The Directors: Benjamin Kratzin

Ben’s vision is to create epic fictional worlds – rich in detail, grounded and believable while pioneering on the edge of technology to achieve the most emotional and photorealistic version of any to-be-told story. He embraces every challenge that presents these imaginative opportunities to realise his visions and pays meticulous attention to detail in bringing them to life. Imaginative, bespoke environments are one of the most difficult sceneries to build and to show believably on screen, however VFX centred director Ben does it effortlessly and with great boldness. Ben is never one to shy away from bringing all of our imaginations to life. Ben always has a vision to transform the advertising world into something you will continuously enjoy consuming.

Name: Benjamin Kratzin

Location: Germany, Munich

Repped by/in: FAMILIA (UK), Sauvage (Spain)

Awards: Winner 'Best Cinematography' Ciclope Award 'Panasonic - Hollywood to Your Home', Nominee 'Best Cinematography' Deutscher Werbefilmpreis 'Amazon Prime Now'

LBB> What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?

Benjamin> What truly excites me at the moment is the rapid pace of technological development in the advertising industry. We are at a junction where the confluence of advanced camera sensors, artificial intelligence-driven render engines, and data-driven marketing is not just enhancing the quality of our output but revolutionising the very approach to storytelling. 

For instance, cutting-edge camera technology allows us to capture visuals in unprecedented detail and range, offering a new palette of possibilities in visual storytelling. Likewise, AI-driven rendering has exponentially cut down post-production time while maintaining, or even elevating, the quality of visual effects. This allows us to be more creative and take on projects that might have been unfeasible in the past due to budget or time constraints.

LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?

Benjamin> For me, the most compelling scripts are those that offer the opportunity for expansive world-building. But world-building, in my context, goes beyond just creating visually stunning landscapes or intricate lore. It's about crafting metaphors for grounded emotions that viewers can relate to, extending the scope of traditional visual storytelling.

What excites me about this process is the ability to evoke powerful emotions and fascinations in the audience by creating visual impressions that aren't necessarily 'literal.' For instance, a dense, misty forest could serve as a metaphor for confusion or the search for clarity, while a vibrant, bustling metropolis might represent the multiplicity of human emotions or opportunities. Rather than merely portraying a situation as it unfolds in a conventional sense, I strive to create worlds that encapsulate the emotional subtext or the underlying sentiment of a situation.

The scripts that allow for this kind of deep, metaphorical storytelling through visual elements are what set my creative soul on fire. They provide a fertile ground for not just technological innovation but also profound emotional storytelling. These are the projects that I find most invigorating and fulfilling to work on.

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

Benjamin> Creating a treatment is almost as if the project is reaching out to me, rather than the other way around. As soon as I delve into the brief or initial input, my mind becomes a fountain of ideas, each flowing naturally into the other. It's akin to composing a piece of music, where each element - from visuals to pacing to emotional undertones - forms part of a harmonious melody.

The key is to capture this spontaneous creative outpouring in a structured way that aligns with the project's objectives. Easier said than done.

LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?

Benjamin> In the dynamic ecosystem of ad production, I wouldn't pinpoint a single relationship as the most important; it's very much a team sport where everyone plays a pivotal role. However, if I had to highlight one relationship that is particularly crucial, it would be the one between the director and the producer.

The synergy between the producer and the director acts as the backbone of the project. Together, they form a balanced partnership, forwarding and executing the shared vision while navigating logistical and budgetary constraints. This collaborative dynamic is essential for translating creative ideas into the tangible.

 

LBB> What type of work are you most passionate about - is there a particular genre or subject matter or style you are most drawn to?

Benjamin> I am deeply passionate about creating work that sits at the intersection of innovation and emotional storytelling, especially within the realms of tech products, innovative products, genre-driven content, Esports and game trailers. My aim is not just to entertain, but also to empower. Drawing inspiration from games, comics, books, I craft narratives around heroes and leading figures with the intention of inspiring and uplifting viewers.

LBB> What misconception about you or your work do you most often encounter and why is it wrong?

Benjamin> A common misconception people have about me is that due to the thrilling and intense nature of my work, I must be a similarly harsh or intense person in real life. However, this couldn't be further from the truth. My projects may delve into complex, sometimes darker, emotional landscapes, but personally, I value respect and kindness above all else. I believe that these qualities are the foundation of any successful collaboration, and I strive to bring these principles to every set and meeting I am part of. So while my work might evoke strong emotions, the process of creating it is rooted in a culture of respect and mutual understanding.

