Mention of the term "editorial boutique" used to evoke images of a couple of guys with a flatbed doing offline work out of a small space. Today, that definition has changed dramatically—well beyond substituting Avids for Moviolas. Boutiques are no longer confined to offline editing, and they often embody a progressive creative feeling, mindset and image.
But there are still some perennial constants. For example, boutiques continue to be associated with providing a personal touch in terms of service and attention. So with this mix of the old and new in mind, SHOOT highlights in this Special Report editorial boutiques that offer traditional comforts to clientele as well as services in addition to offline.
It’s not even a prerequisite that the boutique be in but one city, as exemplified by Red Car, which maintains offices in Santa Monica, New York, Chicago and Dallas, while offering a variety of post services, including offline and online editing, effects work and audio post. Recently, Red Car put its start-to-finish post capabilities to work on a campaign for Fresh Samantha Juices out of Dweck!, New York. Even with multiple sites, a company such as Red Car can still retain boutique status due to a small shop atmosphere. "We are a big company, but what’s key to maintaining a boutique feeling is making sure that all the individual units are big enough to provide good service, but not too big that they become facility block houses," explains Larry Bridges, editor/owner of Red Car.
Post:Op, a Dallas-based editorial boutique headed up by senior editor Michael Van de Kamer, has also expanded beyond offline. The company, which counts among its credits spots for Wyndham Hotels and Nintendo, offers capabilities such as compositing and audio. In addition to mixing, the audio division also does sound design and original music. Being able to compose is of special interest to Post:Op senior editor Doug Bryan, who once played in regional bands. Beyond the diversification of services, Van de Kamer also believes his shop offers a good variety of styles—everything from humor to visual imagery.
Brass Knuckles, Venice, Calif., has diversified from its music video base to spot editing, merging with X-Stream Post in ’98. Having cut clips for the likes of Marilyn Manson, the Red Hot Chili Peppers and R.E.M., Brass Knuckles now counts among its ad clients the Gap, Philip Morris and Toyota. Since the merger, there is a 50/50 split between spots and videos, and the editorial boutique is looking to further expand this year. According to company principals Chris Hafner and Greg Laube, that means the possible signing of new editors and the launch of an outpost in New York, where a number of Brass Knuckles editors currently have to travel for projects. "A lot of our clients are like, ‘Please open a Brass Knuckles, New York,’" Hafner relates. And if a second office does come to fruition, Hafner hopes to maintain a boutique feel to the bicoastal operation. "It’s still small enough where every single thing can get that attention to detail, and we can keep an eye on everything," he explains. "None of our projects gets lost in the shuffle; there’s no machine or factory [atmosphere]."
—Kristin Wilcha
Sr. Editor/Special Reports
