Through projections of matte painting in flame and nuke, The Mill removed all traces of the modern day from the film and as well as adding period details. For the mountain section, The Mill generated snow and winter atmospherics in CGI to portray a winter scene within the film which was shot in the height of summer.

Daniel Williams, Creative director at The Mill London discusses his experience working with Daniel Wolfe:

“There are many rewards that come from working with Daniel, but the main one is that the pictures we have the pleasure to work with, always look amazing before we even touch them.

For this project, the watchword was ‘authenticity’.

The spot had to be shot on 16mm film on Arri and Bolex's - the imperfections that come with it; the grain and the light leaks; are things that can’t be digitally recreated. It was a rare pleasure to work in this film format in this modern digital age.

The attention to detail is astounding in Mini; the styling, casting, the set dressing, the film stock, the car rigs and how the cameras move. All of these ingredients make you believe that you’re looking at footage from the 1964 Monte Carlo Rally.

There were two main areas that the Mill were able to assist in maintaining this authenticity -

At several of the locations the modern world had crept into our 1964 frame. We had to do a lot of removal and replacing, especially with modern road markings, buildings, lighting and signs.

The actual Rally took place in Winter and we were shooting in the height of Summer. For the mountain section we extended practical snow, added more falling snow and put in visible breath to the people.

This was a truly special project, and one I am proud to have worked on with Daniel, Lee, Christoph and Anorak.”