Director’s Brief: 12 Questions with Zacharia Lorenz @ Vantage Pictures
Director’s Brief: 12 Questions is a new Q&A series from Campaign Brief Asia that shines a spotlight on the broad mix of talent shaping Asia’s commercial directing scene. The latest installment features Vantage Pictures director Zacharia Lorenz.
Describe your directing style in one paragraph?
My favorite projects are story-driven “documercials” and product launch films for tech brands, where we explore the human condition behind cutting-edge innovation. These two categories are stylistically different, so I don’t try to force a fixed approach—the tone and technique should always serve the brief.
That said, for most of my product work, I love getting weird with camera—mounting rigs in unexpected places, playing with macro probe lenses, and crafting dynamic sequences that feel like a rollercoaster ride through the product’s design and internals.
I also prefer slower, more intentional pacing when the concept allows. So many commercials rush to hold attention—understandable in the age of social—but there’s power in letting certain shots breathe. When clients are open to that rhythm, the work always feels more memorable to me.
Was there a specific ad that made you think, “I want to do this for a living”?
Not exactly. After uni, my sights were still set on working—commercials weren’t really on my radar. Then I got the opportunity to work at DJI in Shenzhen. As I was considering the idea of upending my life in the States, they released A New Perspective for the new Phantom 3 campaign.
Back then, drones were still new. People weren’t used to seeing mid-altitude aerials in that sweet spot—higher than a crane, lower than a helicopter. Today they’re so common, but at the time I was pretty blown away by it. The film captured this sense of exploration that really hit. It inspired the adventurer in me & pushed my decision to move overseas.
I’ve now been in Asia for over a decade. So in a way, the spot didn’t just influence my career, it reshaped my life. DJI opened the door to some unforgettable experiences and through that journey I realized commercial directing was where I wanted to be.
What’s your all-time favorite TVC?
“Favorite” depends on the day, honestly. But two spots come to mind—not just as inspiration, but as reflections of my own stylistic leanings.
First, Microsoft’s Surface Laptop Studio launch film. It nails everything I want in a tech product ad: clean, minimalist design; sleek motion control that pulls us through the product like a theme park ride; and seamlessly integrated macro CGI that reveals internal hardware in a way that’s both informative and mesmerizing. It’s fun to watch but still communicates key selling points clearly. The “Pure Imagination” cover was also a perfect music choice—emotive without being overbearing. I’ve referenced that film more times than I can count.
ASUS Zenbook’s “Incredible Comes From Within” is one of my favorite examples of a branded documercial done right. Reuben Wu’s surreal light-painting visuals speak for themselves. Anna Smoronova is a phenomenal DOP, balancing energy with space to breathe. You get chaotic close-ups, fast-cut FPV transitions, then suddenly you’re lingering on vast, cinematic wides. That emotional rhythm suits the thematic blend of innovation, nature, and craftsmanship perfectly. It doesn’t feel like an ad—it feels like a glimpse into something real. That’s always the tone I aim for in my own docu-style work.
What’s your all-time favorite TVC/Campaign from your country?
Off the top of my head, Spike Jonze never fails to inspire the filmmaker in me. I grew up on his films and music videos, and his commercials are just as memorable. Apple HomePod: Welcome Home and Kenzo World are pretty hard to beat.
I love that his spots don’t take themselves too seriously. They’re unpretentious and playful—you can tell the whole crew had a blast making them. It’s branded content, but it’s not pushing tech specs or some big message. He taps into the pure joy of entertainment—something all advertisers should keep in mind, even when the brief is product-heavy.
In your experience, what’s the secret to a smooth director-agency-client vibe?
Think like a contractor, not an artist.
As filmmakers, of course we want to create work that inspires us. But don’t get distracted by personal taste and lose sight of the brief. This ain’t the indie film business. As a commercial director, you’re hired to deliver a piece that fits the client’s brand and goals.
If an architect is hired to design a minimalist office, their client won’t be thrilled to receive a gaudy Art Deco mockup. Same goes for us. Do your research, analyze the brief, gather references, communicate clearly, and set expectations early. Don’t wait until the PPM to pitch your wild one-take idea that’s gonna clean house at Cannes Lions.
You’ll struggle to succeed if you’re tunnel-visioned by artistic ambition. Embrace the balancing act of collaboration…be creative, advocate for your decisions, but stay within the bounds of the brief.
What do you do when you need to recharge your creative batteries?
Cooking is a good reset for me. Meditative but creative. I get to work with my hands, follow a clear recipe, and have room to improvise. I love the rhythm of prep & the reward of sharing a meal with my girlfriend. Seeing her enjoy it is gratifying, like presenting a cut to a happy client. If I hadn’t gone into filmmaking, I probably would’ve pursued the culinary arts.
That, and video games. Huge nerd for open-world RPGs, survival sims, and strategy games. The hours I’ve spent on Bethesda titles, Cities: Skylines, and Civ VII… a lot. It’s how I unwind while still engaging that problem-solving part of the brain.
Ever had a happy accident on set that turned out to be a game-changer?
Can’t think of any accidents that turned out better than what we’d planned… but I have a fun story about the perils of prototypes & the importance of having the right support on set.
We’re in Iceland, shooting a launch film for DJI’s new industrial platform. We were documenting how Reykjavík search & rescue teams use drones in real-world emergencies. In a rush to meet our travel deadline, DJI’s engineers 3D printed plastic drone arms instead of the proper carbon fiber tubes.
