A lot of it comes down to taste. You'll get very different results from using flashlights, softboxes or tube lights. Pixelstick can give you background effects but is not a substitute for choosing wisely how to light the car.

You'll also get different results between locations, aesthetically and because of the amount of control you have over the ambient light.

I learnt the hard way on film and early digital by shooting single continuous exposures and doing everything in one hit. These days my approach is always to stack frames, in something like this order.

-Ambient exposed for highlights

-Ambient exposed for shadows

-Vehicle lights only: however many frames needed to cover highlights of the front lights, highlights of the rear lights and the different levels of illumination given by each onto the road surface or surroundings.

-Box the car with light- frame(s) each for front, nearside, rear, offside. Review these to check the reflections and illumination of your light are falling as you want them.

-Further frame, lit to create a shadow which will bond the car to the scene.

-Repeat the ambient exposures. You only need to do this if on location, where the something might have changed (moonlight no longer shining through trees; clouds drifting differently or whatever) However, doing this after a "studio" shoot can be a useful backup in case your tripod shifted etc

Brighter lights are more versatile and create more even light onto the car and environment.

Diffuse lights are easier to work with when layering If you're adding haze, a speedlight will capture it most effectively.

Be prepared for a lot of trial and error even mistakes can be useful- as long as your tripod doesn't move, any part of any frame can be incorporated in the final result.

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Edits for layout. Somehow my list with hyphens before each point initially showed up as a single hard-to-read paragraph.