“Without the need to ‘feed the machine’, we enjoy the creative freedom to produce work that has a unique voice.”

A thoughtful leader, Kim has crafted her boutique production company according to her commitment to produce films that celebrate traditional filmmaking and innovative craft using cutting-edge design, animation, visual FX and emerging technology. As a producer, Kim has amassed a wide range of experience through her previous roles as managing director of Exit Films, executive producer at Psyop and Mill+, and in her early days as VFX producer at Method Studios in Los Angeles and Fin Design in Sydney.

She has produced campaigns for Coca-Cola, Nike, Honda, the Oscars, the White House, Pepsi, Samsung, Qantas, Penfolds and many more, with the most notable being an innovative interactive campaign, Google Through the Dark. This was the most successful digital interactive project of the year, receiving over fifty accolades at major international award shows and festivals. 

ADFEST: Boutique anything is tough. Boutique production probably even more so. What are the advantages? What keeps you strong?

Kim Wildenburg: Running a boutique model can be challenging, as it often requires wearing many hats. However, the advantages far outweigh the complexities. At Sedona we take pride in our agile approach, delivering both creative and production solutions with efficiency and precision. Our personalised approach, means communication is direct and owner led, enabling us to make swift decisions and respond quickly to client needs.  

In today’s economic climate, competitive pricing and cost efficiency are more important than ever. Our model allows us to offer exceptional value on screen, ensuring that clients get more from their budgets without the burden of inflated costs associated with high company overheads.

We’re fortunate to have a loyal client base, thanks to the consistency and dedication of our smaller, focused teams and quality of output. This structure gives us a deeper understanding of our clients’ brands and cultures, which strengthens the bonds we build – something larger companies with higher staff turnover may struggle to achieve.

A boutique model also allows us to prioritise quality over quantity of work. Without the need to ‘feed the machine’, we enjoy the creative freedom to produce work that really resonates with us and has a unique voice.

ADFEST: You are known for your very high production standards. What for you determines great film craft?

Kim Wildenburg: Thank you for such generous and kind words. Great film craft is truly a team effort. While the director’s vision is essential in creating a cinematic experience that resonates emotionally with audiences, it’s a collaboration of all departments that bring the vision to life. Starting with the client who entrusts the agency creative directors and copywriters to craft an engaging script, right through to cinematography and editing, to music, sound design, art direction and the performance of the cast, support of the producer and entire crew. The campaign has greater success when every department works seamlessly together. And of course it makes for a far more enjoyable experience.

ADFEST: You’ve seen a lot of changes in the production industry during your career. What do you think have been the most impactful (good or bad)?

Kim Wildenburg: It’s refreshing to see a growing awareness around equality and diversity. The Commercial Producer’s Council is actively educating its members on working with underrepresented communities and many production companies are committed to fostering sustainable production practices, to reduce the environmental impact of filming and also ensuring that women are well represented in all areas of our production.

The landscape has dramatically shifted with tighter budgets and increasing expectations. Twenty years ago, when I was producing in the US, budgets were extremely healthy both in terms of financial resources and timelines. Today we have to be more resourceful than ever, finding solutions that are not only efficient but also fast.

Agencies are increasingly bringing production resources in-house, which is reducing the amount of work available for production and post production companies and impacts opportunities for emerging directors.

We are also seeing a rise in boutique agencies, adopting an owner-led, agile approach, without the overheads of larger companies.

As for shooting hours, crews are no longer open to negotiating deals. With an 8 hour shoot day as our standard practice, producers are feeling the pressure, especially as budgets shrink while expectations continue to grow.

Lastly, the impact of AI on filmmaking is becoming more pronounced as the technology continues to evolve. Whether it’s copywriting, concept art, character creation, casting, music composition or post production, it would be foolish not to embrace the efficiencies that AI offers. However, thankfully nothing can replace the power of human creativity and artistry! So, there’s still hope for the creative spirit to thrive. 

ADFEST: What do you look for in new directors? What do you think they need to bring to their careers?

Kim Wildenburg: Passion, drive and talent are the core qualities that I look for in new directors. They need to have the hunger and determination to put in the hard work.  A unique and individual interpretation of a script is crucial – it’s their vision and voice that will set them apart and land them the opportunities. Equally important is a great attitude, a willingness to listen, learn and collaborate, as well as the ability to foster strong relationships with other creatives in their community.  

ADFEST: Grand generalisation I know, but how do you rank production in APAC? (Feel free to single out countries) What is done well? What could be improved?

Kim Wildenburg: When it comes to production in APAC, there are certainly some standout countries that consistently impress. Having spent 12 years working on high-profile campaigns in the US, I was spoiled with large budgets, big crews, and healthy timelines, so transitioning back home was a real learning curve. I had to become more resourceful, solving problems both creatively and financially. The local crews are world class, hard-working, incredibly talented and there is a nice sense of comradery. I’ve also had very positive experiences filming in countries such as Thailand where the quality of crews, set builds, production efficiencies, and talent costs have been exceptional.  

In terms of the creative quality, I’ve had the privilege of judging numerous global award shows, and seen some fantastic work emerge from the region. Japan, for example, consistently produces visually stunning and unique creative work. Thailand’s comedy is another standout—quirky, bold and refreshing. New Zealand creative tends to take more risks which ultimately pay off and I’m loving seeing the uptick in animation work in Australia which stands out from traditional advertising.

One area I’d love to see progress is the standardisation of a 10-hour work day for crew in Australia. Having to accommodate overtime after 8 hours, is challenging and unfortunately, we often have to consider shooting offshore to make budgets work, which impacts our local industry and economy.