July 2, 2022
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Treehouse Editorial

Treehouse Edit (www.treehouseedit.com) is a boutique editorial and post production studio located in Dallas, Texas. Founded in 2012 by Creative Editor Peter Tarter and post production entrepreneur Reid Brody, the company offers editing, motion graphics, audio and finishing services to a roster of clients that includes major ad agencies and independent film producers and directors. Among the brands Treehouse has worked for are HEB, The Home Depot, Pier 1, 7UP, Jeep, RAM Trucks, Go RVing, Ulta Cosmetics, Toyota and many more. Their offices are located at 3400 Carlisle Street, Suite 105, Dallas TX 75204. To contact Treehouse Edit, call 214-754-8004.


Editor  / Production
Multi-Cultural Editor Jesus Yanez Lands at Treehouse Edit
Treehouse Editorial Posted On August 16, 2021


Treehouse Edit’s retooling process continues with the addition of the versatile editor Jesus Yanez to its roster. Yanez, who’s had a flourishing freelance career prior to his signing, brings a talent for upbeat messaging, humor, music and lifestyle work to the post production boutique. His signing was announced by Treehouse Executive Producer Jeremy Besser. To view his reel, go here.

Yanez, who was born in the Mexican border town of Ciudad Juárez, came to post production from a freelance career as an agency creative, working as a copywriter and ACD for a variety of agencies in New York, Dallas and L.A. In between agency assignments he was also writing and directing his own short films and music videos, a passion that turned into a vocation when he began to be asked by clients and agencies to shoot and edit assignments for brands.

Working now as a full time editor, he has cut Hispanic and general market spots and campaigns for such brands as McDonald’s, Tecate, Honda, MetroPCS, Bimbo, Coca Cola, AutoZone, Huawei, Sling/Dish and many more.

“Jesus is a well-regarded and exceptionally versatile talent whose background in directing and agency creative all help shape his work and his approach as an editor,” says Besser. “That he’s able to easily move back and forth between the Hispanic and general markets is a boost, particularly here in the Texas market. We’re delighted he’s joining our roster and look forward to helping build on what he’s accomplished so far in his career.”

Yanez says he’s signing with Treehouse to broaden his client exposure and attract bigger, more complex projects while still being able to pursue his outside interests in filmmaking. “This is a great opportunity for me to take my editorial work to another level while providing me with the flexibility people are looking for these days,” he says. “While I enjoyed my time working on the agency side, I’ve always felt that production and post were my greatest passion. By signing with Treehouse, I’m able to bring all of these interests and experiences together. So it’s a smart move all around.”

And if that’s not enough creative expression for Yanez, there’s also the band; he’s been playing in one, on and off, since he was a teenager, and says that along with editing and directing, music is a passion as well.

“I played a lot more when I was younger,” Yanez adds with a laugh, noting that he performed on guitar, drums and vocals, “and while I’m still in a group, we don’t get a chance to play together that often.” Perhaps he should – a band he was in was nominated for an MTV Video Music Award in 2013.

For more information on Treehouse Edit, contact Executive Producer Jeremy Besser at 214-754-8004, or at jeremyb@treehouseedit.com. The company is represented by Alyson Griffith of AG Represents; contact her at 214-288-2813 or at alyson@agrepresents.com.


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Post-production  / Production
Treehouse Adds Editor Greg Sunmark | Launches Major Studio Reboot
Treehouse Editorial Posted On July 27, 2021


From Left: Jeremy Besser, Greg Sunmark, Alyson Griffith

Veteran creative editor to lead infusion of new talent and new energy as poststudio adapts to changed landscape on a regional and national level

Treehouse Edit has brought in veteran creative editor Greg Sunmark to anchor its talent roster as the studio undergoes a shift in talent, focus and client mix. The news of Sunmark’s joining was made by Executive Producer Jeremy Besser, who helped launch the editorial boutique with partner Reid Brody in 2012.

Besser says Sunmark’s signing, which covers the Texas and Southwest markets, is the first step in a push to reimagine Treehouse’s role, not just on the Dallas post scene but nationally, as the evolving nature of remote work changes the game for post production. To view his reel, go here.

A Midwestern native, Sunmark got his start in Chicago and spent the first part of his career there at the iconic editorial house Red Car. He relocated to Dallas in 2013, joining Reel FX as Senior Editor. He was also on the roster at charlieuniformtango, but has been working both locally and nationally as a freelancer for the past several years.

