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Cinematographer Jason McCormick returns to Go Creative Show to discuss his work on the FX series Love Story, beginning with the story of John F. Kennedy Jr. and Carolyn Bessette. Jason breaks down how he approached the visual language of a romantic story after working on darker projects like Dahmer and Menendez, and how the show's look evolved through instinct, collaboration, and trust.

Jason shares how the project came together quickly when he stepped in just weeks before shooting the pilot, and how working with director Max Winkler allowed the show's style to develop organically on set. From choosing the 1.85 aspect ratio and developing a custom LUT inspired by 90s film photography, to navigating the challenges of shooting in New York City, Jason explains how cinematography can support emotion, character, and story.

The conversation also explores the realities of working in today's film industry, the importance of pacing yourself during long production runs, and why great cinematography often comes from staying flexible and responding to the moment.

What You'll Learn * How Jason McCormick developed the visual style of Love Story * Why aspect ratio and color pipeline are the first decisions he makes on a project * Creating a custom LUT inspired by film photography * The challenge of stepping into a project late and making it your own * Shooting romance versus darker subject matter like Dahmer * Navigating paparazzi and location challenges while filming in New York * Why flexibility and instinct are key tools for cinematographers

Topics Covered * Entering the project shortly before shooting the pilot * Working with director Max Winkler * Developing the show's color palette and LUT * Choosing lenses and aspect ratio for the series * Building visual language for a romantic story * The influence of paparazzi photography from the 1990s * Filming in Manhattan and dealing with paparazzi on location * Balancing creative instincts with production realities * The current state of the film industry in Los Angeles

Key Takeaways * Cinematography starts with the shape of the frame and color pipeline, not the lighting. * The best visual ideas often come from reacting to actors and locations in the moment. * Trust between departments allows filmmakers to work faster and more creatively. * Great cinematography isn't always about complexity — sometimes the right shot is simply putting the camera in the perfect place.

LINKS

'Love Story' Series on Hulu Jason McCormick's Instagram Go Creative Show Instagram

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In this episode of the Go Creative Show, cinematographer James Whitaker discusses his work on the film 'Good Luck, Have Fun, Don't Die,' directed by Gore Verbinski. The conversation covers the film's unique genre-bending narrative, the challenges of cinematography within a limited budget and timeframe, and the creative decisions that shaped its visual style. Whitaker shares insights on lighting techniques, camera choices, and the importance of collaboration in filmmaking. He also expresses concerns about the impact of AI on the creative industry, reflecting on the balance between technology and human artistry.

Takeaways

The film's title reflects a parental warning about technology. AI poses real challenges that society must address. Working with Gore Verbinski is both fun and creatively fulfilling. Genre-bending films allow for unique storytelling opportunities. Realism in cinematography enhances audience engagement. Budget constraints require innovative solutions in filmmaking. Lighting plays a crucial role in conveying emotional depth. Collaboration with the crew is essential for success. Imperfection in filmmaking can serve the story. AI's impact on creative jobs is a growing concern.

Follow our Guest

https://www.instagram.com/jameswhitaker_dop/

Follow our Host

https://www.instagram.com/benconsoli/

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What can puppetry teach filmmakers about acting, storytelling, and cinematography?

In this episode of The Go Creative Show, host Ben Consoli sits down with puppeteer and filmmaker Andrew G. Cooper (Fraggle Rock) to break down the filmmaking discipline behind puppetry—and why it might be one of the most underrated tools for learning visual storytelling.

Andrew shares how puppets demand clarity in performance, intentional framing, and disciplined direction, offering lessons that translate directly to working with actors and cameras. They explore in-camera effects, the resurgence of practical filmmaking, and how creative constraints often lead to stronger storytelling. Andrew also dives into his experience working on large-scale productions and how puppetry informs his work as a writer and director, including a feature film currently in development.

Whether you're a cinematographer, director, or storyteller, this conversation will change how you think about performance on screen.

