The rise of the ADvent.

Ad-vents

The TV world has gone a bit bonkers of late, as agencies are looking for newer and seemingly bigger ways to catch Joe Public’s attention. In the current ad landscape where content is king, brands are looking to adopt a more fanfare approach to their TV creative, making the ads themselves the stars of Saturday night television.

Ad breaks themselves are beginning to be assigned big ‘ad-vent’ ads, designed to drum up column inches and publicity through their innovative content, and paradoxically, these ads are being…er… well… advertised and their air dates and media slots revealed to the public. Is this the beginning of people turning on the box to see the latest Cadbury ads?

Strangely, this trend is nothing new in Japan, where Airside’s follow up to their first Sagawa ad caused such a stir, that the public were calling the TV stations to find out where and when the next execution was going to air. In the UK (and majority of the rest of the world) this is not something that the general public get too excited over, yet the current trend of new ‘ad-vent’ ads suggests otherwise.

The British Heart foundation has been hawking the somber message that your heart attack is on its way (along with channel, air dates and times) on the box, in pub toilets and other DM spots for sometime now. Finally this week we were treated to Berkoff smacking us in the chest and telling us to phone an ambulance in a bout of overdone thespian zeal.




Honda have also joined in the ad-vent jamboree, and treated the nation to one of the first ever ‘live TV ads’ as a bunch of adrenaline junkies hopped into the great blue expanse and linked together to form the brand’s name during their hasty plummet.




So does this current spurt of ad-vents mark the blurring of content / idea / ad and entertainment? Where does the advert start and the idea finish? Like the recent branded film from Eurostar ‘Sommerstown’ by super-director Shaun Meadows has left many people refreshed and invigorated as well as leaving a slew of many scratching their heads, and asking themselves was that a feature? Or was it an advert? feature? advert? Fortunately, in this case, regardless of what it was, it doesn’t really matter, as the ‘Sommerstown’ fadvert (whatever we call the finished hybrid article) really was very, very good.

Which leads us nicely on to ITV’s latest ruse during the up and coming Brit awards 2009 as seven agencies are being pitted against one another (almost like a bizarre agency x-factor) as they attempt to pitch for one of four ‘live ad breaks’ that are to be littered throughout the ceremony.

Which means that for this year and next year at least, the Ad-vent is here to stay. At least until the Brits are over that is.

...and we can only pray that none of them involve Sharon bloody Osbourne.

NewsReel 15.08.08

As always, please send any news and press releases to sam@thereel.net and we'll do our best to include it here.

Nylund gets Hooked

Hook Films, the new production company, located in the heart of Covent Garden, founded by established industry figure Michael MacMillan, has recently made its second important directorial signing. Robert Nylund joins the start up’s directorial roster from Weiland’s for UK representation. He is accompanied on Hook’s roster by writer and director Keith McCarthy.

MacMillan, who has ten years of industry experience behind him, most recently as Head of TV at Krow Communications, aims to market his duo carefully and intelligently, remaining a small but successful company. An excited MacMillan had this to say of his new venture, ‘I am proud to be launching in an industry for which I have always had a tremendous passion. Even during a time of ever decreasing margins and increasing competition Hook strives to make each production memorable. Having gained great experience in both production and advertising it felt completely natural to combine this unique work experience and knowledge and set up on my own. Both of the directors that I have signed are as equally as passionate as I am about Hook and that has given me the desire and the energy to do it.’

Three more people go to Work
Relatively new agency Work Club has settled into its groove and begun a period of expansion, interviewing over 80 hopeful candidates for three roles which went to Jim Martin, Louise Williamson and Alice Forward.

Jim Martin joins from MTV as an expert in social media; Louise Williamson joins with a media and communication planning background from Naked; and Alice Forward, from Tribal Sydney, has extensive know-how in user experience and information architecture. All three have been recruited to work in Work Club’s burgeoning strategy department headed by Lisa De Bonis, who said of the appointments, ‘“Today’s strategist needs to have a solid grasp of so many different and complex communications channels and strategies – it’s almost impossible to find one person who ticks all boxes. So we’ve concentrated on finding great talent in the specific skill sets we’re after…we finally found a solid threesome whose skills and specialisms compliment each other perfectly.’

