We started with a single reference point from the client: a car pulled up at a traffic light with a red light. From there, we were able to visualise an entire world for this car to live in and weave in different characters to build a story that would allow us to showcase the capabilities of both the car and the camera. The storyboarding process played a huge part of the development of this project, and working collaboratively with the client, felt like a new way of working.

We knew that this film needed impact, and with the ambitious ideas that we had in mind, a lot of planning was required to make it work. Our production team organised everything from casting very specific talent including stunt drivers, to coordinating a crew of forty individuals, to getting permission to race cars on public streets – everything had been planned to perfection.

The whole production was shot across just four nights, taking us to five different locations with multiple 12K cameras to maximise the amount of footage captured. We would love to say that everything went to plan, but non-surprisingly in the midst of [month], the British weather conspired against us, causing some challenges on our very first day of filming. Despite the dreary conditions, we persevered and captured every single shot that we needed, proving to ourselves that no matter what challenges we face, we are still moving.

Working through the day and night to offload, upload and edit, our in-house editors were able to feed back to production the shots that were captured, giving them the ability to adapt during the four days of filming. Once wrapped on set, we worked with both McCann and BlackMagic to create a library of assets that would support everyone involved in the project.