrapping, I was able to see some of the final animation, and it looks fantastic. It was also a valuable learning experience working on a 3D show and discovering the strengths and limitations it has compared to 2D.
The show airs on CBC, beginning on December 10th.
Read more about it here: It's Andrew! Lands in Cannes - TVKIDS
Polly Pocket
Season 6
Production/Offline Editor
WildBrain Studios
Comedy, Kids, Adventure, 2D
38 x 11 minutes for Mattel/Netflix
2022–2023
I was fortunate enough to help wrap up the Polly Pocket series at WildBrain. Starting with a two-parter in Rio, the season had a fun mix of new locales and characters — lots of things to track! It was relaxing to come onto such an established property, and thanks to the great collaboration between the directors and editorial, we were able to produce one of the slickest Flash shows I’ve worked on. It was fun to work on a girl focused series again as well. Brent, Thom, and Des put a lot of trust in editorial to polish the show, and I think it turned out great.
Snoopy Presents: A Summer Musical
Lead Editor
WildBrain Studios
Musical, Drama, Adventure, Comedy, 2D
40 minute TV special for AppleTV
2022–2023
One of my favourite projects, and the second Peanuts special I worked on. Having worked on many, many musical episodes on other shows, I was thrilled to get the opportunity to work not only on such a beloved property, but also on longer-form content. A full musical, my team and I were given a great deal of creative freedom in animatics.
Working on a feature-like schedule, collaborating with Erik Wiese in LA, and adapting to the developing story (and developing songs) required us to stay nimble and produce edits very quickly to see what was working. Proper organization and file management were crucial on this project. As the lead editor, I was able to be involved in many aspects of the production; from voice records to working out music cues and ideas with our amazing composers. Fun fact: we created all of the Snoopy and Woodstock “dialogue” from our walla library!
Snoopy Presents: Welcome Home, Franklin
Lead Editor
WildBrain Studios
Drama, Kids, Adventure, Action, 2D
40 minute special for AppleTV
2021–2022
The first Peanuts special at WildBrain that I led the edit team on, and such a special story indeed. This was my first opportunity to work on longer-form animated content, which was very fulfilling. Working in a fast-paced environment and really crafting the story from the clay of storyboards and scratch audio made every day fun. It was also great to take the helm of the editorial department and have the trust of the director, Raymond Persi. This project required large swings in pacing — from being down in the dumps to racing in a soapbox derby with friendship on the line.
For this special, I was nominated on behalf of my team for Outstanding Editing for an Animated Program at the 2023–2024 Children’s & Family Emmy Awards.
Strawberry Shortcake: Berry in the Big City
Season 1&2
Animatic/Production Editor
WildBrain Studios
Comedy, Kids, Short Form, 2D
80 x 4 minutes for WildBrain
2021–2022
I had a great time working on this reboot of the Strawberry Shortcake franchise at WildBrain. This series was to originally be on YouTube and we were working in a short format, 4 minute episodes. It was a fun challenge to find the balance of pacing, allowing for jokes to actually read, and still telling a comprehensive story in four minutes. It was also another show with many musical episodes, some in the style of music videos. We had some incredible songs written, some I still haven't been able to get out of my head! Matt Ferguson was always welcoming to pitching ideas at every step of production making for a very fun, collaborative environment. With a looser, sillier humour, from design through animation the work really reflects the artist's enjoyment working on it. I edited on this one from slug until delivery to online.
Chip & Potato
Season 2
Animatic/Production Editor
WildBrain Studios
Preschool, Comedy, Educational, Adventure
22 x 22 minutes for Darrall Macqueen/Netflix
2020–2021
This was my first chance to work on a preschool property and it was a drastic shift from working on something filled with action, like Carmen Sandiego. Finding that slower pacing, lingering on shots, letting it all read for the audience it was intended for was important. Finding the comedic timing for Potato was fun since it needed to be slow and broad enough to be very clear but not too slow! This project was also a chance to return to working on musical segments, the songs which, again, I still have stuck in my head from time to time. There should be some kind of workers comp for that...
Carmen Sandiego
Season 3&4
Production/Offline Editor
WildBrain Studios
Action, Adventure, Spy, Thriller
10 x 24-33 minutes for Netflix
2020
I joined this final season, having already been a fan of the earlier seasons. Even though our production moved to being fully remote a couple of months into the year, it was a truly rewarding experience working with Jos and Mike. On some animated shows, you’re not doing a ton of reworking at the animation stage, but with a series as action-focused as this (and as focused on cool), there were a lot of opportunities to push the speed and impact of the action sequences. Our animation team were saints, so we were sometimes able to insert shots where needed, quickly roughing them out for the animators or sometimes comping shot elements together directly in edit. Since it aired on Netflix, we weren’t bound to a rigid runtime, which meant we could tell the story properly and end on a high note.
