Logan & Sons, the live-action division of bicoastal content creation studio LOGAN, has signed filmmaker Tom Schlagkamp for U.S. representation spanning commercials and branded content. He is also repped by BITE Management in Germany. Prior to joining Logan & Sons, Schlagkamp had most previously been repped in the ad arena by Joinery.
The Berlin and Los Angeles-based director’s advertising work for clients such as Mercedes-Benz, Adidas, Volkswagen, Samsung, McDonald’s, Chivas Regal, Seagrams and Vodafone, among others, can be described as miniature dramatic films.
A lover of the electric guitar, Schlagkamp’s distinctive style draws inspiration from rock ‘n roll’s thrilling and dramatic narrative arcs. He first drew international attention in 2013 winning a top prize at the Young Directors Awards in Cannes for his short film The Rock’n’Roll Manifesto, a blood, sweat and tears ode to rock narrated by Pantera’s Phil Anselmo.
Schlagkamp got his start in television, working on campaigns for German network RTL, and then began making short films and directing music videos. He studied at the renowned Filmakademie Baden-Württemberg and UCLA. In film school, Schlagkamp transitioned to commercial directing after earning praise for a satirical short film that took the form of a George W. Bush political advertisement.
“It fascinates me to tell emotional and complex stories in such a short time,” said Schlagkamp.
LOGAN founder Alexei Tylevich assessed, “Tom has an unmatched ability to blend raw emotion and high concept into striking visuals and memorable storytelling.”
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