The directing team of Taylor Reid–consisting of Nicholas Taylor and Paul Reid–has joined Untitled Films for Canadian representation. The duo’s most recent projects include the whimsical “Let’s Play” campaign for Mastermind Toys, and the touching “I Ate Thank You” spot for Food Banks Canada, as well as work for brands including Air Canada, EA Sports, Ford, Porsche and Red Bull.
Creative studio and production company Even/Odd has brought on Justin Lomax as managing director, a new role at the company. He will focus on strategic growth for Even/Odd, including expanding the creative team and director roster, as well as developing key client partnerships. He formerly served as global head of production at Square. A filmmaker turned creative team leader, Lomax spent a decade with Square, where he led the end-to-end development and execution of the company’s campaigns and content supporting a several hundred million dollar global marketing budget. His unique background traverses nearly every side of the industry, giving him a holistic understanding of the traditional advertising and content marketing processes, gleaned from experience across the brand, agency, production and post sides. Having previously partnered with Even/Odd on several notable projects, including the powerful short film Exit 12 that was acquired by Fox Searchlight Pictures as part of the For Every Dream series, which earned awards including the Grand Jury Prize at SXSW, The Tribeca X Award, and Vimeo “Best of the Year.” Lomax co-founded Catapult Mediaworks in 2011 with writer/directors Jason Jurgens and James Locke. In just eight months, the company shifted in-house as Square’s first-ever acquisition. As the creative team grew over the years, so did Lomax’s purview, ultimately leading him to the global head of creative role, overseeing all marketing creative activities for the brand in the U.S. and a growing list of international markets….
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 childrenโs and family programming from the primetime Emmy competition to the National Academy of Television Arts and Sciencesโ (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 โ23 by a Baum-lensed episode of How I Met Your Father (Hulu).
Fast forward to this yearโs competition and Baum won for another installment of How I Met Your Father--โOkay Fine, Itโs A Hurricane,โ which turned out to be the series finale. Two of Baumโs Emmy wins over the years have been for How I Met Your Father, and thereโs 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