Mirada, the integrated and commercial production arm of Trailer Park Group, has added director Kristine Tsui to its creative roster of talent for commercial representation in the U.S.
Known for telling stories through a lens of color and lighthearted fantasy. Tsui brings to Mirada a multi-faceted background in creative direction, animation, and photography. She has a portfolio of over 350 videos for beauty and fashion brands. Her directorial work includes such clients as American Express, Bombas, Etsy, Facebook, L’Oréal, Verizon, Lancôme, and Walmart. Prior to joining Mirada, she had most recently been repped by the production house Bindery.
“Kristine is an incredibly talented young director with a fresh eye for visual storytelling,” said Anna Joseph, EVP/executive producer at Mirada who cited “her intuitive sense of creative direction coupled with her colorful and lighthearted style of work.”
Said Tsui, “In an industry longing for disruption, Mirada’s reputation for timeless storytelling, paired with a forward-facing posture towards innovation and diversity, is a breath of fresh air. As a genuine fan of Mirada’s work, I’m thrilled to partner with this incredible team who empowers creatives like me to dream bigger.“
Born to immigrant parents from Hong Kong, Tsui is a first-generation Chinese-American raised in New York. After earning a degree in advertising and marketing, she explored her creative options, diving in headfirst to photograph hundreds of people, work on big-budget feature film sets, and travel overseas to develop content for brands. Tsui is a champion of diversity in front of and behind the camera. She believes that representation in media matters because a culture with representation communicates that all humans are worthy of value, dignity, and care. As a result, she consistently works to influence more change by leading with mandates and goals that push for diversity across all departments.
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