Sunmark’s signing is the first step in a top to bottom refresh of the studio that Besser and Brody are undertaking in response to shifts in the local advertising scene and the impact it’s had on the production and post community. They’re also positioning Treehouse for the future of post, in which geographic limitations on talent access will become less of an issue for clients and post houses alike.

“It’s no secret there’s been a lot of changes in the post production marketplace, particularly here in Dallas,” Besser states. “That’s why we’re rebuilding the company on the talents of fresh personnel, and Greg is our first major step. You can tell by looking at his reel that he’s an extremely talented artist, but above that he’s a doer, with many outside interests that he can bring in and apply creatively to what we do in the advertising world.”

Sunmark’s reel includes work across numerous categories, with a particular emphasis on automotive work and comedy. Spots for GameStop, Twix, Snickers, the Texas Lottery and other brands reveal his flair for delivering the belly laugh at just the right moment, without sacrificing the spot’s overall message.

He’s also a multi-faceted talent, having performed everything from color grading and VFX to sound design and even voiceovers on some of his freelance projects. He’s also shot live action (including a series of food and lifestyle spots for Jimmy John’s produced under lockdown conditions), and provides creative input when the jobs require it.

Sunmark says he’s known Besser for years – and knew Treehouse partner Brody from his time in Chicago, where the entrepreneur has had a hand in a number of major players in production and post. “I see this as an opportunity for me to re-engage with the Dallas market in a positive way,” he says about joining the roster. “It allows me to be more visible as part of a respected post shop, which will keep me more top of mind. It’ll also be nice to have a team behind me, to provide not only great support but sales, too.”

Agency production execs view Treehouse as a valued partner, and continue to do so. “The work coming out of Treehouse has always been stellar,” says Greg Gibson, Director of Broadcast Production at The Richards Group. “Great creative editors, finishing and producers who manage every detail. We trust them with our clients and projects, and they always make it look easy.”

Besser says Sunmark’s joining was motivated, in part, “by two big plusses. First was representation by Alyson Griffith, and second is the support of a producer and staff that will free him up to focus on creative editing.” Adds Griffith, “Greg has a great reputation, not just in this market but nationally, and we’re eager to turn him loose on all that Treehouse has to offer.”

Sunmark’s signing is only the first part of the reinvention process Besser and Brody are leading at Treehouse, he adds. “We’ll be announcing soon the addition of another great editor to the roster, and through Reid’s connections, we’re forging relationships with a carefully curated group of freelancer talents whom we’ll tap for all the other disciplines involved in post.”

And the studio is also adapting to the new matrix for post work, which will likely mix local with national work, drawing talent from outside the region, as well as a combination of on-premise sessions coupled with remote capabilities. “We can see where things are going in the post production world,” says Brody, “and setting ourselves up to service both set ups, depending on the clients’ preferences, the needs of the job, the right talent match-ups and the locale. By the time we’re done, Treehouse will have a vastly different look and feel.”

For more information on Treehouse Edit, contact Executive Producer Jeremy Besser at 214-754-8004, or at jeremyb@treehouseedit.com, or Alyson Griffith at 214-288-2813 or at alyson@agrepresents.com.


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Production
Treehouse Taps Alyson Griffith of AG Reps for Representation
Treehouse Editorial Posted On June 25, 2020


Her firm adds the Dallas editorial and post studio to a roster of top companies spanning live action, design, tabletop and music.

Alyson Griffith has something new to talk about. The veteran Dallas-based sales rep with a flair for recognizing talent has added Treehouse Edit to her roster of production and post production companies. While based in Dallas, where she’s one of the industry’s best-connected reps, Griffith will also handle national sales for the growing editorial and post production boutique. Treehouse Founder and Editor Peter Tarter, who launched the studio in 2012, announced the signing.

The agreement adds Treehouse Edit to Griffith’s roster at AG Reps, which includes Station Film, Imaginary Forces, Story, Accomplice Media, Breed Music + Sound, Noble600, Slash Dynamic and The Bear in Texas and Station Film, Imaginary Forces, MacGuffin Films, Keeper, Noble600 and Slash Dynamic on the West Coast.

