Score a Score, a music company with operations in Los Angeles and Boston, has added Ariella Abrams as creative manager working out of its L.A. office.
Previously serving as director, client relations at Sencit Music in L.A., Abrams brings a unique trailer-focused perspective to the current Score a Score. She’ll work in tandem with the other creative team members producing custom music, pitching music from Score a Score’s catalog, developing artists on the company roster, and helping to grow Score a Score’s ever expanding footprint in the market.
The company has also just launched a rebranded website. CEO Jordan Passman explained, “After a substantial investment in the company website over the course of 7 years, I came to the realization that our branding was off – we’d outgrown and pivoted away from the original concept of the website (a digital marketplace to connect content creators and composers), and centered our business around a human touch – people want to work with people, and human-to-human interaction has grown the business exponentially in ways that technology could never replicate. So we ditched our long-time robot mascots, and cartoony imagery, and rebranded the company to look sleeker, cleaner, simpler and warmer.”
Score a Score’s recent work includes ad campaigns for Microsoft, Intel, Apple, MasterCard, Covergirl, PODS, Taco Bell and Zillow, and trailers for films such as Overlord, Disenchanted, The Girl In the Spider’s Web, Venom, Incredibles 2, Ready Player One, Won’t You Be My Neighbor? and Jurassic World: Fallen Kingdom.
Score a Score’s also very busy on the music supervision side, with credits including the series Best Shot (produced by LeBron James, which premiered this month), Fastest Car, Rhett & Link’s Buddy System and Chef’s Table, Season 1.
From Restoring To Hopefully Preserving Multi-Camera Categories At The Emmys
When Gary Baum, ASC won his fourth career Emmy Award earlier this month, it was especially gratifying in that the honor came in a category--Outstanding Cinematography for a Multi-Camera Half-Hour Series--that had been restored thanks in part to a grass-roots initiative among cinematographers to drum up entries. Last year the category fell by the wayside when not enough multi-camera entries materialized.
In his acceptance speech, Baum appealed to the Television Academy to keep multi-camera categories alive. He later noted to SHOOT that editors also got their multi-camera recognition back in the Emmy competition this year. Baum hopes that after resurrecting multi-camera categories in 2024, such recognition will be preserved for 2025 and beyond.
A major factor in the decline of multi-camera submissions in 2023 was the move of certain children’s and family programming from the primetime Emmy competition to the National Academy of Television Arts and Sciences’ (NATAS) Emmy ceremony. For DPs this meant that multi-camera programs last year were reduced to vying for just one primetime nomination slot in the more general Outstanding Cinematography for a Series (Half-Hour) category. It turned out that this single slot was filled in ‘23 by a Baum-lensed episode of How I Met Your Father (Hulu).
Fast forward to this year’s competition and Baum won for another installment of How I Met Your Father--”Okay Fine, It’s A Hurricane,” which turned out to be the series finale. Two of Baum’s Emmy wins over the years have been for How I Met Your Father, and there’s a certain symmetry to them. His initial win for How I Met Your Father was for the pilot in 2022. So he won Emmys for the very first and last... Read More