TAKEAWAYS

Andrew G. Cooper's journey into puppeteering began with his mother's local puppet TV show.
The transition from theater to film puppetry involves understanding the frame and camera techniques.
Bringing life to puppets involves weight, breath, and focus.
Puppeteers are often actors and directors, integrating their skills into performances.
The resurgence of practical effects is driven by a desire for tangible, real experiences in media.
Constraints in puppetry can lead to creative solutions and improvisation on set.
Andrew's experience on Fraggle Rock was a significant leap from theater to television production.
Training and passion are essential for aspiring puppeteers and filmmakers.
The collaborative nature of film production allows for puppeteers to contribute creatively.
Andrew is developing a feature film that explores cosmic horror with puppetry.

LINKS

www.andrewgcooper.com

🎧 Subscribe to the Go Creative Show wherever you get your podcasts

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Join host Ben Consoli as he welcomes back Drew Wehde, the brilliant cinematographer behind The Bear Season 4. Drew dives deep into the chaos and beauty of shooting one of the most creatively daring shows on TV. From the philosophy of forgetting your work to designing lighting systems with 18Ks and Infinimats, Drew breaks down how The Bear achieves its raw, immersive style—and why sometimes, there’s no storyboard at all. Whether you're a seasoned DP, an indie filmmaker, or a Bear superfan, this is a must-listen.

🎬 Topics Covered * How to be present — stay focused on the moment while filming * Why filmakers should forget past work to unlock fresh creativity * Balance between filmmaking and family matters * Drew’s crew shares his “live in the now” mindset * The Bear uses bold, evolving visual techniques * Lighting and color are core to the show’s style * He built a custom lighting system for fast adjustments * The Season 4 finale is driven by character, not chaos * No storyboards or shot lists — pure flexibility on set * Filmmaking is a true collaboration with his team

🎥 Watch The Bear Season 4 Trailer 🎧 Subscribe to the Go Creative Show wherever you get your podcasts 📸 Follow Drew Wehde on Instagram @andrewwehde

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In this episode of the Go Creative Show, cinematographer Stephan Pehrsson returns to discuss his visual approach to the latest Black Mirror episodes, including 'USS Callister: Into Infinity' and 'Bête Noire'. We dive into lighting technology, camera choices, in-camera eﬀects, and the psychological tension behind every frame.

🎬 Topics Covered * How Black Mirror’s Visual Style Has Evolved Since Season 4 * The LED Lighting Revolution: What’s Changed Behind the Scenes * Green Screen vs LED Wall: The Battle for Better Sci-Fi * Keeping a Consistent Look Across Alien Worlds and Realities * Realism vs Stylization: How Stephan Shapes Each Scene * What It Took to Bring USS Callister Back to Life * Inside the Camera Kit: Breaking Down the USS Callister Package * Vintage Anamorphics Up Close: Getting That Cinematic Look * How They Pulled Off Those Seamless “Double” Shots * The Techno Dolly Trick: Making Handheld Magic Repeatable * How Stefan Handles the Pressure When the Clock’s Ticking * Breaking Into the Industry: Stephan's Cinematography Journey * Stephan's Big Break: From Soap Operas to Sci-Fi Giants * Designing the Look of Bête Noire: Pastels, Paranoia, and Precision * Creating Psychological Tension Through Cinematography * Why Passion Still Powers the Best Film Work * AI in Filmmaking: Helpful Assistant or Creative Threat?

🎥 Watch the BTS for USS Callister 🎧 Subscribe to the Go Creative Show wherever you get your podcasts 📸 Follow Stephan Pehrsson on Instagram @stephan.pehrsson

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The Art of the Oner: In this episode of the Go Creative Show, acclaimed cinematographer Adam Newport-Berra joins us to discuss his work on the hit series 'The Studio'. Adam opens up about his process, the pressure and passion behind one-take sequences, lighting approaches, camera builds, and the philosophy that drives his visual choices. If you're into cinematography, collaboration, or breaking into the industry, this conversation offers both inspiration and tactical insight.