Orion McCaw and I were nominated for Best Editing in Animation at the 2022 Canadian Cinema Editors Awards for Season 4.
Dorg Van Dango
Production/Offline Editor
WildBrain Studios
Comedy, Kids, Adventure, 2D
52 x 11 minutes for WildBrain/Cartoon Saloon
2019–2020
Dorg Van Dango was a co-production between WildBrain and Cartoon Saloon. It followed the antics of a normal boy, Dorg, and his magical friends, whose magic never quite worked properly. It was fun collaborating on this with Cartoon Saloon, they supplied hilarious boards and designs, and we had a lot of freedom to work with the animation we were creating. I'm proud of the scene to scene hook ups in this show. The fluidity of the animation was such that we put a lot of effort into making sure that motions were smooth across the cuts and that things matched well! It was sad this project didn't get more visibility, I found it to be very classic comedy. I think had more people seen it, it could have developed a cult following.
Cian McGariggle and I were nominated for Best Editing - 2021 Irish Animation Awards
My Little Pony - Equestria Girls
Animatic/Production Editor
Season 2
DHX Media
Comedy, Adventure, Musical, Adventure
5 music videos - 19 x 2 minutes - 40 minute special
for Hasbro
2017–2019
This show was my chance to really take full control of editorial on a show, doing both the animatic editing and the production editing. Being involved in a production for such an extended period of time allowed me to spend more time interacting with other departments, expanding my production knowledge beyond what I already came to the table with. EQG also built on what I had the opportunity to explore on MLP: musical sequences. This time, we had several full music videos with, you guessed it, catchy songs. I’m seeing a pattern here.
One long-form special divided up into several mini episodes gave me a solid understanding of the importance of keeping media strictly organized and shaping a longer narrative arc through thoughtful pacing. I learned a great deal about story while working with Katrina Hadley and Ishi Rudell, and they were kind enough to give me a lot of freedom in editorial, which really helped me grow at a pivotal time in my career.
My Little Pony: Friendship is Magic
Animatic Slug Editor/Offline Editor
Seasons 6 & 7
DHX Media
Drama, Kids, Comedy, Musical
26 x 22 minutes for Hasbro
2015–2017
![S7 | Ep. 25 & 26 | Shadow Play | My Little Pony: Friendship Is Magic [Full HD]](https://i.ytimg.com/vi/tOTdC27z2PY/maxresdefault.jpg)
This was my first editorial role in animation. Having worked in the industry in various capacities for the better part of a decade already, I was plesantly surprised at the kind and collaborative nature of the crew at DHX. Working directly with the directors: Big Jim Miller, Denny Liu, Tim Stuby and Mike Mhyre helped me get a handle on all the lingo.. well that and The Simpsons audio commentary. At least one of these seasons was done in a "rustically kept" outbuilding, where I met my wife! The team atmosphere is still unmatched, there are many people from this era that I still cross paths with.
Working on a show with such a supportive fan base was a really unique experience. The show was filled with pop culture references and during production we were always welcome to pitch lines, some of which even made it in. Now, if you've made it this far down the timeline, congratulations! Thank you for joining me on the journey through my career in animation up to now.
BIO
CONTACT
Vancouver, BC, Canada
Email: mat.garneau.edit@gmail.com
Since childhood, I've had a deep love for movies and TV, especially animation. It's not just about the entertainment or the stories they tell, but also the intricate technical detail--how countless disciplines come together to create everything you see and hear on screen.
I moved to Vancouver in 2010 to pursue my dream of working in the technical arts. Having worked in IT for several years and wanting a change, I took my burgeoning music career, packed up, and moved to attend an audio engineering program. After graduating and bouncing between various audio projects and assisting at some of the biggest recording studios in town, I was fortunate enough to end up as an editor in animation!
Here, I felt a new kind of collaborative energy, and over the last decade I've soaked up everything I can. Working as an editor, I can't imagine doing anything else.
Now, in 2025, I'm setting my sights on the next step of my career. I love working in the episodic format, but I'm also excited at the idea of doing a feature again. I'm also interested in directing. Working directly with amazing directors over the last decade, I feel that I have a lot of experience and expertise I can bring to a team, both in the creative arena as well as in leadership. What you see on the screen is the collaborative effort of an amazing group of motivated artists and being a part of that environment makes every work day special.