Short and SweetRob Hughes and Jordan Crute will be presenting Short & Sweet for the second and final week whilst Julia takes a well earned break. Short and Sweet will be at the usual time and place, however, and expect to see the usual mind blowing shorts, music videos and animation from the likes of:

Keith Schofield
Theo Izzard
Marco Puig
Pat Holden
Smith & Foulkes
Jacqueline Rice
And many others….

MONDAY: 18 August 9, 2008
Venue: Café 1001, 91 Brick Lane
Time: Films start at 19h30

TUESDAY: 19 August
Venue: AKA Bar, 18 west central street
Time: Films start at 19h30

ENTRY: FREE BOTH NIGHTS

YoungGuns

This month’s YoungGuns have been announced:

Professional YoungGun of the Month is Kate Catalinac from Saatchi & Saatchi NZ for her NZ Army 'Toy Soldiers Campaign'.

Student YoungGun of the Month - Todd Grinham & Zac Sax from Miami Adschool for their SmokingLung.com idea

Click here to see their work.

Leo Premutico from Johannes Leonardo is handing over the reins after providing feedback for the YoungGuns over the past three months. He departed with encouraging words for all the students out there, ‘In 2 out of the 3 months the student winner was, in my mind, better than the professional winner. A reminder for any young creative that the only thing stopping you creating something great is the belief that you don't have the experience to.’

Josh Lancaster from Colenso BBDO has taken up the gauntlet from Leo for the next 3 months.

In the Ascent
Ascent Media has announced that two key executives within its UK group of companies are to be promoted in line with the post-production behemoth’s commitment to maintaining a consistent global presence. Adrian Bull has been moved up to Chief Technology Officer for Ascent Media Group Europe from his current role as CTO for the creative group – a role which he will retain.

Damien Carroll is to take up the role of Vice President Finance and Commercial Affairs, Ascent Media Group Europe. Having previously served in the Networks division, Carroll will now work with each of Ascent’s UK businesses to offer commercial expertise and aid strategic decision making as the group continues its plans for worldwide domination, following the stock market flotation of their US parent company.

Cinema Extreme
Cinema Extreme, Britain's Oscar winning short film scheme, is now open for applications. Co-financed by the UK Film Council’s New Cinema Fund and Film4, Cinema Extreme seeks out and develops filmmakers with a distinctive directorial voice and cinematic flair. This unique director-led short film scheme, managed by independent production company The Bureau is now in its sixth year.

Twenty-three films have been commissioned to date. They have been shown at festivals around the world and won numerous awards including the Edinburgh International Film Festival's Best Short Award for Duane Hopkins' 'Love Me or Leave Me Alone' and the Oscar® for Best Short Film for Andrea Arnold's 'Wasp'.

In 2008/09 Film4 and the UK Film Council will select and fully finance up to 4 short films. The maximum budget per short film will be £50,000. This year they will be considering scripts and one page ideas.

In addition the UK Film Council's Development Fund and Film4 will offer one of the filmmakers commissioned by Cinema Extreme 2008/09 the opportunity to develop their feature to first draft.

For further details, FAQ’s or to download the guidelines and application forms please visit:

http://www.ukfilmcouncil.org.uk/extreme

http://www.thebureau.co.uk/schevents/index.html

Deadline for applications: 12th September 2008

Reel Opinion: Ben Mooge

This month’s Reel Opinion comes from Ben Mooge, Creative Partner at start-up agency Work Club. The format should be familiar by now, as the former Mother Creative Director gives us his view on five ads that caught our attention over the past few weeks. Enjoy.

Ben Mooge
Creative Partner
Work Club

McDonald's 'Planting'

Agency: Leo Burnett / London

Production: Academy / London

Director: Tony Barry

A hoard of messy, well-cast children, under Tom and Barbara style adult supervision, grow organic flowers like the ingredients in McDonald's’ Happy Meals. It’s all honest, well shot and observed, and not a million miles away from the Persil 'Dirt Is Good' work. But that’s my slight problem with it. Are they avoiding the issue? Surely a burger is a wonderful, guilty excuse. A burger for burger’s sake. Burger porn in a time of deli sandwiches. I miss Mayor McCheese. That really was a Happy Meal.

Comfort 'Naturists'

Agency: Ogilvy / London

Production: Thomas Thomas / London

Director: Jim Gilchrist

A naturist with fully-clothed wife in marriage guidance. In the wrong hands, this could easily be dreadful. It’s not. There’s a few nice touches in it; the headband; the groin injury; the line 'Is this the kind of stuff you bring into our house?' Could it be funnier? Sure. Is this better than the usual fabric softener ad inflicted on the public? Absolutely.