🎬 Topics Covered * The storytelling power of long takes and why The Studio committed to the oner format * Prepping like a maniac: location scouting, movement planning, and lookbooks * Filming in a live Las Vegas casino * The benefits (and madness) of shooting with one lens, one camera, no coverage * Which celebrity cameo was Adam most nervous about... Spoiler...Martin Scorsese! * Why embracing chaos creates more grounded and exciting performances * Lighting for realism vs. stylization in high-glass, high-energy environments * The artistic beauty of maximalism and intentional visual anxiety * Balancing technical precision with raw human performance * Why strong leadership and a positive set culture are essential for creativity * Lessons on collaboration, adaptability, and protecting your inspiration outside of work

🎧 Key Takeaways * A relatable script is the heart of great cinematography—it gives every shot purpose. * Extensive prep is vital, especially when choreography, camera, and cast all move as one. * The show's one-shot format pushed every department to be smarter, faster, and more creative. * Working with a supportive crew makes bold risks possible—and fun. * Technical constraints (like using a 21mm lens and the Alexa 35) unlocked visual freedom. * Collaboration is everything: lighting, production design, and performance must all dance together. * Performance always trumps perfection. Capture the moment—then make it beautiful. * Spontaneity thrives when you're fully prepared. * Your life outside film matters. Inspiration isn’t just on set—it’s everywhere.

🎥 Watch the trailer for The Studio 🎧 Subscribe to the Go Creative Show wherever you get your podcasts 📸 Follow Adam Newport-Berra on Instagram @adamnberra

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Are filmmakers right to fear AI? Not exactly. In this episode, Ben Consoli sits down with Caleb Ward, co-founder of Curious Refuge, the leading platform for AI storytelling, to break down the real impact of AI on the filmmaking industry. They dive into how AI can enhance—not replace—human creativity, streamline production, and even open the door to entirely new job roles.

From ethical concerns to wild possibilities like generating full films from a single prompt, this conversation explores the exciting (and sometimes misunderstood) intersection of technology and storytelling. Whether you're AI-curious or AI-cautious, this episode is a must-listen for any modern filmmaker.

Key Takeaways: * Curiosity beats fear — filmmakers shouldn't be afraid of AI, but explore its potential. * AI enhances, not replaces — it's a tool to support storytelling, not steal jobs. * History repeats — every new tech in filmmaking faced initial skepticism. * AI in action — it's already helping with pre-vis, post-production, VFX, and animation. * Creativity still rules — AI lacks original storytelling ability; the human touch is essential. * New visuals, new possibilities — AI enables visuals once too costly or impossible to achieve. * The Sphere example — AI was used to enhance The Wizard of Oz experience in Las Vegas. * Inspiration & iteration — AI can speed up creative brainstorming and refine ideas. * Ethics & ownership matter — creators must consider legal and moral implications. * Jobs are evolving — AI is creating new roles in the industry, not just replacing old ones. * The future is hybrid — expect AI-assisted films, but human storytelling remains irreplaceable.

Links:

https://curiousrefuge.com AI Film News GoCreativeShow BC Media Productions

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In this episode of the Go Creative Show, Jessica Lee Gagné returns to discuss her experience filming Severance Season two, plus her Episode 7 directorial debut. She shares insights into her creative process, the challenges of shooting in unique environments, and the evolution of cinematography from Season One to Season Two. Jessica emphasizes the importance of collaboration, the emotional journey of directing, and the innovative techniques used in the series, including transitions and lighting choices. The conversation highlights her growth as a filmmaker and her aspirations for future projects

Takeaways

Jessica's directorial debut was a significant milestone in her career.
The opening shot of Episode 1 was a complex and collaborative effort.
Cinematography choices were crucial in maintaining the show's visual language.
Lighting evolved significantly from Season One to Season Two.
Collaboration with colorists was essential for achieving the desired aesthetic.
Directing Episode 7 allowed Jessica to explore new themes and storytelling techniques.
The emotional journey of directing was both challenging and rewarding for Jessica.
Trust and communication among the crew were vital for the success of the episode.
Flashbacks were a unique storytelling device that added depth to the narrative.
Innovative transitions in Episode 7 showcased the show's creative evolution.

