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The brief

The board was built on one idea: the road as a line drawn across the landscape. The car had to look effortless through every bend, and the road itself had to read as a graphic shape from above.

The aerial unit was one part of a larger shoot with a tracking vehicle, so timing and radio discipline with the ground crew mattered as much as the shots.

How we shot it

We split the board into three kinds of aerial. High top-downs that turn the road into pure geometry. Medium-height tracking moves that follow the car through the bends. And a slow, low reveal over the final ridge for the closing moment.

Every run was rehearsed with the precision driver and the tracking vehicle. Road closures and marshals were handled by the production, and every flight was briefed with the full crew before cameras rolled. The top-downs were framed loose enough to crop for vertical without losing the shape of the road.

The result

The top-down frames became the campaign’s key art, and the tracking moves gave the director a rhythm to cut the music against.