We arrive at this tiny ramshackle S&R outpost in the middle of nowhere. We open the cases and, to my horror, the arms of every product snapped during the trip. Fortunately, our drone op was EU Creative Director Ferdinand Wolf, who’s not only a world-class pilot but an experienced engineer. By some miracle, he found an old broomstick with exactly the right diameter. He scavenged some rusty tools from the outpost, chopped it up, and reinforced the broken arms.
We shot four full days on a remote glacier, flying full-throttle with enterprise drones basically held together by splinters…didn’t have a single issue. We were on the brink of total failure but with Ferdi’s quick thinking and expertise, we returned with spectacular footage & a solid campaign.
Moral of the story: if you’re working with unreleased tech, always bring an engineer.
Is there a mentor or person who has had a big impact on your career?
Plenty of folks have influenced me over the years, but number one would have to be my high school film teacher, Aaron Passmore. He opened my eyes to the artistry of filmmaking beyond the Hollywood blockbusters I grew up on. Until then, my exposure to cinema was pretty limited—but in his class, we watched Kubrick, Hitchcock, Bergman, Kurosawa, Wong Kar-wai… and suddenly, I saw film as something far deeper than just entertainment.
His passion for the craft was infectious. He genuinely loved sharing it with his students, and that energy made a huge impression on me. I couldn’t wait to get to class—and often found myself skipping other periods just to sneak into the editing bay and learn more about FCP7. He made film feel like a world I wanted to live in, not just study from the outside. Looking back, his class was where the spark really caught fire.
What’s the next big thing in commercial filmmaking? Explain.
The cynic in me says AI will continue to dominate. As global markets expand, timelines shrink, and the demand for content accelerates, AI will become more pervasive—whether for streamlining workflows or generating visuals outright. The possibilities are exciting, but there’s a real risk of it dulling critical thinking and draining joy from the craft.
The romantic in me hopes the pendulum swings the other way—toward authenticity. As audiences grow weary of that soulless, artificial gloss of AI-gen content, they’ll start to crave real people having real experiences. Maybe brands will recognize this and reinvest in more live-action. Maybe AI gets so good that “real” becomes irrelevant.
If you could direct a dream ad for any brand, which brand would you choose?
The North Face, Patagonia, or Tompkins Conservation. I had a brief opportunity to work with Kristine Tompkins in southern Chile on a DJI Mavic Air spot, and I was deeply moved by everything she stands for. The ethos behind Doug Tompkins, Yvon Chouinard, and the fashion empires they built—not for excess, but to fund conservation & ecological restoration.
There’s purity in the way they’ve redirected success toward something greater than themselves. As an outdoor enthusiast, I can’t think of a more meaningful brand to collaborate with. Stories like theirs give me hope for humanity.
If you could give one tip to an aspiring TVC director, what would it be?
Don’t tie your self-worth to every job.
This industry moves fast. If you measure yourself by how “creative” or “cinematic” each commercial turns out, you’ll burn out or get bitter. You ain’t always get that dream brief. Sometimes it’s about craft. Sometimes it’s about client rapport & paying the bills. Either way, treat each project professionally and just leave the duds behind when they’re done.
You’re not being hired to prove your brilliance—you’re hired to solve problems, communicate clearly, and lead a team through creative complexity. That’s your real value. Ironically, the less you chase approval, the more trust you tend to earn.
Directing commercials is a long game. Build trust. Stay adaptable. Keep your ego in check. And save the passion projects for when your name’s number one on the call sheet.
What are your top 3 ads you’ve directed?
DJI Mavic 2 – Ski-Mountaineering with Jimmy Chin: This one’s more about the experience than the final product—though I still love the film, it’s not my best technical piece.
Working with Jimmy Chin was certainly a fanboy moment. I loved climbing & adventure sports growing up—so traversing the Greenland fjords for 9 days, bunking in a log cabin, scouting avi conditions, sending glaciers at sunset with some of the top ski-mountaineers…it was unforgettable. And a reminder of how much I love docu-style spots where we get to join technology, craftsmanship & natural beauty. The project had everything I care about: good people, wild locations, and a brand that trusted us to tell the story honestly.
OnePlus 12 – Chasing Luna: Behind the Scenes / OnePlus 12 – Chasing Luna (30s): This campaign seemed doomed… right up until it wasn’t. Despite a tight budget, brutal timeline, and high-stakes technical objective, it ended up being one of my favorite documercial shoots.
We had to capture authentic astrophotography shots of the moon with the OnePlus 12—no AI, no Photoshop stitching. We shot two days in California’s Alabama Hills with photographer Joshua Cripps and a skeleton crew. A week before flying, it looked grim: bad weather, buggy prototype phones, and unusable test shots. But during the tech recce, the stars just aligned. Skies cleared, OnePlus’s team got us a firmware update, Josh mapped his shots, and my DOP Martin Buzora gave me loads of new ideas for scenes/coverage.
The final piece feels great & genuinely demonstrates the product’s capabilities in real-world conditions. Those are the wins that stick with you.
Bambu Lab X1 – The New Pioneer in 3D Printing: I like to learn something new on every project & this one gave me a chance to explore the world of 3D printing, something that’s always fascinated me.
It was my first time working with a motion control arm… “shooting robots with robots” as we liked to say on set. We aimed for that fast, rollercoaster vibe of my favorite Microsoft spots and I think we pulled it off well, especially on a much tighter budget. The CGI was a big hurdle, but the overall experience was a big step forward in my ability to illustrate complex tech with style.