The NR was always a machine defined by obsession, oval pistons, engineering that had no business existing, so the creative decision was to honour that spirit rather than romanticise it. The grading leans desaturated and cool across the fairing, letting the fiberglass read almost like raw material, while the period-correct livery and wear keep it grounded in a specific historical register. The rear three-quarter is where the frame earns its tension: symmetry locked, tail light glowing red against black, exhaust cans flanking like punctuation marks. It's a composition about confrontation rather than beauty. The detail crop of the upper fairing, where the organic sculpting of the bodywork sits against the HRC badging, was a deliberate choice to surface the contradiction at the heart of the bike itself: something that looks handmade carrying the language of a racing programme. The CG allowed a level of lighting control that would be near-impossible on set, particularly in holding the matte quality of the bodywork without losing the metallic bite of the chassis beneath it.