From Script to Screen: The Creative Process of Directing Duo Lavender & Ravenscroft

Kaia Lavender and Gary Ravenscroft are renowned for their stylistic realism, innovative visuals and compelling performances. They began working together after working on a campaign for RAM trucks, after which they collaborated on several films for the active footwear brand, Merrell.

Since then, their combined vision has produced many dynamic and arresting films, which have earned them multiple awards.

They have the ability to capture the natural world with sensitivity in often adverse conditions and terrains. This, coupled with their ‘hands on’ approach to sourcing cast and locations and their ability to build rapport on set, has made them popular with many fashion, car and lifestyle brands.

They have directed independent films, TV interactive/transmedia projects, music videos, documentaries and commercials. Some of the brands they have worked with include Ford, Merrell, Ram Trucks, Hyundai, Yamaha Motorcycles, Wix, Microsoft, Target, PepsiCo/Mountain Dew, Skullcandy, Vans, DC Shoes, as well as ESPN, NBC, Discovery, BET, and GAC networks.

Name: Lavender & Ravenscroft @kaialavender@garyravenscroft

Location: USA-based

Repped by/in: Late Shift

Awards:
1 x Shortlisted (Berlin Commercial Awards)
2 x Gold Addy (American Adverting Awards)
5 x Silver Addy (American Adverting Awards)
1 x Gold (Shorty Awards)
2x Gold (Davey Awards)
2x Silver (Davey Awards)
1x Gold (Communicator Awards)
3 x Gold ( Australian Cinematographer's Society)
2x Silver (Australian Cinematographer's Society)
1x Winner Garden State Film Festival
1x Winner Cinema City Int Film Festival
1x Winner Best Of Show George Lindsay UNA Film Festival
1 x Winner Audience Award Film Invasion
1 x Winner Filmmakers Award Film Invasion
1 x Directors Choice Award (Thomas Edison Black Maria Film Festival)

LBB> What are some upcoming projects that you're excited about? Tell us a bit about them?

Lavender & Ravenscroft> We both have films on the horizon, and we're incredibly excited about them. We’re passionate about stories with strong messages and we also believe in making them entertaining.

Gary has always been drawn to films that challenge perception — stories that lure audiences into one reality, only to fracture it, forcing them to see the world differently. ‘Flora’ is a psychological thriller designed to do exactly that.

Kaia’s storytelling is rooted in exploring social issues, creating immersive worlds where characters embrace love, human connection, and personal strength. ‘Bheka’ is an action-romance-drama set in South Africa and follows characters on a journey to mutual greatness as they reconcile their differences.

Beyond the themes, we love every aspect of the filmmaking process, from script to screen.

LBB> What excites you in the advertising industry right now as directors? Are there any trends or changes that open new opportunities?

Lavender & Ravenscroft> We’re excited by story-driven, well-crafted, and clever content that seamlessly integrates grounded VFX to enhance the message and keep the work fresh and relevant.

LBB> What elements of a script set one apart from another, and what kind of scripts excite you the most?

Lavender & Ravenscroft> A unique vision with a consistent idea threaded throughout, a clever twist, and a strong narrative always stand out. Those are the scripts that truly excite us.

LBB> How do you approach creating a treatment for a spot?

Lavender & Ravenscroft> We start by reading the script and immediately jotting down our first instincts. Those initial reactions tend to be the most genuine and often lead to the strongest creative direction.

LBB> If the script is for a brand you're not familiar with or a market you're new to, how important is it to do research and understand the strategic and contextual side of the ad? How do you approach this?

Lavender & Ravenscroft> Research is always essential. Understanding the brand and its audience helps us connect with the agency and client’s perspective. We also assess how far we can push the creative while ensuring our pitch excites them without overstepping their comfort zone.

LBB> For you, what is the most important working relationship for a director when making an ad? Why?

Lavender & Ravenscroft> The most important collaboration starts with the writer and art director or creative director, and later the brand team to ensure our visions are aligned. After that, key crew members, such as the casting director, production designer, cinematographer, editor, VFX artists, composer, and sound designers, play vital roles in shaping the final execution.

LBB> What type of work are you most passionate about? Is there a particular genre, subject matter, or style you're most drawn to?

