to survive re-entering at over Mach 1 and striking the ground. To accomplish this, the rig was equipped with a lightweight parachute, and the equipment racks and camera boom were designed to collapse on impact, reducing damage to the cameras. The weight restriction also meant that a model chair had to be used in place of an actual armchair. The model, constructed of hollowed balsa wood and lightweight fabric, was designed by special effects company Artem for around £2,500. The rigs were launched on the weekend of 26 September 2009, twelve miles () northeast of Gerlach, Nevada. Set-up began two hours before sunrise, with a crew of twelve from JP Aerospace assembling the 900 MHz antennae which would track the GPS signal from the rigs, inflating the balloons under canvas covers, and performing checks on the equipment. Each rig was equipped with two cameras, and each camera was equipped with different lenses and set at different angles to capture 512 GB of unique footage each. Two launches were scheduled for the first day. Each launch required someone to pull a canvas rip panel, releasing the balloon, while four people guided the chair and camera rig across the ground to a position underneath the rising balloon. The first rig partially collapsed on take-off, but it remained intact enough to rise for over 82 minutes, reaching a height of 98,268 ft before the balloon shattered and the rig fell for around half an hour before hitting ground. At one point during the ascent, telemetry from the rig recorded a temperature of before the air became too thin to dissipate heat effectively and the temperature rose again. The cameras on both of the first two rigs were offline, but usable footage was recovered from the second launch, albeit slightly overexposed. Two additional launches were made the following day, with the fourth re-capturing footage unrecoverable from previous launches. Despite the four balloons reaching heights of , , and all of the rigs and cameras were recovered within twelve miles () of the launch site. The launch reaching 98,268 ft set a new world record for Highest High-Definition Television Commercial. In all, 16 hours of footage were recorded and handed to The Mill for post production. Knowing that many viewers would suspect the piece was constructed from computer-generated imagery, imperfections such as the supporting wires and spots of lens dust were left in to lend