LBB> How do you balance your personal life with your creative life so seamlessly?

Benjamin> Stress and being able to handle  pressure are all part and parcel of being a director. I know for me in order to excel in this side of things I also have to ensure when I do take a break or have some personal time that I manage to recharge myself - exercise in the form of Parkour and Freerunning have always been my go to.

LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?

Benjamin> I remember this one particularly challenging situation that tested not just my skills but also the resilience and unity of the whole crew. We were shooting a high-speed cinematography scene in South Africa, complete with rain machines and pyro, blocking off a whole street, and multiple high-speed cameras. We had a large crew wearing rain jackets and a group of committed actors performing in the not so warm artificial rain..

Everything was going as planned until our key light, acting as both moonlight and street light, suddenly went off due to our main generator blowing up. This was a dire situation, especially given the high shutter speeds required for our high-speed cinematography. A new generator was on its way, but the timing was uncertain.

At that point, everyone turned to me and the production team for a solution. We'd already had a long day, starting super early, and the last thing anyone needed was an interruption like this just near the finish line of our shooting day. Rather than increasing the pressure, I decided to take a different approach. I immediately arranged for hot tea and hot chocolate to be served to everyone on the set. I also took this as an opportunity to engage with every member of the team personally, ensuring they were warm, happy, and realising that the team needed to know how integral they are to the whole set up.

The waiting was hard, but by the time the replacement generator arrived and power was restored, the spirit of the team was uplifted. Everyone felt we had not just weathered the problem but conquered it - as a team.

This experience underscored my belief in the importance of maintaining composure and an atmosphere of open, effective communication in solving unforeseen problems.

LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work (e.g. virtual production, interactive storytelling, AI/data-driven visuals etc)?

Benjamin> My relationship with new technology is fundamentally rooted in my background in post-production and an innate enthusiasm for tech that has been a part of me since my early years. To me, technology is an extension of my creative toolkit, and I've always approached it from a project-centric perspective. In other words, I don’t have a 'favourite tool'; instead, I get excited about employing the right tool for the specific requirements of the project at hand.

Take virtual production, for example. I was fortunate enough to help answer a myriad of questions for studios as they began to delve into this new realm. Virtual production offers tremendous opportunities, but it's not a one-size-fits-all solution. Used judiciously, it can be a powerful asset that opens up new possibilities for storytelling and visual flair in campaigns, offering experiences never seen before.

So, in summary, new technology isn't just something I incorporate for the sake of being cutting-edge. It's a calculated, strategic decision aimed at elevating the narrative and visual quality of each specific project. This tech-centric approach allows me to remain at the forefront of innovation, always exploring new ways to enrich both the storytelling and the viewer's experience.

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

Benjamin> Panasonic - Hollywood to your Home

The project had a lot of technical challenges and design challenges. Panasonic and Brave were looking for someone who could deal with heavy time constraints and cutting-edge technology while staying authentic to the Hollywood genre. A great fit for what I love the most.

Mercedes - Vision Van

This commercial was truly unique as only one vehicle was custom-built specifically for it. We’ve stayed in close contact with Mercedes to craft their future vision for delivery systems. The film was played during a live show so the main version of the film was an interactive version that started as a film and continued as a life stage show.

Amazon - Prime Now

Set against the rich cultural and architectural backdrop of Morocco, this commercial was a thrilling addition to the Assassin's Creed franchise. Beyond directing, I also personally performed the stunts, drawing on my own background in stunt work. It was an exhilarating project that allowed me to wear multiple hats, making it a particularly rewarding experience.

BMW - Rocketleague

Designing a cinematic laboratory that teleports a sleek, real-world BMW into the game environment was an exhilarating challenge. I have a penchant for projects that allow heavy involvement from the art department, and this studio setup was a dream to work on from both a design and directional perspective.

LBB> If you could write a fortune cookie for someone else in the industry what would you write on it?

Benjamin> Keep on listening to yourself and follow your dreams and visions without any regrets. I'm a firm believer in putting a huge amount of effort into all of my projects and recently heard a saying that could be the perfect saying for a fortune cookie in my eyes

“The pain of discipline is far less than the pain of regret”