OWC 12.4

At almost 20 years old, Wildchild is in growth mode

By Randi Altman

New York-based editing and post house Wildchild recently celebrated its 19th anniversary, which is fairly remarkable for an independently owned studio in today’s economic climate and with the changes that have occurred in our industry over recent years.

So we checked in with editor/owner Yvette Piñeyro to get a feel for where Wildchild is headed and how she has remained so successful in a very competitive space, and in a very competitive city.

You have not only survived all these years, you have thrived. That is a rarity in this business. How did you do it?
It has a lot to do with having a passion about the work and seeing what the next trend might be before it becomes a trend.

We have also always been very diligent about staying ahead of the curve and meeting and exceeding client expectations. Being nimble and resourceful and willing to reinvent yourself to meet new demands has been one of our greatest assets.

Yvette

Yvette Piñeyro

So, we became a one-stop-shop offering online, Flame early on, and we developed a CG department and added audio post as well. This was so we could offer the cost efficiencies clients were looking for, especially back in 2007/2008.

Basically it’s a passion for the business and for the creative trends that has kept us going, in addition to being smart about listening to our clients’ needs to stay relevant in this ever-changing media landscape. 

Also, we have always been a diverse group of talent culturally, and we wisely captured a growing international market from its infancy and nurtured those relationships.

You’ve grown recently in terms of staff. Can you talk about your new artists and your direction?
We are really excited about the talent that has come on board. It is a new direction in storytelling for luxury goods, beauty, fashion automotive and celebrity.  Richard Mettler Julia Knight and Stewart Shevin have joined our roster in NY which already includes Tom Schachte, Diego Panich and Jeff Stevens.

You also launched a partnership with LA-based Bonch. Can you talk about what led to that relationship?
Bonch is a gem that we were lucky to partner with. Jarrett Fijal, the owner, and I clicked immediately. We shared the same vision and passion for great work and for the trends that are taking shape in the market. The work that Bonch has in its portfolio is very inspiring. They edit in all genres: commercials, music videos and fashion films. We felt they were a great fit for us in terms of their artistic approach and range in storytelling.

Content is evolving and it’s about telling great stories, and all of their music videos were crafted in ways that the editing became an integral part of delivering the message and personality of each artist. Total works of art.

We felt they understood having worked with the best directors and artists, the art of conveying and selling a product, whether that be a personality, a story or packaged goods. Creating a collective of amazing talent and partnering to deliver premium best of class post production made the most sense for both of us. So together we offer editorial, finishing, color, Flame work, graphics/VFX and audio mixing.

Will you be sharing talent — for instance if a client in LA wants one of your editors?
That is the idea a combined pool of top talent that can work on either coast and give the clients the flexibility to cut in either post house.  All about giving more service and footprint to meet demands of our brands and agencies. Our roster can even cut on location if clients should need that service. We are close to announcing partnerships in multiple markets.

Mcdonalds

McDonald’s

Can you mention some recent projects?
Collectively, we did post on five of the 17 videos released by Beyonce for her visual album. Recent and current work includes TV spots for Davidoff, Toyota featuring Beyonce, Hugo Boss, and a six-spot national campaign for McDonald’s.


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