NSPCC 'Hands'

Agency: Saatchi & Saatchi / London

Production: Nexus / London

Director: Carolina Melis

Silhouette hands guide a picture book boy through a picture book landscape. And it is rather lovely animation, it really is. But I suspect it may be easier to remain apathetic to child abuse when everything is only shown as lovely. There’s always a case for abandoning out and out shock tactics but I just wonder whether this has gone too far the other way. Like the ‘Weapons of Love’ line, though.

Converse 'My Drive-Thru'

Agency: Anomaly / New York

Production: Psyop / New York

Director: Marie Hyon / Marco Spier

Converse and Rock n Roll. That’s quite a good brand fit, then. Given that Kurt Cobain blew his brains out in the product, and that no-one needs to know anything else about a pair of shoes that everyone owns at least 5 pairs of; probably not a bad idea to focus on the rock and the roll. And they’re giving something back to their audience, good for them. Nice lo-fi handmade-effect video that was probably really expensive. Just a bit of a shame that the tune sounds like it came straight out of Prince’s big purple recycling bin. Mind you, Prince could probably do with going back there himself.

Vodacom 'We Are Having It'

Agency: Draft FCB / Johannesburg

Production: Velocity Films / Cape Town

Director: Adrian De Sa Garces

African Military Dictator comedy from Vodacom. Uniformed leader denies the effect that this propaganda has on him, as he always gets what he wants anyway. Hopefully this is a typical/topical South African / Zimbabwean joke, because it’s not normally a rich seam of humour. Maybe you just had to be there. Or not.

NewsReel 08.08.08

Velocity and Ogilvy dominate in Margate
The definitive advertising awards festival for the Middle East and Africa took place between the 25th and 28th July in Margate, SA.

The big winner of the night was Velocity and Ogilvy’s ‘Beautiful’ spot for Allan Gray. The Grand Prix win at the 30th annual Loerie Awards follows a well-deserved Silver at Cannes for the touching and humorous monochrome spot. Velocity went home with a clutch of awards, including five golds, five silvers, three bronzes and five craft certificates. Executive Producer Peter Carr, who must have been ruing the fact that he left the wheel barrow at home, had this to say, ‘This past year we've succeeded in getting our hands on the best work in South Africa and turning the scripts into award-winning pieces. It's a good feeling to have won eighteen awards and a great feeling to again win the Grand Prix at South Africa's biggest ad festival.’

Ogilvy went home happy too - announced overall winner with a total of 47 awards. That massive haul of awards for both companies deserves some plaudits and what better way than to show off their finest piece below. For a full list of winners click here.

Don't have a heart attack
Following on from the undoubted success of Honda’s recent ad-vent, 4Creative are working with the British Heart Foundation to give the whole of the UK a heart attack – or at least a sense of what it’s like to have one. Quite how Grey London and director Brett Foraker are going to achieve this feat is unclear as the project is shrouded in secrecy. However Jon Williams, Chief Creative Officer at Grey, did have this to say of the project, ‘We did a lot of research and halfway through one of the sessions, someone said what we need is to give everyone in England a heart attack. It was as simple as that.’ Trailers have been running throughout the week, supported by public figures including Chris Tarrant and David Cameron.

The ad will only be aired on TV once – at 9.17pm this Sunday 10th August during ‘The Midsomer Murders’. There can be no doubting the suitability of the spot given your typical ‘Midsomer’ viewer, and it’ll be interesting to see if there’s a spike in 999 calls as hypochondriacs everywhere take their inspiration from the ad.

Addictive are addictive
Reel favourites Addictive TV will be performing a huge outdoor show by the Thames on 22nd August, the weekend of the official Olympics hand-over ceremony from Beijing to London. Their set will open with Sportive, the video they created for adidas that’s been touring Chinese cities with the ‘Sport in Art’ exhibition.

Addictive has also secured a major coup undertaking a project with the Austrian state broadcaster ORF. They will remix the channel’s coverage of the Olympics live in their studios as part of their interactive services on 16th and 17th August.

In honour of this innovative event, we managed to catch up with those clever folk at Addictive and get a few words straight from the horses mouth:

Can you explain the ORF television project and how you became involved? Where will it take place?

