The Directors: Camila Cornelsen
Camila is a Brazilian raised, LA-based director/cinematographer and photographer, known for delivering lush and sensually immersive storytelling to entertainment and advertising including projects for Nike, Apple, Vogue, Google, Instagram, and Facebook. She’s also worked extensively in music videos and entertainment, spanning genres with style and substance.
Name: Camila Cornelsen
Location: Los Angeles - CA
Repped by/in: Afterhrs
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excitedto shoot them?
Camila> Regardless of the complexity, my goal is to identify a personal connection within the script – a thread of emotion that resonates with me. Right now, I find myself particularly drawn to narratives that delve into surreal situations.
LBB> How do you approach creating a treatment for a spot?
Camila> I've discovered that, for me, the most effective approach to working on a treatment is – once again – to keep it personal. Identifying that emotional thread connecting me and expressing it in a way that feels like I'm having a conversation with the reader. I always kick off by curating a playlist to set the mood. The treatments are usually my own design, presented in a website format, allowing creatives to effortlessly scroll down and immerse themselves in the presentation.
Maintaining a balance between image and copy is crucial. This prevents readers from getting too attached to specific images. Recognizing that agencies sift through numerous treatments daily, I strive not to be just another one in the pile.
LBB> If the script is for a brand that you're not familiar with/ don’t have a big affinity with or a market you're new to, how important is it for you to do research and understand that strategic and contextual side of the ad? If it’s important to you, how do you do it?
Camila> When collaborating with a brand or a product that I'm not familiar with, I make it a point to gather information before the briefing. This involves learning not only about the brand or product, but also understanding the creatives involved and their histories that led them to this current collaboration.
Before the meeting, I create a list of questions. These questions cover aspects such as their target market, the campaign's purpose, but the most crucial question revolves around their expectations for my treatment and where they believe I can enhance their project.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Camila> Coming from cinematography, I quickly grasped the importance of aligning my work with the director's vision. The essence lies in ensuring that camera movements and lighting serve the narrative rather than drawing attention to themselves. I took Sven Nykvist's (Bergman's cinematographer) teachings to heart, which emphasised:
1. Be true to the script.
2. Be loyal to the director.
3. Be able to adapt and change one’s style.
4. Learn simplicity.
When applying these principles to directing ads, I find ways to contribute to the script, particularly if certain elements pose challenges for filming. Remaining loyal to the creatives, I assist in identifying effective solutions for the project. Adaptability is a key strength, allowing me to adjust my style to enhance the product's marketability. Simplicity is a guiding principle. I recognise that the film belongs to the brand and the agency, and I strive to bring my expertise to the table, aiming to elevate the overall quality of the film.
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?
Camila> Working with cameras has always put a smile on my face. When I started directing, I brought that love for camera movement and the beauty of every frame along for the ride. My early directing days were all about exploring composition, color, and camera tricks.
Lately, I've been diving into more narrative projects, happily handing over the camera duties to a DP and getting in deep with the actors.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Camila> I have been a still photographer for 20 years, a director of photography for 12, and a director for seven. My experience spans across commercials, feature films, TV series, documentaries, and music videos, offering me diverse exposure on sets of various types and scales. In our industry, there’s a tendency to pigeonhole directors into specific boxes. This practice diminishes the director and the project from exploring new creative avenues.
If you haven't worked on a car film, it's unlikely you'll be given the opportunity because your reel lacks any car-related content to showcase your skills. For women or, more broadly, individuals who are not cis white men, this possibility is nearly non-existent. I'm using car films as an example because this dynamic is most apparent in that context, but it extends to other areas as well.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Camila> I typically prefer engaging in discussions backed by practical arguments. Whenever feasible, I create animatics post-scout to assess the effectiveness of the story, edit, and flow. It's always smoother when I can substantiate my points with something tangible that everyone can easily comprehend.
Alternatively, if there's a specific request from them, I accommodate their version, and if time permits, I also incorporate my approach to ensure everyone leaves the set happy.
LBB> What are your thoughts on opening up the production world to a more diverse pool of talent? Are you open to mentoring and apprenticeships on set?
Camila> Absolutely. I emerged from a self-taught background, bypassing a formal education in cinema.
My journey in photography began at home, navigating through closed doors that required a forceful push. During my youth, in the south of Brazil, I shared my expertise by teaching pinhole photography and darkroom techniques to high school students. This experience underscored the empowerment found in knowledge-sharing.
