Hasta La Ideas

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pThe overhead A HREF=”http://www.skycam.tv/folders.asp?action=displayrecord=1″ Skycam/A is a technology widely used in sporting events, and the first time I saw one of the dizzying overhead angles capturing an American football game, I assumed they used something like a scaled-up version of the ceiling track systems used by high-end photography studios (examples below). I marveled at the imagined size of the unseen girders that would be necessary./p

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pTurns out I was completely wrong, of course. Skycam works via a far more clever system./p

pFour tower supports are erected at the four corners of the sports venue. Connected to each of these towers is a powerful CNC winch, each in turn connected to a cable that stretches out to the center of the field. The four cables meet and connect at the camera, which weighs in the neighborhood of just 30 pounds. The cables stretching from the tower tops to the camera are not pulled horizontally taut; the camera hangs down, with the cables heading up and away from it at an angle. Additionally, each cable features an integrated fiber-optic cable which carries the camera’s HD signal back to a control room./p

pTo move the camera in a particular direction–say, due north–the northernmost winches pull their cables in, while the southernmost winches spool their cables out. To move the camera vertically up, all of the cables are spooled in. Vice-versa to let the camera drop./p

pBy simultaneously spooling and unspooling each of the four cables simultaneously, the camera pilot can get motion in any direction on all three axes, at speeds of up to 30 miles per hour. The CNC does the math; the pilot, working in a control room, sets the boundaries the camera can move within (thus keeping it out of the ball’s way during certain plays where it’s likely to pop up, for instance) and guides the motion. A second person acts as the camera operator, aiming the lense and controlling the zoom so the pilot can concentrate on flying.br /
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Andy Gilmore teamed up with Simon Allan of Happy Finish to create the above image – one of the collaborations we instigated for our Joining Forces feature in our current (June) issue…

“Initially I experimented in wrapping some of Andy’s images around the inside of a sphere, using it as a light source to bathe some test objects in coloured light and reflections,” explains Happy Finish’s Simon Allan of working with illustrator, Andy Gilmore. Here are some of the initial experimental images they created:

“However,” continues Allan, “Andy felt this was too much of a break from his style, so we came up with another treatment together.”

Allan then rendered a “low polygon object” resembling a gem stone with flat grey colours on its facets. Gilmore could then apply his distinctive colour pallette to the tiny polygons to create a finished image.

“The object had to be something simple and easy to read, something elegant but interesting, unusual enough to capture the eye,” says Allan. “We thought about everything from cars to skulls, but settled on a stag beetlebecause of its distinctive silhouette. The challenge was in creating all those shapes from a small number of polygons, while capturing as much detail as possible. We also had to find the most elegant and expressive pose so the beetle could show off its shape to maximum effect.”

Joining Forces features the work of artists James Joyce, Emily Forgot, Seb Lester, Von, Andy Gilmore, and Solomon Vaughan – and also the CGI studios Taylor James, TIGERX, Happy Finish, The 3D Agency, Saddington & Baynes andRecom Farmhouse. An exhibition of the six images created for the project runs until June 30 at Concrete Hermit, 5a Club Row, London E1 6JX.

Basée à Valence en Espagne, Mar Hernandez dirige le studio de création MalotaProjects. Aussi connue sous le pseudonyme de Malota, cette artiste propose des illustrations colorées et vivantes, notamment grâce à une belle maîtrise du trait et des formes. Plus dans la suite.

Previously on Fubiz

• Darcel
• Vicente Garcia Morillo
• CT Artist

Designer Eliza Starbuck, launched her new label Bright Young Things last week with only one style—the always-fashionable Little Black Dress.

Inspired by her work with the The Uniform Project, a challenge to wear only one dress every day for a full year to raise money for charity, Starbuck sought to design an outfit that was versatile, comfortable, and still fashionable. Her efforts resulted in the LBD that can be worn forwards, backwards, open, closed, dressed up, dressed down, in the morning and at night. The designer hopes that the dress empowers women to take fashion into their own hands and individualize their styles. Bright Young Things’ website features images of women taking The Uniform Project up on their challenge, as well as various inspirations for how to wear the dress.

Starbuck’s design philosophy strays far from that of the average fashion designer. Rather than play to a certain season or aesthetic, the LBD is meant to flatter all shapes and sizes, and to last (physically and aesthetically) for years.

In terms of sustainability, Starbuck aims to eliminate waste in fashion. Her goal in the LBD’s creation was to encourage women to re-design and re-wear their pieces. No longer should women “have nothing to wear” when everything they already own pairs with the classic dress to create fresh, new, inspired looks without leaving their home closets. Waste elimination is a part of the garment creation process as well, as each individual dress is made to order. So, instead of making an educated guess at the demand and fitting the supply accordingly, not one dress goes unsold and not one customer goes without a product.

Of course, this process requires consumers to wait seven-eight weeks after the dress has been ordered for it to be manufactured and shipped. However, as it says in the Bright Young Things FAQ, by waiting it out “you are making a conscious decision to shop with purpose and deliberation,” and thereby promoting the Slow Fashion movement. If the wait doesn’t scare you, and you’re interested in clothes that last at least as long as they take to create, then you can pre-order one of the exclusive and built-to-last Little Black Dresses for $185 each on the Bright Young Things online store.

Are you passionate about food and art? Cooking Light is looking for a deputy art director to assist in art direction, design and production of the magazine’s editorial pages from its Birmingham, Ala. office.

If hired, you’ll aid the design director and creative director on all projects. You’ll also be responsible for conceptualizing ideas and art directing illustration under tight deadlines, so you’ll have to be on top of your game.

A minimum of five years experience in a publication design, plus at least three years working with a magazine will get you in at this Time Inc. title. However, you must be a master of InDesign and have excellent typographic and design skills to really make the cut. Think you have what it takes? Apply here.

New Career Opportunities Daily: The best jobs in media.