LINKS

Jessica Lee Gagné GoCreativeShow BC Media Productions

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In this episode of the Go Creative Show, cinematographer Drew Daniels discusses his work on the film Anora, exploring the choices made in shooting on film, the challenges of balancing family life with a demanding career, and the unique lighting techniques that evoke a 70s aesthetic. He shares insights into the language of film, the importance of capturing authenticity, and how chaos can enhance the storytelling process. Drew reflects on his evolving collaboration with director Sean Baker and the milestones in his career that have shaped his approach to cinematography.

Takeaways

Shooting on film was a given for Anora.
The process of filmmaking can be challenging for family life.
Anamorphic lenses add a layer of magic to the film.
Lighting techniques were inspired by 70s aesthetics.
Capturing authenticity is key to engaging storytelling.
Chaos in filmmaking can lead to unexpected creativity.
Collaboration with directors shapes the cinematographer's work.
Career milestones can redefine a cinematographer's path.
The importance of a supportive crew in filmmaking.
Innovative techniques can elevate the visual storytelling.

Links

Drew Daniels

IMDB

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In this episode of the Go Creative Show, cinematographer Phedon Papamichael discusses his work on the film A Complete Unknown, exploring the visual style, character development, and innovative techniques used throughout the production. He shares insights into the evolution of cinematography as it relates to Bob Dylan's journey, the importance of texture and authenticity in the film's aesthetic, and the collaborative process with director James Mangold.

We also discuss his innovative techniques for shooting night exteriors, the importance of location filming, and the dynamic control of lighting on set. He reflects on the musicality of filmmaking and the collaborative process with actors and directors. Additionally, he shares his thoughts on the impact of AI on the future of cinematography and the importance of maintaining creative integrity in filmmaking.

Takeaways

This film is about capturing the protagonist's interior doings. The visual style evolved to reflect Bob Dylan's transformation. Using period photography as inspiration helped shape the film's look. The cinematography aimed for a more intimate character study. The film's texture was intentionally rough and less polished. Cinematography evolved with the character's journey and energy. Innovative low light techniques were explored for authenticity. Collaboration with the director was key to achieving the film's vision. The use of multiple cameras allowed for a dynamic shooting style. The final look was carefully calibrated to match the intended aesthetic. Shooting at high ISO allows for creative night exteriors. Controlling light is more about subtraction than addition. Location filming enhances the authenticity of a film. Dynamic lighting can create a more organic feel on set. Collaboration with actors can lead to unexpected creative choices. The use of technology can streamline the filmmaking process. AI poses challenges but also opportunities for filmmakers. Maintaining communication on set is crucial for success. Filmmaking should remain a human-centered process. Finding the right collaborators is key to creative filmmaking.

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In this episode of the Go Creative Show, cinematographer Jarin Blaschke discusses his work on the new film Nosferatu, reflecting on his journey in cinematography and the collaborative process with director Robert Eggers. He delves into the unique visual style of Nosferatu, including the use of moonlight and lighting techniques, as well as the challenges faced during production. Jarin shares insights on camera movement, framing choices, and the emotional impact of the film on viewers. He also hints at future projects and his aspirations in the film industry.

Takeaways

The journey to becoming a cinematographer can be long and challenging.
Collaboration with Robert Eggers has been pivotal in Jarin's career.
Lighting techniques in Nosferatu were carefully developed over time.
The film's unique look was influenced by historical context and artistic choices.
Camera movement in Nosferatu aims to create an eerie viewer experience.
Jarin emphasizes the importance of framing and composition in storytelling.
The emotional impact of the film is enhanced by its visual style.
Future projects may explore new techniques and styles in filmmaking.
Jarin is open to directing in the future, exploring new creative avenues.

