Hasta La Ideas

E4 has built a reputation for creating epic trailers for each new series of teen drama show Skins. Usually these contain enough sex, drugs and general yoof antics to make anyone over the age of 25 feel a bit fusty, but for series 5 they have taken a more enigmatic approach…

Okay, so it still has lots of nudity, but the film actually features the stars of the show putting on clothes for a change, while they fall through space to the sounds of Arcade Fire track Ready To Start. Eye-catching stuff.

Credits:

Agency/production company: E4
Director: Neil Gorringe (Moxie Pictures)
TV producer: Jason Delahunty
DOP: Tom Townend
Editor: James Rosen
Edit house: Final Cut
Post production: The Mill
Sound: Envy Post

Une magnifique vidéo intitulée “Growing is Forever” par Jesse Rosten, autour des forêts de séquoias en Californie du Nord. Un hommage à la nature et aux arbres à travers ces très beaux plans, sur une narration de Kallie Markle et sur la bande son de Window – Album Leaf.

Previously on Fubiz

• Google Adwords – Thank You
• Talking Tree
• Singing Ringing Tree

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Nothing like a good logo controversy to kick off the New Year: the emblem for the 2016 Rio Olympics was unveiled on New Year’s Eve and immediately ran into accusations of plagiarism.

The logo, designed by Rio-based Tátil, “translates the Olympic spirit and the nature, feelings, and aspirations of the athletes, Rio and the cariocas,” according to the official guff. “Different countries, athletes and peoples are joined in a warm embrace – in an individual and collective move, which at a second glance, reveals one of Rio’s most beautiful icons, a vibrant Sugar Loaf, radiating joy, unity, celebration, and friendship.”

However, a story in the Washington Post, following up on Brazilian media reports, alleged a similarity with the logo of US not-for-profit the Telluride Foundation. Tátil’s Fred Gelli put any likeness down to coincidence and noted that the broad concept of people embracing each other is not novel. Quite.

Apparently, Tátil’s design was selected from eight finalists, after a five-month selection process that initially involved 139 agencies. As an exercise in box-ticking it does its job: joyful amorphous people? Tick. Suggestion of diversity? Tick. ‘Friendly’ scripty typeface? Tick. Values that could be ascribed to just about any bidding city? Err.. check.

Lord knows, the London logo has much about it to dislike but at least it’s more memorable than this insipid effort.

UPDATE: Some commenters have been complaining about the brevity of this story which was intended mainly to note the logo’s launch and the accompanying furore. Go here for a more detailed critique.

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Since the bottom dropped out of both the economy and Dubai, we haven’t heard anything about David Fisher and his Dynamic Architecture since 2008. The whole project, as you might recall in this investigative rant we felt compelled to write, felt more than a bit suspicious. Not that it wasn’t a nifty idea, buildings that were forever rotating, each floor independently, but it was perhaps a bit too futuristic, too fast. The Homeostatic Facade System, however, seems perfectly amazing and well-paced. Designed by New York-based Decker Yeadon, it’s an advancement in automatically adjusting, building-sized shades that help keep temperatures balanced within a structure. You’ve seen this implemented in any number of buildings, and can even have it installed in your house, but what sets this system apart is that it uses nanotechnology, making its shifts from letting sun in to blocking it out almost look entirely organic. Sure, it isn’t an ever-rotating building, but it feels a bit like a glimpse into a more immediate obtainable future.

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Sure it’s been more than a year now, but we here in Chicago are still feeling the sting of losing the 2016 Olympics to Rio de Janerio after a long, tough slog. That said, there’s a certain, subtle pleasure we’re experiencing due to the controversy over Rio’s just-released new Omypics logo. Like the London 2012 debacle before it, the new identity was launched to much fanfare, unveiled on New Year’s Eve on Rio’s Copacabana Beach, reportedly in front of nearly two million people. However, unlike London, since the big reveal the attention hasn’t been so much on the look and feel of the logo itself (or how it’s making people have seizures), but instead, if it was stolen. Comparisons have been made between the new Olympics logo and that of the non-profit, Colorado-based Telluride Foundation, both of which feature bright, uni-colored silhouettes holding hands in a circular formation. The Brazilian branding firm behind the new identity, Tatil, has denied that it had stolen the idea, or had even seen the other design. We’re inclined to believe them, given that a) it seems unlikely that the Telluride Foundation’s logo would have floated all the way down to Rio, b) that the new Olympics logo seems to be a continuation of Brazil’s 2014 World Cup identity (which had also come under fire, though not for theft), and c) if the similar concept is the issue at hand, then one could easily argue that both groups stole their logos from those “circle of friends” candle holders you’ve seen at every single neighborhood street fair or terrible gift shop since the beginning of time. So as much as this writer, as a curmudgeonly Chicagoan who won’t let things go, would like to see Rio have all sorts of egg on all sorts of faces this early on, we think this whole buzz might be a serious reach.

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