Bicoastal Supply&Demand has added director Tyler Manson to its roster for worldwide representation. His work spans such clients as Airbnb, Google, Converse, Verizon, NFL, Chevy, Lincoln, GMC, Purina, Budweiser, Liberty Mutual, Dunkin’ Donuts and Hershey’s.
For the latter Manson directed “Hello From Home Mallory,” a two-minute piece selected as a SHOOT Top Spot of the Week which tells the story of a Team USA Paralympian who receives a Hershey’s care package containing a note from a hometown supporter. The docu-style short was part of a campaign conceived by Arnold Worldwide.
Manson also directed and edited the Intel film The Sartorialist which was shortlisted for a Clio Award.
Born in Australia and raised in California, Manson honed his skills in documentary and music video making early on. He made a mark with his series for “VICE,” and “The Surfer’s Journal” providing glimpses into the world of surfing. Equipped at times with only a backpack and camera, Manson has traveled to remote locations around the globe earning numerous Vimeo Staff picks along the way.
To this day, documentary informs his style–a visual storytelling that meshes seamlessly with artful realism, marking a natural evolution in the constantly evolving commercial landscape. Yet the documentarian in him still thinks as a one man band, operating the camera as much as editing–a mentality that he carries through onto larger projects.
Prior to joining Supply&Demand, Manson was at production house Caviar for spots and branded content. He earlier earned inclusion into SHOOT’s 2011 New Directors Showcase.
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