If you were wowed by the full production quality of Vincent Laforet's film Reverie, shot on a Canon EOS 5D MkII, take a look at what Bill Frakes achieved with a Nikon D3s:

Shot on assignment for Nikon in Australia, and presented at the European launch of the D3s in St Andrews, it tells you much more about how photographers will be using DSLR cameras to capture video alongside stills in the near future. Reverie shows just what these cameras (and an army of assistants) are capable of, but it's a movie. Frakes' film tells me much more about how shooters can combine stills and motion to create really effective multimedia presentations that add more of a story element to their published pictures, and how online can work with and enhance the printed story.

Frakes, who shoots for Sports Illustrated, told us that as many as eight million readers see his pictures in the magazine, but his multimedia stories garner as many as 50 million hits, which drive visitors back to the magazine. (And who says multimedia doesn't pay?)

Frakes has used the D3s in extreme low light conditions in the film, but what's really interesting for me is that as they're combined together, the stills jump out from the video footage, proving that photographs still hold their arresting power in this environment.

There are, of course, many other examples of the effective use of stills and motion (Media Storm is a pretty good place to start your search), so let us know what's impressed you.