I take great joy in providing a platform to expedite and expand access for those, much like myself, who weren't initially invited to the creative celebration.
LBB> How did the pandemic influence your future trajectory?
Camila> The pandemic marked a pivotal moment in my career. Prior to it, I engaged in smaller projects, often shouldering various roles – directing, cinematography, editing, color grading, post-production, soundtrack, a bit of everything. The pandemic exposed the reality that many established directors struggled with smaller-scale productions.
Over the two years of the pandemic, I successfully completed 26 projects, spanning from modest commercials to a global product launch campaign for Adidas, independent feature films, DP work for a Disney TV series, fashion editorials, and music videos. This diverse array enriched my portfolio and propelled an upward trajectory in project scale.
Frankly, I doubt I would be at the same juncture without the pandemic. It seems that many agencies and clients broadened their perspectives towards alternative content forms and, consequently, embraced other creators. Territorial barriers also crumbled, unveiling suddenly more intriguing (and, why not, cost-effective) filming locations.
During this period, Brazil benefited from a favorable currency exchange rate.
LBB> Your work is now presented in so many different formats - to what extent do you keep each in mind while you're working (and, equally, to what degree is it possible to do so)?
Camila> Twelve years back, still grinding as a cinematographer in Brazil, I was battling to crack the commercial cinematographers' scene. Trying to shine a spotlight on my work, I went all-in exploring various formats on Instagram, playing around with 1:1 setups and grid posts. Shot a bunch of it with fancy cameras and tweaked it later for the platform.
I remember the buzz when Apple dropped the iPhone 7 Plus; before that, I had a small old phone. Suddenly, that big screen felt like having a camera in my pocket, and I was all in. Then came Instagram Stories, and I dove into experimenting with short and vertical formats.
It's a cool and tricky journey for me to keep trying out new stuff. As a DP, I like shooting everything in OpenGate, putting the action in the middle for smooth edits in different aspect ratios. Ultimately, projects really pop when the agency and client know how to connect with their audience.
LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work?
Camila> What many people aren't aware of is that before venturing into photography, I pursued engineering – nerd alert! I have a deep appreciation for new technologies, cameras, and tools. I thoroughly enjoy delving into manuals and watching reviews (lol). Embracing the challenge of creating with the latest innovations is something I relish.
Simultaneously, my journey in photography and cinematography started with film. My constant aim is to capture that analog feeling – the one universally adored for its human touch – in the realm of new technologies. How can we bridge the gap between these two worlds?
LBB> Which pieces of work do you feel really show off what you do best – and why?
Camila> I enjoyed the creative freedom in this film, exploring a less straightforward and more imaginative story while still meeting the artistic goals of the agency and client. We built real sets and filmed all the effects practically. In the desert scenes, we designed the floor to smoothly connect with the LED wall displaying images from the Unreal Engine. Using the bolt, we captured the visually appealing aspects of the liquid. I love tackling the challenges of building scenes, experimenting with special effects, and executing precise and planned camera movements.
This project was one of my biggest challenges. It marked my debut in a global campaign, introducing a new product. In late 2020, when filming protocols were still uncertain worldwide, we faced the challenge of working with very limited teams. During the filming week, a new protocol required us to reduce the team from 20 to just seven people, including the cast. Drawing from my background in photography and cinematography, I took on multiple roles. Despite the hurdles on set, we managed to create a film with amazing visuals. Almost three years later, it doesn't come across as a "pandemic film". I enjoyed developing characters used in transitions, shedding light on the product as well.
Until last year, I handled both directing and cinematography for all my films. My close connection with the camera, stemming from a background in photography, made it challenging to consider relinquishing that role. However, relocating from Brazil to the United States shifted my perspective on the industry.
Recognising the potential benefits, whenever I got a directing job, I’d focus exclusively on that. This was the first project where I felt that this decision was spot-on. I collaborated with my good friend William Sossai, one of the cinematographers who helped me the most at the beginning of my career. With him by my side, I could concentrate on working with the actors, which was crucial for this film and for a new phase in my career.
The last one is a film that I see as a distinct segment from the other films on my reel. What made this project particularly special for me was the chance to interview astronaut Karen Nyberg. We collaborated to create exercises that could replicate the physical challenges experienced in outer space.
We had two insightful sessions of questions and discussions. Hearing from someone who has seen Earth from space was truly remarkable. I feel blessed that my work allows me to have these types of extraordinary experiences. Additionally, I have a strong appreciation for the art direction work involved in the project.
