As the Velar races through a heavy woodland setting, exemplifying
its elegant and impressive form, it comes to meet a wandering porcupine
who becomes shocked-still in the beam of the vehicle’s headlights.
the scene comes to a halt, the shot pans out, allowing viewers to
discover the other on-looking animals whom are poised in the surrounding
trees, almost like an audience waiting to spur on a fight.
noise gathers and the spot feels almost thrilling, until the cars
in-built camera switches on to get a ground-view of the porcupine.
Eventually the creature continues across the road and the car moves
majestically on, defusing the building tension.
With a grade
led by Mill Head of Colour Seamus O’Kane, the intriguing visual enhances
the almost magical feeling of the spot, which is gently contrasted by
the luxurious feel of the car, and then again by the inquisitive nature
of the animals.
Seamus comments; 'The fascination of this spot
lies in its natural simplicity. Within the velvety crush of the night
time setting, the car emanates a presence that is both compelling in its
perfection and riveting in its beauty.
Director of Photography
Barry Ackroyd heightens this sensation throughout, with soft shadows
and highlights that allowed me to absorb colour into the panoply of the
Subtle post-work from Tom Sparks at Youngster allowed
gentle coaxing of the image, whilst Director Chris Palmer brought the
characters delightfully to the fore, making it a fantastic project to be
a part of. I truly loved working on this spot."