The Directors: Sebastián Caporelli

Sebastian Caporelli began his career in advertisement 24 years ago, first as 3D animator and Visual effects supervisor meanwhile he studied film direction in Buenos Aires. His love to create moving images began as a teenager doing stop motion short-films, won contests by Converse Content, MTV Aids day and chosen on the Chemical Brothers world video before moving that passion into advertisement working on a wide range of projects and formats. He is involved and drawn by his particular vision to short-films, music videos and commercials working worldwide for clients like: Volkswagen, Jeep, GMC, Kia, Toyota, Nissan, Renault, McDonald’s, At&t among others.

Name: Sebastián Caporelli

Location: Buenos Aires, Ciudad de México, New York

Repped by/in: Poster 

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

Sebastián> When I read a script, what draws me in the most is the chance to create tiny stories or non-existent worlds, the ability to develop a backstory for characters that can open up new possibilities when shooting. Also, I love playing with VFX in scripts that have a visual flair, creating new realms from mixing what's filmed with the visual effects. I come from a VFX background, so I love enhancing reality with post-production.

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

Sebastián> When crafting a treatment, I like to dive into the first images that pop into my mind after reading the script. These initial thoughts often guide my vision. Sure, there's always an underlying idea that the agency has been exploring, so I keep that in mind. Still, I like to sprinkle in or adjust that vision based on my initial gut reaction to the script. I'm all about figuring out how to bring those script concepts to life cinematically. At _Poster, we're super collaborative. We bounce ideas off one another and discuss different viewpoints. And while I'm open to external research assistance, I truly believe in crafting my treatments - they should feel like they're mine, and I want to present them smoothly.

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?

Sebastián> It's crucial to get the product. Most of the time, it's tied to its communication strategy and style. I do my homework, checking out previous ads or even asking the agency for older spots to guide my treatment. Agency input? That's gold. It's the best way to grasp the brand's communication needs and the specific idea.

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

Sebastián> Good vibes on set are a must for me. I believe that we can produce fantastic spots while maintaining positive energy throughout the process. Alignment between the agency, client, and crew is key. For me, it's essential to connect with the creatives to ensure their message shines through and reaches new heights. Once that's established, my relationship with the cinematographer is crucial to translate those ideas to the screen. But hey, I also give space to the pros I've chosen for the job, whether it's the DoP, production designer, or stylist. There's a reason they're there.

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?

Sebastián> I'm an '80s kid with a VFX background. I love recreating cinema in my work, be it through narrative or a visual approach. Witnessing a scene unfold, an actor nailing their delivery, or a killer car running shot during sunset? Those are the cinematic moments that fuel my passion.

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

Sebastián> One misconception? Just because I come from a post-production background doesn't mean I'm always looking to slap a greenscreen on everything. I love using post to elevate or emphasise, not as a crutch. I grew up with '80s movies - practical effects, models, matte painting. I'm all about using today's tools to enhance the final product in a cinematic way.

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

Sebastián> Working with a cost consultant, which I've done heaps of times, it's essential to vibe with the executive producer. We gotta be on the same page. Over at _Poster, we see eye to eye on projects, working closely with Mariano, Geo, Guido, and Asori, ensuring we maintain a consistent vision throughout the process.

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

Sebastián> I've leaned on post-production to solve some on-set challenges or location issues. Having that skill has saved me on numerous occasions.

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

Sebastián> Both the agency and the client usually want to protect the idea. My job? Elevate it, translate it to cinematic language. This starts with the treatment and spans to location selection, casting, and storyboarding. It's a continuous journey. I value openness with the agency/client. They've nurtured the idea long before it landed in my lap. I respect that.

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?

Sebastián> Filmmaking is a craft; you learn by doing. I'm all for people growing, learning, and fresh perspectives emerging. After all, we're influenced by everything and everyone around us.

LBB> How do you feel the pandemic is going to influence the way you work into the longer term? Have you picked up new habits that you feel will stick around for a long time?

Sebastián> The pandemic streamlined processes. pre-production meetings are mostly virtual now, which is efficient. Anything the pandemic brought to make processes slicker? That's a win.

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)?

Sebastián> Today, content goes everywhere, in all formats. We need to keep all of these in mind, but it also depends on the project and its communication strategy. Some jobs lean more towards cinematic formats, overshadowing the vertical approach.

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)?

Sebastián> I'm a total tech geek. I love keeping up with the latest gadgets and software. I'm hands-on with Maya and After Effects from my VFX days, and I've embraced tools like Midjourney, Runway, Adobe's AI tech in Photoshop, and Unreal Engine. I'm always on the lookout to learn and stay passionate about any new tech out there.

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

Sebastián> A few works embody my style, particularly those with a VFX touch or a unique visual angle. Projects like Mercado Pago, Palacio de Hierro Futuro, Jeep Volcan, McDonalds Lost Dog, AT&T Roadtrip, and Toyota Mecanicos. They have that feel of capturing a small cinematic narrative within a distinctive visual world.