Write a short summary of what happens in the film.

This film is the story of how a one-of-a-kind photograph was created by a collaboration between an artist, a driver, a photographer – and a car. First, we see Greg Murphy walking towards the I-PACE in the half dark with his helmet in hand. We cut to Otis Frizzell, sketching out a pinstriping-style artwork in his studio. We cut back to the beautiful lines of the I-PACE. Greg starts the engine and the I-PACE leaps forward, racing around the 120m x 60m metre track sketched out on the ground. As the I-PACE moves, the lines are repeated by Otis’s hand drawing. The pace picks up as Greg navigates the twists and turns of the course, with Otis directing Greg to ensure he stays on track. Finally, the I-PACE comes to rest, Greg emerges with Otis congratulating him. The camera pulls back to reveal the stunning image that has been created.

Cultural / Context information for the jury

Otis Frizzell is an artistic innovator, style leader, artist, hip-hop performer, tattooist and graphic designer. Over the years he has produced a playful and challenging stream of works, repeatedly setting the benchmark in in his chosen media. Otis is also a full time artist, print-maker and illustrator. Greg Murphy is a Kiwi racing legend and four-time winner of the Bathurst 1000. His 2003 Bathurst qualifying lap time was the fastest ever recorded at the Mount Panorama Circuit. Known as “The Lap of the Gods”, it is regarded as one of the finest moments in Bathurst folklore. Today, Murph races around in an F-PACE SVR to prominent motorsport media commentating gigs. Jeff Wood is a multi award-winning director and photographer whose work has taken him from New Zealand to the UK and almost every place in between, crafting beautiful narratives and experiences across a wide range of disciplines.

Tell the jury anything relevant about the cinematography.

Because it was framed as a ‘bold experiment’, Jeff Wood, the director, wanted the film have a documentary feel, so that it framed the process of creating the still image with a sense of authenticity. Fortunately, the location provided existing lighting, creating a ‘back lit’ feel without adding extra lighting that looked out of place. A mixture of anamorphic lenses was used to bring a sense of quality to the film, while lush sci-fi style light flares added energy, movement & light. Director of Photography Ziga Zupancic, a specialist at working in low light conditions, brought a great energy to the project. Jeff also added experimental touches, including a small sequence of spinning light, which was created by attaching a go-pro to the front wheel of his bike. This created additional abstract light trails that rotated in a circle, amplifying the energy and supporting the idea of ‘Painting with Light’.