The world’s most famous car brand in popular culture. The world’s most famous photographer in popular culture. It’s a perfect pairing.
Aston Martin’s Vantage has made its global debut with a portfolio of imagery and film by Rankin.
Rankin tells a classic tale of rivalry using his signature flair for provocative images, “its two drivers exploring the limits, vying for dominance over each other,” Rankin explained. “It finishes with a tense stand-off, waiting for the next move.”
Within the story, the wild beauty of both nature and Aston Martin are juxtaposed in imagery. To emphasise the primal, predatory character of the car, for example, the shoot involved bringing a wolf into the studio – a stark and beautiful contrast with the form of the car.
The ad’s chic and its sensuality are apparent for obvious reasons. The Aston Martin is the epitome of luxury and sex appeal.
“The Vantage becomes a symbol of primal beauty,” Rankin explained. “It is as much a sensual experience as it is an exhilarating one.”
“My ambition is to create film and stills that make the hairs on your neck stand up,” he stated. ‘It’s about high intensity, maximum impact – imagery that gets your pulse racing with the urgency of the V8 engine at full throttle.”
Ultimately, it’s a film about power.
The film was achieved in two shoots – a two-day session at the Atlanta Motorsports Park and a static shoot in Rankin’s Studio.
“Our design philosophy is that the Vantage is undiluted, with simple clarity of purpose,” noted Marek Reichman, executive vice president and chief creative officer of Aston Martin.
“Rankin has a wonderful way of capturing the car as art. You can’t work with an artist and then constrain their art,” he added, “and this is about two brands coming together to create beautiful art.”
Vantage is the second new car to be born from the company’s 2nd Century Plan. It’s the most overtly sports-focused model in the range and is hand built at Aston Martin’s headquarters in England.
Production Company: Rankin Film
Global Executive Producer: Nicola Kenney
Production Manager: Eleri Evans
1st Ad: Daniel Smith
Dop (UK): Ed Gibbs
Dop (Atlanta): Tony Miller
Steadicam Operator: Simon Wood
2nd Unit Camera Operator: Remi Laudat
Post-Production Producer: Andrew Patrick
Editor: Gareth Philips
Grade: Alan Mahon
VFX: Grant Mckean
Sound Design & Composition: Felt Music