Philips Carousel for Cinema 21:9

The Philips Cinema 21:9 television frame, the world’s first cinema proportion TV, has been launched with “Carousel”, a short film and interactive web site developed at Tribal DDB Amsterdam and Stink Digital. Stink Digital director Adam Berg came up with the idea for an epic “frozen moment” cops and robbers shootout sequence that included clowns, explosions, a decimated hospital, and plenty of broken glass, bullet casings and money.

Philips Carousel

Carousel, the centrepiece of the Cinema project, clocks in at a (totally coincidental) two minutes and 19 seconds, but Berg conceived it to work as an endless loop. Visitors to the microsite,, therefore have the option to ‘spin’ through the film’s single take shot repeatedly, to stop on a specific frame, or to watch it at the preordained speed. The film also contains embedded hotspots, which, when triggered, transport the viewer seamlessly from the heavily posted film to a behind-the-scenes version of the same shot. This constant moving between two layers of reality proved one of the project’s biggest and most ambitious production challenges. Viewers are able to choose between 21:9 and 16:9, turn Ambilight on and off, and “scrub” the film. The microsite’s loader doubles as a credit sequence. Rich media takeover banners drive traffic to the site by teasing viewers with an original Carousel trailer.

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Behind The Scenes

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The Cinema campaign was developed at Tribal DDB Amsterdam by global creative director Neil Dawson, creative director/copywriter Chris Baylis, art directors Mariota Essery and Andrew Ferguson, copywriters Carla Madden, agency producers Jeroen Jedeloo and Iwona Echt.

Filming was shot by director Adam Berg via Stink Digital, London, with director of photography Fredrik Backar, executive producers Mark Pytlik, Daniel Bergmann, Stephen Brierley, producers Simon Eakhurst and Stephen Brierley.

Filming in Prague was assisted by production company Stillking, Prague, by line producer Zuzana de Pagter, first art director Jiri Ostry, production designer Peter Kunc, production manager Jiri Kotlas. Stunt co-ordinator was Lada Lahoda at Filmka, Prague.

Editor was Paul Hardcastle at Trim. VFX were done at Redrum Post, Stockholm, by post production supervisor Richard Lyons. Colorist was Jean-Clement Soret at MPC (Moving Picture Company) London. UK production manager was Jemma Daniel.

Music and sound design were by Michael Fakesch, Designing Sounds, with further sound design done by Tim Davis.