Show Links * Go Creative Show * BC Media Productions

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In this episode of the Go Creative Show, cinematographer Alice Brooks discusses her work on the film Wicked, exploring its visual aesthetic, the return of practical effects in cinema, and the challenges of lighting large sets. She emphasizes the importance of collaboration and trust within her crew, the role of nature in storytelling, and the innovative use of Unreal Engine for pre-visualization. The conversation also touches on female representation in the film industry and the personal journeys of women in cinematography.

Takeaways

Wicked is a friendship love story
Classic Hollywood inspired visuals
Practical effects are making a comeback in cinema.
How nature inspired the lighting choices.
Collaboration and trust are crucial in filmmaking.
Intimacy in cinematography enhances emotional connection.
Pre-visualization with Unreal Engine was essential for planning.
Alice Brooks emphasizes the importance of details in filmmaking.
Female representation in cinematography is growing and inspiring.

Show Links * Go Creative Show * BC Media Productions * WICKED IMDb * Alice Brooks IMDb

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In this episode of the Go Creative Show, hosts Ben Consoli and Connor Crosby celebrate the recent rebranding of BC Media Productions and emphasizing the importance of organization in the filmmaking process. They share their top organizational tools, including Notion, for project management and staying organized amidst a busy production schedule. The conversation also touches on the significance of project codes for high-level organization. They discuss early reactions to the Final Cut Pro 11 release, and their excitement for upcoming films like Nosferatu and Wicked. PLUS, Ben's reactions to his first viewing of Wizard of Oz.

Takeaways

BC Media Productions has undergone a significant rebranding.
Staying organized is crucial in the filmmaking process.
Notion is a valuable tool for project management.
Using project codes can enhance organization.
Final Cut Pro continues to evolve with new features.
Practical effects are making a comeback in modern filmmaking.
Early reactions to the new Nosferatu film
Excitement for Wicked movie
Ben's first time watching Wizard of Oz

Links:

https://bcmediaproductions.com https://www.facebook.com/gocreativeshow https://www.instagram.com/gocreativeshow Have a show idea? Leave a comment!

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In this episode of the Go Creative Show, host Ben Consoli interviews Elie Smolkin, the director of photography for the series 'American Sports Story: Aaron Hernandez.' They discuss the unique storytelling approach of the series, focusing on the complexities of Aaron Hernandez's life beyond sports. Elie shares insights into the visual style, including the use of color to represent trauma and the innovative techniques used to depict CTE. The conversation also covers the challenges faced during filming, the importance of collaboration in filmmaking, and Elie's personal goals in the industry.

The Go Creative Show is produced by Ben Consoli and Connor Crosby, Creative Director and Producer at BC Media Productions

Takeaways

The story of Aaron Hernandez is an anti-sports story.
Visual storytelling is crucial for engaging narratives.
Color plays a significant role in conveying themes.
CTE representation required innovative cinematography techniques.
Camera movement enhances the emotional connection to characters.
Collaboration and communication are key in filmmaking.
Preparation is essential for managing complex shoots.
Flexibility in creative decisions leads to better outcomes.
Finding a compelling story is a filmmaker's challenge.
Building a strong crew is vital for a successful production.

Chapters

00:00 Introduction to the Story of Aaron Hernandez 02:57 Visual Storytelling and Cinematic Techniques 05:31 Representing CTE Through Cinematography 11:45 Choosing the Right Camera Package 12:48 Using Camera Motion to Tell Visual Stories 17:45 Challenges in Filming Dramatic Episodes 19:34 The Challenges of Filming Episode 6 27:37 Maintaining Visual Consistency While Working with Multiple Directors 33:27 Joining the Ryan Murphy Family of Filmakers 33:57 Filmmaking Mistakes and How to Learn From Them 38:14 Goals and Aspirations in Filmmaking

Links:

https://eliesmolkin.com https://bcmediaproductions.com https://www.facebook.com/gocreativeshow https://www.instagram.com/gocreativeshow Have a show idea? Leave a comment!

