La Tempesta | Meanwhile In Jupiter

01The brief

In May 2026 Ferrari revealed the Luce, designed with Jony Ive, in a pale blue called Azzurro La Plata. The reception was rough. A design director asked, in public, why the first car Ive made for Ferrari wasn't red. I recolored the press image in FLOW, posted it, and watched the argument end. Nobody asked for a film. I made one anyway.

02The insight

The color is doing all the work. The car may be great. The color is the obstacle.

Rosso Corsa is not a color. It is a temperature. For 122 years Ferrari has been at war with calm, and the Luce is the calmest Ferrari ever made. Beautiful object. Wrong object.

03The idea

Ferrari does not do calm. Give us La Tempesta.

The film is a century of red in motion, and half of it is real. It opens in black and white on the 250 GTO at the 1962 Trophées d'Auvergne, generated from period photography. Then archive footage of Lauda's 312T. Then the F40 at Le Mans in 1995, generated. Then the 499P at Le Mans in 2023, generated. Then the Sky Sport broadcast of Leclerc winning Monza in 2019, untouched. The generated wins have to stand beside real ones without a seam. Then the storm: the new car in Rosso Corsa on a road through live lava, and a name Ferrari was never asked to adopt. The blue car never appears in the film. It only appears on the petition site, where the Tifosi can sign the name into being.

The first version was a Matrix choice. Red pill, blue pill, two films. I killed it in a day. A choice flatters the blue. A verdict does not.

04The making

The Ferrari Luce press image in Azzurro La Plata — Where it started. The press image, and the same image recolored in FLOW in a few minutes. The second one got the reaction the first one couldn't. This argument lives on the petition site. The film itself never shows the blue car.

The same press image recolored to Rosso Corsa — Where it started. The press image, and the same image recolored in FLOW in a few minutes. The second one got the reaction the first one couldn't. This argument lives on the petition site. The film itself never shows the blue car.

Black and white frame of the 250 GTO number 3 sliding through a corner, from the film — The opening frame. The 250 GTO at the 1962 Trophées d'Auvergne, generated in black and white from period photography so it could cut straight into real archive footage.

Prompt excerptThe atmosphere is loud, hot, and vibrating with mechanical energy. Hyper-realistic vintage newsreel style.

Archive footage frame of Niki Lauda's Ferrari 312T, number 12, pillarboxed — Then the real thing. Archive footage of Lauda's 312T, number 12, left at its original aspect ratio. The film mixes generated wins with real ones and never hides which is which.

Photograph of the Ferrari F40 GTE number 41 on the pit straight at Le Mans, 1995 — Every generated car was anchored to a real photograph before it moved. Martin Lee's F40 GTE on the pit straight at Le Mans, 1995, and the frame it became, livery and all.

Prompt excerptThe massive rear wing is vibrating at speed. Heat haze ripples from the mid-mounted V8 engine.

Martin Lee, London, CC BY-SA 2.0

Frame from the film of the F40 GTE number 41 in its green, white and red livery at speed — Every generated car was anchored to a real photograph before it moved. Martin Lee's F40 GTE on the pit straight at Le Mans, 1995, and the frame it became, livery and all.

Prompt excerptThe massive rear wing is vibrating at speed. Heat haze ripples from the mid-mounted V8 engine.

Martin Lee, London, CC BY-SA 2.0

Frame from the film of the Ferrari 499P number 51 at speed — The 499P, Le Mans 2023. Generated cars carry the sponsor liveries, the numbers and the dirt of the real ones. The red footage screams. Nothing in the film is quiet until the end.

Frame from the Sky Sport broadcast of Charles Leclerc winning the 2019 Italian Grand Prix, timing tower on the left — Monza, 2019. The Sky Sport broadcast of Leclerc's win, timing tower and all, with Carlo Vanzini's call. Real footage of a real win is the argument. The generated cars only have to earn their place beside it.

The new car in Rosso Corsa on a mountain road with Etna erupting behind it — The storm. The Photoshop still that set the look, and a frame from the film. The car was built as a locked character in Omni so it would not change shape between shots. The paint had to look like it was swallowing the light.

Prompt excerptThe Rosso Corsa paint is not just reflecting light; it looks like it is swallowing it and glowing from within.

Frame from the film, the red car close up on the road with the eruption behind it — The storm. The Photoshop still that set the look, and a frame from the film. The car was built as a locked character in Omni so it would not change shape between shots. The paint had to look like it was swallowing the light.

Prompt excerptThe Rosso Corsa paint is not just reflecting light; it looks like it is swallowing it and glowing from within.

End card reading Ferrari La Tempesta in chrome badge lettering — The name. Ferrari can't refuse a name they were never asked to adopt.

The bumperstories.xyz landing page, the blue Luce from above beside a quote from Luca di Montezemolo — The film lives inside a petition at bumperstories.xyz. The site cut runs longer than the film so there is time to sign while it plays. The landing page opens on the blue car and a line from Luca di Montezemolo.

bumperstories.xyz, captured September 2026

Sound

The wins carry their own sound. Engines, tyres, crowds, and Carlo Vanzini's Sky Sport call from Monza 2019, Il Predestinato. No score under any of it. I tried the Tifosi singing the Inno di Mameli under the call and cut it. Too much. Goblin's Profondo Rosso, 1975, comes in on the last scene, with the red car, and keeps playing through the long cut on the petition site while people sign.

05Where it lives

The film and petition are live at bumperstories.xyz. Not affiliated with Ferrari S.p.A. Made by a Tifoso.

06Credits

Film and petition: bumperstories.xyz
Ferrari Luce, design: Jony Ive
Reference photography: Guy Breemat / INA (1962 Trophées d'Auvergne); Martin Lee, CC BY-SA 2.0 (1995 Le Mans); James Moy Photography (2023 Le Mans)
Archive footage: Niki Lauda, Ferrari 312T, 1975; Sky Sport F1 Italy, 2019 Italian Grand Prix
Commentary: Carlo Vanzini, Sky Sport F1 Italy, Monza 2019
Music, final scene and site cut: Profondo Rosso, Goblin, 1975
Written, directed and edited by: Omar Silwany, Meanwhile In Jupiter
Tools: Adobe Photoshop · FLOW (Veo) · Gemini Omni Flash · Adobe Premiere Pro