in January 2008, to a lukewarm reception. The mediocre campaign made Grey to reevaluate its approach, and lead to a plan for advertisements "pushing the boundaries of what was possible."; the first of which was Time Sculpture, was released in late 2008. Time Sculpture broke a Guinness World Record for the highest number of moving image cameras in a film sequence, and subsequently won a number of advertising industry awards, and the Midsummer Awards. Artistic concept ("Escape Vehicle No. 6") Artist Simon Faithfull, commissioned by The Arts Catalyst in 2004 for the Artists' Airshow, made the film "Escape Vehicle No. 6". This film was later exhibited in Faithfull's solo show "Gravity Sucks" at the British Film Institute in London. Toshiba liked the idea of taking Faithfull's work, showing the launch of a chair into the upper atmosphere, and re-filming it in high-definition using Toshiba technology. A working budget of £3,000,000 was given for the campaign. Pre-production Director of photography Haris Zambarloukos, known for his work on Enduring Love and Mamma Mia!, was asked for advice on how to film the ascent. Zambarloukos consulted with the specialist camera company Polecam, who advised that the only 1080i HD camera which would be small, light and robust enough was one developed by Toshiba itself, the Toshiba IK-HR1S. The IK-HR1S was not available to the general public, and was mostly used for military reconnaissance or endoscopic surgery. For the balloon and its associated rig, JP Aerospace, who had done similar work for the Discovery Channel and National Geographic Channel, were contracted. With the commercial airtime (broadcasting) already purchased, no-one willing to insure the project due to the high risks. Three back-up rigs were available as JP Aerospace considered the balloon rigs could come down in areas up away, Production JP Aerospace faced several obstacles in the construction of the balloon rigs. The pre-purchasing of the commercial airtime left only four months for production, where normally the company would spend over a year assembling components. Since the shoot was to take place in the Black Rock Desert in Nevada, United States, it would fall under the purview of the Federal Aviation Administration, whose regulations stipulated that the entire craft weigh no more than , in case of collisions with aircraft. This weight restriction meant that the cameras could not be equipped to transmit footage back to base, so the rig had to be hardy enough