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In this episode of the Go Creative Show, host Ben Consoli welcomes back Jason McCormick, the director of photography for 'Monsters: The Lyle and Eric Menendez Story.' They discuss the pressures and expectations of following a successful series, the approach to adapting controversial real-life stories, and the unique lighting and visual style of the show. Jason shares insights into preparing for the gruesome murder scene and the impact of the one-take format in episode five, highlighting the importance of storytelling in filmmaking.

In this conversation, Jason McCormick discusses:

His experiences and insights as a cinematographer
Focusing on the creative process behind the series
How he humanizing characters
Using scattered light in cinematography
The Importance of having a background in film
Reflection on the future of immersive filmmaking and the communal experience of cinema.

LINKS

Go Creative Show
BC Media Productions
Jason McCormick Official Website
Lightbridge

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Summary

In this episode of the Go Creative Show, Ben Consoli and Connor Crosby discuss the latest happenings in the film industry, including their thoughts on Apple's new immersive film 'Submerge' and the controversial musical 'Joker 2'. They also delve into the impact of AI on filmmaking, highlighting the advancements in video generation technology and its implications for the future of cinematography.

Takeaways

Apple's Vision Pro enhances immersive film experiences.
'Submerge' showcases innovative storytelling techniques.
Joker 2's musical format raises questions about its execution.
AI is revolutionizing video production and editing.
The importance of prompts in AI-generated content.
Filmmakers are exploring new creative avenues with technology.
The balance between risk and audience reception in filmmaking.
Meta Movie Gen jumps into the AI video space
The evolution of cinematography through technological advancements.
Community engagement is vital for filmmakers and production companies.

Links

Go Creative Show
BC Media Productions
Ben's band Three Second Chances
Behind the Scenes of Apple's Immersive Film "Submerge"
Meta Movie Gen
Firefly AI Video Generator

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In this episode of The Go Creative Show, Ben and Connor dive into the art of building production crews across different locations. They share fun and practical tips, from using Facebook groups and Production Hub to find local talent, to creating eye-catching specialized reels for cinematographers. Plus, they highlight why being a jack-of-all-trades is a filmmaker’s secret weapon. It’s all about staying flexible and thinking on your feet in the ever-changing world of production. Tune in for some great stories, pro tips, and a chance to share your own experiences with the hosts!

Takeaways

Assembling crews in unfamiliar locations is a common challenge.
Facebook groups remain a valuable resource for finding crews.
Specialized reels are crucial for cinematographers to showcase relevant work.
Producers should be clear and concise in their requests to potential hires.
Honing skills in various roles enhances a producer's effectiveness.
Understanding local laws and conditions is vital for safety on set.
Networking through established relationships can streamline crew assembly.
Budget constraints often require producers to wear multiple hats.
Engaging with the audience can lead to valuable insights and discussions.
Continuous learning and adaptation are key to success in filmmaking.

Links

Go Creative Show
BC Media Productions
Ben's band Three Second Chances

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In this episode of The Go Creative Show, host Ben Consoli and producer Connor Crosby discuss the recent hiatus of the podcast, their busy schedules, and the future direction of the show. They explore the impact of new technology, particularly the iPhone 16 camera capabilities, on the filmmaking industry. The conversation delves into whether iPhones can replace professional cameras, real-world applications of iPhone filmmaking, and the accessibility of filmmaking tools. They also reflect on the evolution of filmmaking equipment and the importance of skill in the industry.

Links:

Go Creative Show Website

BC Media Productions Website

Three Second Chances (Ben's New Band)

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Cinematographer Krzysztof Trojnar discusses his work on the Netflix show Baby Reindeer, sharing insights into the visual approach, using the Alexa LF Mini camera package, lens choices, and creating a sense of claustrophobia in cinematography. He also delves into the challenges of depicting drug use and the impact of AI tools on the industry.

