Advertising production veteran David Verhoef has joined production and post-production collective The Cabinet as Partner/CEO, alongside Partner/Director/Editor Doug Cox and Executive Producer Jim Vaughan.
“It’s all about the Taquitos,” said Verhoef of the move. “Production used to be lavish and expensive parties on set, best exemplified by the hot plate of Taquitos that would be passed around by craft service at 3pm when everyone was feeling a bit peckish. That’s just not the reality anymore. Budgets have become increasingly tight in the past few years, and as a freelance agency producer I found that I was acting more and more as a production line producer myself to be able to make the budgets work. Via The Cabinet, I now have all the tools at my disposal to make great content, no matter how challenging the budget.”
Cox and Verhoef met ten years ago, when both were on staff at Publicis & Hal Riney in San Francisco. “When you spend 15 hours a day in an edit studio together and don’t kill each other, you are pretty much friends for life,” Cox noted. “David was one of those buttoned-up guys who made my job easier, and, in return, I did the best I could to deliver the caliber of work he expected. This partnership, for me, was only a matter of time.” Bringing the association full circle is Riney’s newest Blue Diamond Almonds campaign, which Cox is directing and editing.
Of his new partner, Verhoef said, “Doug is one of the most talented individuals I’ve been fortunate enough to work with in my career. A director, an editor, you name it. I consider him a national-level talent who just happens to live in San Francisco.”
Verhoef’s career spans three decades and has yielded an array of award-winning work for iconic global brands including Nissan, Converse, Coke, McDonald’s and Microsoft. In addition to his dozens of industry awards as a Producer he has also been honored with a Cannes Gold Lion as a Copywriter and Art Directors Club Best of Show as a Director.
“With David and Jim, we now have two of the best agency producers in the business,” said Cox, noting that The Cabinet prides itself at coming up with creative solutions to insure every possible penny is represented on the screen. “Our phone number, 500-HATS (415-500-4287), reflects a philosophy carried by the entire team,” he added. “We make the process painless because we’ve been in the trenches. Whether you need help finishing something you cut in-house or need full tilt production support from start to finish we’re here to help. And if at the end of the day, you still want some Taquitos… I know a guy.”
About The Cabinet
The Cabinet is an independent collective of minds and skillsets. A league of production and post-production artists who each bring something to the table. A team sport for content. We continue to offer content solutions for agency and direct client partners. Solutions, that today are like monetary Rubik’s cubes. Finding the balance between art and finance is like tuning a piano. It’s a delicate task but when tightened and struck just right, we can play a beautiful note. We exist to collaborate with you. We love telling stories. We love hearing stories. We direct content. We edit content. We make content pretty. Let’s play.
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Liz Charky Directs a Playful and Reflective Video For Henry Hall’s “Tiny Door”
Directed by Liz Charky, the music video for Henry Hall’s ‘Tiny Door’ is a playful and profound exploration of the song’s intriguing perspective on love. Silly moments and serious heartbreak are skillfully weaved together in a series of cheeky, dreamy, profound, and sometimes psychedelic scenes. “I am a huge fan of love songs that have an unusual, hyper-specific perspective on love,” says Hall. “That’s what I wanted to do with ‘Tiny Door.’ It’s about loving someone unconditionally while recognizing that love is something that isn’t always straightforward — I think that’s something we all attempt to come to terms with in our lives. I thought it was a unique yet universal detail about love and therefore an intriguing subject matter for a song. Even though the song is a ballad at its core, it still has a lighthearted sense of humor to it — that’s really portrayed well by Liz, and Ellin Aldana, our cinematographer.” Charky explains, “When I first listened to the song, I felt it was a love song full of longing with a kind of wishful melancholy. As I spoke with Henry about his intention behind the lyrics and sound, I was assured that I'd need to explore heartbreak in a nuanced way – with a degree of levity and playfulness. For me, falling in and out of love runs the full course of human expression. Love and heartbreak can be so emotionally intense and sometimes lonely, other times quite goofy or liberating. In developing the concept, I focused on both the literal and figurative ways that falling in and out of love might look like. So, you see Henry and co-star Franny Arnautou falling, flying, dancing, raging, winking, smiling, and... Read More