It’s an interactive experiment in live broadcast and image manipulation - it's simply boldly going where no live TV has gone before! We became involved through a German professor of technology at the Cologne University of Applied Sciences, who’s heading up the project. He came to one of gigs in Germany about 3 years ago, and approached us afterwards asking for our involvement. He loved our work and subsequently came to all our gigs in Germany!! It takes place at in Vienna, in the studios and transmission suites at broadcaster ORF.


What elements of the Olympics will you be remixing?

The intention is to be remixing different sports that we know will be sent down the feeds on the two days that we're doing it - this includes weightlifting, boxing, beach volleyball, sailing, athletics, tennis and table-tennis. We have an idea of what’s scheduled for specific times, but it’s flexible in terms of what we’ll choose and we’ll focus on the live sports coverage itself, capturing it, cutting live loops, scratching it, mixing it with archive footage we’ve cut into audio/visual rhythmic bedding tracks of those sports - e.g. breakbeat loops made from table tennis, and so on. I guess if the feeds include crowd shots and all the usual incidental cut-aways involved in live coverage we'll be using that too. That's the plan, but it's an experiment and it's live - so things might change a bit on the day!


Mixing footage and music live is obviously what you guys are best known for - but how are you feeling about doing it live for TV?

Live performing is only part of what we do - equally we produce remixes for virals, broadcast commercials and so on. Actually, in the last couple of years we've become quite well known for remixing movies for a number of the Hollywood studios, we recently remixed Iron Man for Paramount for use as a viral, reaching blogs, feeds and general parts of the web traditional trailers can't reach. And with this live Olympics remix, I think it's a ground-breaking project to be part of and we're keen to entertain and push the envelope, whatever the medium. There’ll hopefully be audience feedback via interactive messages, so we won't be totally isolated, but obviously it's a long way from working with a live crowd, and the kind of instantaneous response we're used to. In some respects TV gallery directors already do live mixing, but we're taking that one step further and remixing, being more experimental and playing with the images in ways they wouldn't normally.

Rushes Soho Shorts 2008

Seen any good shorts lately? No? Well if you’re based in London’s trendy Soho district then you’ve got no excuse?!? For the past 10 days the Rushes Soho Shorts Festival has dominated the cool zone with its mix of promos, docs, ads, idents and – obviously – super shorts. Last night saw the awards being dished out by a variety of Fiennes, Winstones and Popes. The Reel was there to give you the lowdown.

We love shorts on The Reel. And we love Rushes. In fact, we’re pretty fond of Soho too. So when those mighty forces collide to form the Captain Planet of short film festivals – The Rushes Soho Shorts – we readied our heinies, memorised our A-Zs and set about town. Celebrating its 10th year, this year’s festival played host not only to a series of top-notch shorts and promos, but also to seminars, talks, panels and masterclasses ranging from Fashion in Film to Gaming Blitz. With free entry to the majority of events, all lucky punters needed to have was a copy of the festival programme, a working watch and an affinity for film.

The screenings themselves were a triumph, being shown in ace screening rooms including Soho House, 22 Below and the Curzon Soho. Over the course of the festival more than 150 pieces were shown to eager audiences and expert judges in order to skim the cream from the crop. In each category – Animation, Broadcast Design, Music Video, Documentary, Newcomers and Short Film – three finalist were chosen, with the winners being announced in last night’s star studded bash. Here are the results:

ANIMATION

1st “Standup”
Dir. Joseph Pierce
National Film and Television School

2nd “The Control Master”
Dir. Run Wrake
Sclah Films

3rd “Sony Bravia: Play Doh”
Dir. Frank Budgen and Darren Walsh
Passion Pictures

SHORT FILM

1st “Souljah”
Dir. Rikki Beadle-Blair
Team Angelica

2nd “Eel Girl”
Dir. Paul Campion
Chameleon Pictures

3rd “El Hoppo!”
Dir. Marcus Shepherd
Dan Films Ltd

BROADCAST DESIGN

1st “1 in 7 Children”
Dir. Susannah Hayes
Ferocious Films

2nd “BBC iPlayer: Penguins”
Dir. Vince Squibb & Darren Walsh
Passion Pictures

3rd “Don’t Let It All Unravel”
Dir. Sarah Cox
Aardman Animations

MUSIC VIDEO

1st Mika - Lollipop
Dir. Bonzom
Passion

2nd Spektr: Things That Go Bump In The Night
Dir. Thomas Pors
Simulakrum

3rd One Eskimo: Hometime
Dir. Lucy Sullivan & Matt Latchford
Gravy Media

NEWCOMERS

1st “Love Does Grow on Trees”
Dir. Bevan Walsh
Keel Films

2nd “Covered”
Dir. Jack Laurance
Covered

3rd “On The Upside”
Dir. Peter Bunzl
Peter Bunzl Films

DOCUMENTARY

1st “A to Z”
Sally Arthur
Arthur Cox

2nd “Adi Dassler”
Martin Krejci
Stink

3rd “I Dreamt of Flying”
Alex Bland

As always the bash was hosted in fine style by Word stalwart Terry (Dani, I love you) Christian in Café De Paris. Celebs of note included Joseph Fiennes, Nick Moran, Jaye Griffiths, Magenta Devine, award-winning director Tim Pope and Jaime and Lois Winstone (who the Reel editorial team managed to mysteriously enrage). As for the winners: despite being fairly animation heavy, the selection was of an exceptional quality, the victorious pieces managing beauty, depth and the occasional shock. Lucky UK subscribers will get to see a selection in a special feature in the August Issue.

Speaking of the event, Joce Capper – Managing Director of Rushes and founder of the festival – had this to say: ‘Our 10th has been a huge success! We did our utmost to meet the demands for great events and film programmes that our audience expects. It is a completely full on annual challenge, one we enjoy, argue, laugh and rise to. Beating expectation year on year is our goal and one we fulfill. The standard of entries was brilliant, as was the amount we received. Everyone knows Rushes Soho Shorts is about screening exceptional films.’

For more info on the event, and some beautiful snaps of beautiful people (Reel types included) check out the official site - www.sohoshorts.com. To see what the wonderful Rushes peeps do for a day-job, give their site a look too - www.rushes.co.uk.

All we can say is, roll on number 11!!

NewsReel 01/08/08

As always, please send any news and press releases to sam@thereel.net and we'll do our best to include it here.

The UK MVA's are coming
The deadline for entries to the UK Music Video Awards is fast approaching. All entries need to be received by the 12th August for the awards show that is due to take place on October 14th at the Odeon in Leicester Square. The team behind the event, who also run the BFI South Bank’s highly successful BUG strand, has also announced a People’s Choice Award and a separate award for the best video produced for under £2,000. For more information go to www.ukmva.com.

Shark attack

The closing date for this year’s Kinsale Sharks Awards is only a week away. There will be no extensions for any entries this year due to a significant increase in the volume of entries that need to be processed, so go to www.kinsalesharks.com to join the last minute scramble to enter work.

Short and Sweet
Next week’s Short and Sweet (London’s only weekly short film evening) will be held at the usual time and place:

MONDAY: Cafe 1001, 91 Brick Lane
TUESDAY: AKA Bar, 18 west central street

Films start at 7.30pm both nights and entry is FREE.

This time featuring some great work from the following directors:

Steph Green
Nick Alhmark
Toko Plastic
Karen Kelly
John Williams
Annette Habel
Tomek Ducki

A new wave
Wave Recording Studios has announced its opening of a new office in Amsterdam. Wave Amsterdam’s plush new office is on the Herengracht; a street at the heart of the city’s buzzing media centre. Facing the canal on one side and a central courtyard on the other, Wave is on the 2nd floor of a newly refurbished building and boasts over 600 square metres of floor space.

The ambitious venture for the company that was founded in 1999 comprises of three studios and will service Dutch, Pan-European and UK markets. Warren Hamilton, co-owner and creative director at Wave said of the relationship between the new and original office, ‘The only difference between Wave London and Wave Amsterdam is 500-miles; the two offices will offer the exactly the same service and personality.’

The Amsterdam studios will be helmed by a hi-profile new signing: Alex Nicholls-Lee, who previously worked at Scramble for over a decade, and is both an experienced sound designer and used to working with Dutch clients. He’s worked on Adidas’ ‘Last Man Standing’ and the D&AD winning Pepsi ‘Gladiator’ spots. Joe Mount will also be joining the Amsterdam studio, crossing the North Sea from the company’s London office. He recently won a Conch sound design award for his work on Skoda’s ‘Giggle’.

