When touring the Finale Editworks 9,500 square-foot facility near downtown Vancouver, technophiles thrill to the sight of room after room packed with hi-tech gadgets, screens, computers, control panels and thingamajigs galore laid out in a comfortable, elegant setting.
More impressive, however is running into a Los Angeles producer who, unbidden, stops to gush about the Finale editors. ‘Says they’re the best. That, when she can’t work in Vancouver, she flies her Finale editors down to L.A. ‘Won’t work with anyone else.
High praise. And well-earned. Since founding Finale in 1988, Don Thompson (formerly of CTV, U.TV and The Eyes), and his partner Dale Johannesen, have laboured to make Finale the best at what it does. Which is providing complete post-production services, including off-line editorial, on-line editing, and special effects design and duplication for television commercials, broadcast programs and videos.
At Finale, the editing process begins, obviously, when the client brings in what has been shot. The editors do a rough off-line edit, the client approves it, then they move to the high-resolution on-line edit, where colour corrections are made and sound and special effects are added. During the off-line phase, clients may have their own editors and creative staff involved—this is the decision-making process, where the piece is built from its original elements. But, once the project moves to the high-tech, creative on-line phase, the Finale editors take over. And it is this process that sets Finale apart.
“There’s no ‘right’ editing method and, obviously, the best editors are the ones whose work you don’t see,” says Thompson. “But editors are definitely crucial to the creative process, and add elements that writers never envision. There are many styles of editing, and there are big differences in how different editors approach a project—some are more comfortable with videos, some with commercials. There’s also a character factor, where certain editors are off the wall, others are more conservative. Each client is looking for something different—sometimes complementary talent, sometimes talents opposite to their own. The trick is to match them up, and we’re good at that.”
That doesn’t mean that clients can’t be involved at the on-line stage. “The creative process often depends on the synergy between our editors and clients, so producers can work from our office and supervise at all stages of the production. That’s a real comfort to those clients who have a specific direction and want to remain very much involved. Other clients, though, let the editors work their craft, and only come in to oversee the finishing touches.
“When producers hire an editing facility, they should want its creativity. That’s what they’re paying for and that’s how they’ll get the most out of the process. Some editors are just technical types, but most are very creative. Here, we have a depth of editors with different talents and different approaches, and that’s why clients come to us. They know they can find a varied set of talents and that our post managers can keep their projects on track.”
The majority of Finale’s clients are independent documentary makers, video producers and advertising agencies; about 70% from Western Canada, the rest from Toronto and Los Angeles. Most business comes through word of mouth, but the company has benefited from an inventive advertising campaign (care of the erstwhile Moreland & Associates) and more effort has been put into marketing.
“We needed to re-position the company because we were having trouble breaking through some mental barriers in the advertising world, regarding what Finale was and what kind of clients it could service,” continues Thompson. “We don’t do film transfers and, in Vancouver, the perception was that, unless you do transfers, you can’t tackle the large national campaigns. The agencies had looked to us when they were in a bind and we always delivered on time, on budget and with a lot of creativity. Clients become comfortable with their regular suppliers, naturally. But sometimes, you have to look for fresh talent and ideas, and we’ve done some very successful agency work. We’ve been effective at raising awareness and showing that we can be creative in a technology-driven business.”
Technology is, of course, a huge part of Finale’s business, but Thompson says he has found a balance. “We’re under constant pressure to have the latest toys, but we’ve been able to combine the old and the new in a way which works well for us and our clients. Every three years, we go through a major technological up-grade, and we’re always looking for new things to enhance our capabilities. One big advantage here is that we train our clients as well as our staff, so clients understand our equipment’s capabilities and get the most out of it.”
Sound editing has lately become an increasingly important part of Finale’s services, largely due to client demand, and it recently installed a new audio studio. And Finale’s sister company, Image Engine Design & FX, has evolved from an in-house graphics department into a successful stand-alone boutique. (Finale also owns Shooters Production Services.) Thompson says that the clients now know that Finale can handle all their needs.
“It’s important that all clients, particularly out-of-town clients, have that confidence—in Finale or its competition. But what sets facilities apart is talent, and we have some of the most talent editors in the business. In post-production in Vancouver, there’s a lot of talent, period. And that’s what’s allowed Vancouver to attract the calibre of the shows that are produced here.”