“I’ve always been impressed by Alyson, and especially so by her client roster,” says Tarter about the signing. “I feel Treehouse is in a good position adding her to our team, given the level of talent she’s associated with.”

The relationship has already paid off, Tarter adds, with Griffith tapping her network to bring in a project for Kay Jewelers from the Zimmerman agency in Florida. The spot was among the earliest efforts for the brand from Wade Alger, the agency’s new Chief Creative Officer, and David Crawford, its new ECD, both of whom are transplanted Texans who’ve worked with Griffith in the past. “I knew she had a lot of get up and go,” he comments, “but I had no idea she moved this fast!”

Griffith describes what she does as “I share and make aware,” adding that she’s known about Treehouse from day one, as its Executive Producer, Jeremy Besser, is an old friend and colleague from a previous roster company. On top of that, the time to partner up just felt right, she continues: “Treehouse has so much potential, and I like to connect with a company when I feel I can have a real impact on people’s careers.”

Tarter would agree, and cites the Kay job as an example of how Griffith can open doors. The spot came together quickly, and was produced under pandemic-related limitations. “Without Alyson, that never would have happened for us,” he says. “She was able to bring in someone who’s never cut for this team or this agency, and on a pinch job to boot, and they trusted her. That says it all.”

For more information on Treehouse Edit, contact Executive Producer Jeremy Besser at 214-754-8004, or at jeremyb@treehouseedit.com, or Alyson Griffith at 214-288-2813 or at alyson@agrepresents.com.


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Editor
Treehouse Adds Editor Adam Henderson to Talent Roster
Treehouse Editorial Posted On April 27, 2018


Winner of Adobe’s “Make the Cut” Contest Brings Love of Editing Craft to
Expanding Dallas Post-Production Boutique

There are award winners, and then there’s Adam Henderson. The Dallas-based editor has not only seen work he’s cut for agencies and clients win advertising awards, but he’s pocketed a major one on his own, one with a $25,000 prize. And now he’s bringing the talent, passion and drive that earned him that bucket of cash to Treehouse Edit.

Henderson’s signing was announced by Treehouse Founder and Editor Peter Tarter and Executive Producer Jeremy Besser. To view his work, go to http://treehouseedit.com/editing.php#10021.

Joining from Post- Op in Dallas, Henderson has been editing since he joined the company in 2009 as an assistant. His reel includes spots in a range of styles for such clients as Motel 6, Hyundai, Susan G. Komen Race for the Cure, H-E-B, The Home Depot, and Poo-Pourri, the ‘before you go’ toilet spray marketed in cheeky ads and web shorts.

Henderson studied film and TV at the University of North Texas, where he quickly fell in love with the craft of editing. “It really began as a hobby in high school, and it instantly hooked me,” he recalls. “I see it as a creative problem-solving exercise that lets you take something someone has already shot and give it your own spin. I knew early on this is what I wanted to do for a career.”

A big highlight came last year, when he entered Adobe’s “Make the Cut” contest. It called for entrants to take the music video for Imagine Dragon’s pop anthem “Believer” and re-imagine it, using nothing but Adobe Creative Cloud products. The competition received over 9000 entries, and Henderson’s won. Read AdChat DFW interview.

To present the prize, Adobe pulled a fast one: they flew him to their headquarters in San Jose and said he was one of the finalists, but when he arrived they surprised him with the news that he’d won, delivered by the band members themselves in a personal video made before his arrival. He was presented with a giant check and cheered by hundreds of Adobe employees. (Not surprisingly, it’s all captured on video here.) The contest was covered by news outlets like Forbes and NBC, and was promoted heavily by Adobe itself. (To see his winning entry, click here.)

Why Treehouse? While Henderson has nothing but praise for his time at Post Op, he adds it was time to move on. “You can get too comfortable after a while, and I needed to be a little vulnerable in order to grow,” he offers. “Treehouse is a well-respected company that’s making a huge dent in the Dallas post community. Everything about them is positive, from their work to their vibe to their social media presence. It looks like they have a lot of fun working together, and I’m delighted to be have a chance to sit in a different chair and see where it takes me.”

Henderson met Tarter several years ago, and the two stayed in touch. “He’s a young, hip, very cool kid who was teaching me things technically,” Tarter admits. “It was such a pleasure to talk with him. When we finished our recent build-out, we wanted to fill our new edit suite with someone who would complement our already great staff, and Adam was a natural choice. He really gives our bench an added layer of depth.”