A call for more smalls
Following on from their recent Paramount and Comedy Central sponsored Comedy Shorts competition, The Smalls has opened their call for entry for their 2008 Showcase and Awards in association with Creative Review and devilfish. The competition and event celebrates small films for small screens – celebrating the opportunities bought about by the internet and mobile phone screens.

A selection of entries will be screened at the London Design Festival on September 17 – 18th and the best entry, as judged by a panel of leading industry figures, will win The Smalls Awards 2008.

The deadline for entries should be up to five-minutes long and submitted by 5th September. For more information go to www.thesmalls.com

Videos without cameras…

The artform of the music promo has had a hideous financial squeeze over the last few years. Directors are expected to produce eye-catching intelligent works for next to nothing, and as we read about record labels coffers hemorrhaging money to internet piracy and staff members being slewed at a fearsome rate of knots, budgets are not going to inflate quickly any time soon.

But the humble music promo is a hardy creature and, since the media fureore proclaiming the death of the music industry, has battened down the hatches and actually got more creative.

This is exemplified in Radiohead's new astonishing Promo ‘House of Cards’ by Hollywood based director James Frost which had almost everyone in the office scratching their eyeballs at its technological beauty.

The promo is the first of its kind as the filmmakers chose not to use cameras (yes, no cameras). Instead Frost opted to use a mixture of cutting edge Laser and Scanner technology to capture the images for the piece. Premiered at Google.com the promo has been a true journey into the digital future of music video.

“So how did they make it?” I hear you bawl. Well let us put on our Reel lab coat and explain:

Two different types of technologies were used for the video, a Geometric Informatics system and two Lidar systems (that’s Light Detection and Ranging Systems to you newbies out there). A Geometric Infomatics system is a scanner that uses structured light to capture detailed 3D images at close proximity and results in the wonderful ‘dot matrix’ effect that sculpts Thom Yorke’s face out of the ether. The Lidars are similar laser systems that used to scan and capture the larger environments in the video.

But enough of the geek chat – here is the director's word:

James Frost first considered the technologies that were used in the making of this video nine months ago when talking with Aaron Koblin, a data visualizer. 'Aaron explained to me that UCLA and Harvard were researching real-time 3D scanning', says Frost. 'The fact images were being created with data fascinated me, I thought it would be great to utilise it in a creative way.'

Upon realising that one could scan something in real-time and in 3D using lasers, Frost wanted to find a way to use the technology to make a video. 'How can I use this and who might remotely be interested was the first thing that entered my mind'

'The only band I could think of that would even entertain the idea, because of the experimental values attached, was Radiohead. I sent a proposal to their managers, whom I've known for a long time, and a few months later I received an email saying Thom Yorke was intrigued and wanted to know more'

The video was ‘shot’ over two days across Palm Beach County in Florida. 'The whole video was a challenge since it's never been done before. We had to go in knowing this was a rather expensive experiment, but we also knew what was capable from the technologies as we’d done enough research to know we would get an image for sure, but exactly what kind of image was still up for debate'.

The Geometric system was used to capture Thom Yorke's performance, the female lead's performance, and several close-ups in the party scene. The Velodyne lidar system was used to capture the exterior scenes as well as the wide party shots. 'The most challenging part was scanning these images and then not seeing anything for two weeks while the data was processed', says Frost. 'I felt utterly helpless, yet excited at the same time, as I had no idea what the images would look like. It was a very tense couple of weeks'. Once the files were ready, James worked with Nicholas Wayman-Harris of Union Editorial to build the edit.

Frost worked for seven weeks with The Syndicate to develop the look, camera choreography and 3D environments to finish the video. Visual effects supervisor Ben Grossman helped to translate the director's vision for the vaporization shots and overall aesthetic of the piece. Compositing supervisor Alex Henning worked tirelessly to get the vaporization shots to blend with the data. CG technical director Rodrigo Teixera worked with Frost and editor Nicholas Wayman-Harris to compose all the shots in 3D. Adam Watkins was the CG supervisor and Magdalena Wolf was the visual effects producer who oversaw all the day-to-day running of shots broken down by scene and frame numbers.

Anyway, enough chatter, here is the video. We at The Reel think you will agree its truly amazing (and only a matter of time 'til an ad rips it off…)