Production studio Sugarhi has added Paloma Rincón to its directorial roster for North American representation spanning commercial and music video projects. This marks her first such representation in North America. Internationally she is repped in Spain by The Finesse Films, in Mexico by Fauna, and in Italy by Noruwei.
Currently based in Spain, Rincón is a Mexican-born director with a strong focus on visual storytelling. Her quirky style is marked by bold colors and graphic composition set builds, which is reflected in her tabletop and performance-based work. Brands she has worked with in the U.S. and abroad as a photographer and/or content creator include Absolut, Bombay Sapphire, Coca-Cola, Ford, Google, Heineken, Ikea, Michelob, Oreo, PlayStation, Schweppes, Sonos, Swatch, TJ Maxx and Toyota. Her photography has appeared in many prestigious publications, and her original works have been exhibited in Europe, Asia, South America and North America.
“Sugarhi is wonderfully aligned with my creative style, unifying different visions from different artists/directors within a common world that’s quirky, bold, and graphic, which sets the company apart and gives it a unique identity,” Rincón said. “Over the past few years, I’ve evolved my visual universe into moving images, and I’m honored to join forces with a team that excels in all different phases of the process and shares a unified vision.”
Sugarhi is represented on the West Coast and in the Midwest by GRGD, and on the East Coast by Free Agents.
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