Besser says that beyond Henderson’s qualifications – which includes his reel, his work ethic and his client relationships – the fact that he conquered all in “Make the Cut” speaks volumes about his character: “He’s exactly the type of person you want in your company, and that’s why we were so interested in signing him.” Adds Tarter, “that was a hell of a task, and he came in first. He outwitted, outshined and out-edited everyone.”

Henderson’s joining Treehouse is the crowning part of an ongoing expansion that’s seen the studio open new rooms and add additional creative staff in recent months. Most recently, Senior Engineer Eric Jenkins joined in February to lead Treehouse’s new audio post capabilities.

Both Tarter and Besser believe Henderson is set to break out in a huge way. “He’s done great work up to now, but we can’t wait to see what he’s going to do here at Treehouse,” says Tarter. “We think he’s really going to blossom.”


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Post-production
Treehouse Taps Senior Engineer Eric Jenkins to Lead New Audio Post Capability
Treehouse Editorial Posted On February 27, 2018


He brings his talents for mixing and sound design, along with a musical background, to the Dallas post studio, making it truly full service.

Treehouse Edit is branching out, tapping Senior Engineer Eric Jenkins to join the team full time and lead its new audio post capabilities. In addition to Jenkins’s appointment, the Dallas post production studio, founded in 2012 by Senior Editor Peter Tarter and production executive Reid Brody, has opened a new, fully-outfitted audio post suite. News of Jenkins’ hire and the audio expansion was announced by Tarter and Treehouse Executive Producer Jeremy Besser.

Jenkins was most recently an independent mixer and sound designer, working for a variety of post houses and ad agencies in the Dallas area. To view his work, go to http://www.treehouseedit.com/audio.php#10019.

A graduate of the University of Texas in Arlington, where he studied music and media, Jenkins has mixed commercials for HEB, Red Lobster, Pier 1, Home Depot, Sports Illustrated, Ford, McDonald’s, American Airlines, Baylor Hospital, Chili’s and other brands. He got his start as audio assistant at Video Post & Transfer and became a full-time mixer there before joining N20. He later was on staff at Fast Cuts. An accomplished pianist, Jenkins also tapped his music chops to create sound design and original music for spots as well as for feature film trailers.

“Eric is just a phenomenal talent,” says Tarter. “I’ve been in Dallas for eight years and been hearing about him since day one. When you work with Eric, you walk into the room and the session is already done – he’s that fast and that thorough. Creatives and producers love it, as all they need do is focus on the fine points and making it perfect. I was psyched to hear that he wanted to find a permanent base and jumped on it.”

Jenkins has been the resident audio mixer at a post house before and says being in this position can benefit both the clients and the work. “The advantage of having audio capabilities is that it helps clients realize the bigger picture, giving them get a complete sense of the piece earlier on in the process,” he points out. “Leveling out the voice and mixing in sound design and music helps a lot during the initial phase of a cut. It’s great because we’re that much closer to a finalized piece, and can tweak from there.”

Having worked for all the major agencies in the Dallas area – and with many of the market’s top post houses – Jenkins brings a wealth of experience to Treehouse. “All the post companies based here are one-stop shops,” he notes, “so I was extremely happy when Treehouse added audio and reached out to me to join the team.”

Indeed, Treehouse’s expansion – of which Jenkins is just part of the story – has been the result of steady growth since its launch in 2012. They’ve added additional offline rooms, two Flame suites, a graphics suite and a client lounge. Their work for advertising clients includes such brands as Home Depot, HEB, Jeep, RAM Trucks, 7UP, Alfa Romeo, Famous Footwear, Go RVing, Toyota and Ulta Cosmetics, among others. The studio also provides editorial and post for digital content and independent films.

Tarter notes that Jenkins’ arrival means more than just adding audio to the mix at Treehouse. “We redid our entire facility, and we’ve created what I think is a great vibe, not just for clients but for our people too,” he notes. “Eric’s going to be a big part of that. Having him here makes us truly full-service, which will help our agency clients, who no longer need to go elsewhere for audio mix or sound design.

“On top of that, we want to work with cool, levelheaded people who have lots of interesting things going on, and that defines Eric,” Tarter continues. “He’s a Renaissance man who’s into so many different things. Having him here makes me very happy.”

 


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