Agency Butler, Shine, Stern and Partners (BSSP) has added several creatives to its team who will work across key accounts for BSSP, including ESPN, Blue Shield of California, Amazon, Rao’s and Noosa. The creatives will report to Sinan Dagli, BSSP’s executive creative director.
The new hires are:
- Art directors Claire Hentzen and Lauren Byers. Hentzen previously spent two years as an art director at Denver Ad School and has worked with brands like Veja and IKEA. Byers previously served in the same role at TBWAChiatDay working on the agency’s Nissan and Ad Council for Veterans Affairs accounts.
- Cedric Thurman and Justin Cannon will be joining the team remotely, working from New York, as an art director and sr. copywriter, respectively. Thurman previously served as an art director at 160over90 on the Reebok and Lowe’s teams. Cannon comes to BSSP from Johannes Leonardo, where he served as a copywriter for two years working with Volkswagen.
- Copywriters Wes Rhodes and Endia Turney. Rhodes was previously a copywriter at TBWAChiatDay and has worked with brands like Public Storage, Audible, and Nissan; she was a part of the team behind Nissan’s lauded 2022 Super Bowl commercial, “Thrill Driver.” And prior to BSSP, Turney spent several years working as a freelancer on scripts for companies like Peacock and Paramount+, before attending Denver Ad School.
- Brendan Nicholes, a recent graduate of Brigham Young University where he received a B.A. in Advertising, joins the agency as a jr. copywriter.
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