Lavender & Ravenscroft> We’re drawn to aspirational advertising — work that feels fresh, new, and visually striking. We also love playing with reality, pushing it in abstract ways while keeping it grounded so it remains authentic.

LBB> Have you ever worked with a cost consultant? If so, how have your experiences been?

Lavender & Ravenscroft> Yes, on a few brands! Bidding is always subject to cost-cutting requests and scrutiny. These days, nearly every job has budget constraints, but we treat it as a creative challenge — finding innovative ways to get what we need while staying within budget.

LBB> What’s the craziest problem you’ve encountered during production, and how did you solve it?

Lavender & Ravenscroft> Oh there’ve been a few! Once we were hit by a freak snowstorm with three fallen trees blocking our access to a location and when we finally did arrive, the location was suddenly a foot deep in snow. Thankfully we planned well and we had a backup location, so we were able to relocate and adapt on the fly, managing to get the shoot done with minimal overtime incurred.

LBB> How do you strike the balance between being open and collaborative with the agency and brand while also protecting the idea?

Lavender & Ravenscroft> We actively listen to all input, extracting key takeaways that could enhance the creative.

While we can’t always incorporate everything, we strive to find the right balance so that everyone feels heard and excited about the final direction.

LBB> Your work is now presented in so many different formats. To what extent do you consider this while working, and how possible is it to account for all formats?

Lavender & Ravenscroft> It depends on the client’s priorities and the primary platforms where the content will live. We consider aspect ratios when framing shots so they can be easily adjusted in post-production, while also carefully considering VFX needs.

LBB> Which pieces of your work do you feel show what you do best – and why?

Lavender & Ravenscroft> Merrell - Moab On: This was our first spot for Merrell, and we were determined to blow them away. We didn’t want to stray too far from the reality of trail runners and hikers, but we knew it had to be aspirational — something that made people ‘want’ to be out there. The key was finding a distinct visual hook, and that’s when we landed on using an FPV drone. It gave the piece an energy and wow factor that set it apart. The client loved it, and it cemented our long-term relationship with Merrell.

Merrell - Same is Boring: For this one, we got to lean into storytelling and humour. The brief was to launch Merrell’s premier trail running shoe, and we played with the idea of ‘Same is Boring’—a fun jab at running brands that shoot dystopian city ads. We also introduced a voiceover from the lead runner, which made it more personal rather than just a montage of aimless cool running shots. We shot in Cape Town, taking full advantage of both the city and its unique natural landscapes. It was a perfect combination for the spot — and it paid off. The ad helped launch the shoe, won awards, and made the client very happy.

Merrell - Weightless: This was Merrell pushing to new heights — literally. It was a return to some of our old-school film techniques, blending in-camera tricks with snappy editing and VFX. The vibe on set was “anything goes”, which meant we got to take risks, play, and experiment. We had a lot to cover, limited time, and multiple locations, but the biggest challenge was integrating the shoe’s visual effects seamlessly. No easy task! But with meticulous storyboarding and collaboration, our VFX team nailed it — most people don’t even realise there are even CGI shots throughout the entire commercial. With this project, as a directing team, we showed how we could merge old-school techniques with new-school innovation while keeping the film grounded.

Merrell - Windows: This was one of our most ambitious briefs yet; VFX and CGI in nearly every shot. The original concept needed some adapting to fit the realities of the budget, but with the right partners, we shaped it into a stunning piece. We shot on a small island west of Morocco, which gave us a range of landscapes but limited access to high-tech motion control rigs. That meant we had to get creative, modifying cranes and grip setups to pull off the complex shots. After some testing (and drawing on some early film school tricks), we made it work. This spot proved that we can push VFX-heavy storytelling while still making it feel natural and immersive.

Wrangler - Rodeo: This was a perfect example of how being open to spontaneity can lead to magic, shooting handheld, the moment, getting in close on the real live action without trying to control the reality of how it would happen in real life. We went in with what coverage was needed, but on the day, such a perfect opportunity presented itself, that the whole shoot was improvised based on raw action in front of us, so we decided to go with that exact scene —a mix of improvisation and cinematic mastery. And that’s what ended up being the spot.