Oscar-winning creative firm Framestore today announces the appointment of Alexander Rea as head of creative technology for the New York office. Rea will use his intricate knowledge of the digital world and his background in advertising, production, design and development to craft smart solutions to support Framestore’s constantly evolving experiential and digital offerings.
Rea will work out of the New York office and report directly to Jonathan Shipman, head of integrated production.
Rea’s appointment comes at a time of rapid growth and evolution of Framestore’s capabilities. These include the appointment of Eileen Cooney as head of Campaigns in New York, a newly created role for the company. The growing Campaigns department builds close partnerships with clients that will help them better adapt content to the realities of today’s rapidly changing creative process.
“I am really looking forward to this incredible opportunity to work in an environment where I can touch so many different areas of Framestore’s offerings,” said Rea. “This unique position gives me the opportunity to merge creativity and technology in order to create the best quality work for our clients.”
“Alexander has unparalleled experience in the digital community, and we are thrilled to have him join our team,” said Shipman. “His knowledge of integrating innovative technology into his work and the ability to explain this in a practical way with real world application will make him an integral part of our team.”
Prior to Framestore, Rea worked at strategy and innovation company Co:Collective, where he created innovative experiences for brands using their proprietary method StoryDoing, enabling clients such as Infiniti and Macy’s to tell their story through iconic actions, rather than traditional advertising methods. He was also a mentor for the R/GA Accelerator for two years running along NYC BigApps and has guest lectured at advertising programs including Miami Ad School Brooklyn. Rea has been found presenting his craft at industry events such as SheSays, TEDx, and PSFK.
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