Close-Up: How to make a big-screen blockbuster.

Neil Dawson reports from the set of Tribal DDB Amsterdam's digital spot for the new Philips TV.

The real challenge for us on the creative brief for 'Cinema 21:9 Carousel' was that a 'real cinema experience' has already been claimed by so many television manufacturers so many times in the past - so we had to make sure it was truly original.

There have also been some great executions on that proposition over the years. One of my favourites was made here at DDB for Sony. It was the 'armchair' ad in 1995, which featuring the man falling to earth in his armchair, dramatising how engrossed you will be in the content. So it was a well-trodden path with a pretty high bar.

Philips came to our aid with a world first. It's amazing to think that no-one, until now, has made a television to the same proportion as a cinema screen. So, we had something new and different to say but needed a way of really dramatising the difference that 21:9 (the aspect ratio of the TV screen - most are 16:9) makes. We've produced double-gatefold press executions to graphically show the difference between 16:9 and 21:9, but it was digitally that this was always going to come to life. We needed a way for people to interact with it.

Perhaps it's because Robert Altman's The Player is one of my favourite films that I loved Tribal DDB's idea of a long, slow track so much. It provided the foundation for a simple, epic idea.

'We had to appeal to film lovers. Real movie fans who would see the value of a Cinema 21:9 TV,' Chris Baylis, the executive creative director at Tribal DDB Amsterdam, says. 'By researching movie folklore, we discovered

that the long tracking shot is highly revered, and the big idea fell out of that. We thought a stunning tracking shot would provide the perfect framework for our behind-the-scenes cutaways; glimpses of the film-making in process that we could tie back to the key product features.'