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WINNING TIME season 2 director and cinematographer Todd Banhazl joins cinematographers John Matysiak and Ricardo Diaz to discuss their use of mixed formats to create an authentic '80s aesthetic. They shed light on their collaboration in bringing the Celtics vs. Lakers rivalry to life on screen, their seamless blend of drama and humor, collaboration as cinematographers, and Todd's story of going from cinematographer to director.

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Show Links * WINNING TIME season 2 * WINNING TIME IMDb * Our Winning Time season 1 interview with Todd Banhazl and Mihai Malaimare Jr.

Follow Our Guests * Ricardo Diaz’s IMDb * Todd Banhazl’s IMDb * John Matysiak’s IMDb

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Ignition Visuals' website

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GRAN TURISMO director of photography Jacques Jouffret shares his adrenaline-inducing visual approach to creating this gripping and authentic racing film. We discuss his meticulous approach to capturing the racing world's intensity, blending realism and authenticity without relying on heavy VFX. Also find out about his meticulous approach to recreating the pivotal Nürburgring crash and much more.

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Go Creative Show is supported by:

Sony VENICE

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Show Links * Gran Turismo IMDb

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Ignition Visuals' website

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THE RIGHTEOUS GEMSTONES director of photography Paul Daley breaks down his visual approach to season 3. We discuss the various camera movement, lighting, and lensing tricks he used to advance the latest season. Find out how the lotus scene was shot practically, how Paul makes studio sets look real, and so much more.

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What you will learn in this episode * Shooting the Locust scene practically (02:26) * Visual approach to season 3 (07:45) * Using both Signature and Supreme lenses (16:35) * Camera movement and lighting (20:35) * Approach to night exteriors (25:33) * Practical locations vs sets (29:12) * Filming the racecar and monster truck scenes (36:43) * Paul's favorite scene in season 3 (41:14) * And more!

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Show Links * The Righteous Gemstones on MAX

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Ignition Visuals' website

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Disney's live-action adaptation of THE LITTLE MERMAID is a beautiful retelling of the beloved animated film. It's filled with the characters and songs you love while keeping it fresh and modern. Director of photography Deon Beebe ACS ASC shares how they used incredible rigs to pull off the spectaular underwater scenes.

Deon and Go Creative Show host, Ben Consoli, discuss the inspriation from BBC's BLUE PLANET series, using different lens types above and below the water, cinematography tricks used when Ariel can't speak, why the Italian coast was perfect to portray the Caribbean, and so much more.

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What you will learn in this episode * Bringing the animated film to life (03:26) * Being inspired by BBC's BLUE PLANET (08:15) * Filming the underwater world (11:30) * Putting actors in rigs to simulate swimming (18:18) * Using different lenses for above and below water (25:57) * Why THE LITTLE MERMAID is so dark (28:11) * Turning an Italian beach into the Caribbean (32:26) * Why the underwater scenes were so difficult (40:33) * Filming the shipwreck scenes (42:37) * Cinematography tricks used when Ariel can't speak (46:01) * Filming Under The Sea musical number (52:36) * Dion's thoughts on the visual effects (54:27) * And more!

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Show Links * THE LITTLE MERMAID (2023) trailer * THE LITTLE MERMAID on IMDb

Follow Our Guest * Dion Beebe’s Instagram * Dion Beebe’s IMDb

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Ignition Visuals' website

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Cinematographer Pawel Pogorzelski returns to Go Creative Show to discuss his latest film Beau Is Afraid and his collaboration with director Ari Aster. Pawel shares his experience filming with the Sony Venice and Rialto extension system, how he creates a cohesive palette for the film's many different looks, and the lens and lighting choices that gave Beau Is Afraid its many unique and surreal looks. We also answer audience questions and take a deep dive into how Pawel creates "vulnerability" in his cinematography.

Pawel does his best to explain what the film is about, but after watching the 3-hour odyssey and our interview with Pawel, we still aren’t completely sure… maybe that's the point? Regardless of your understanding, or even opinion of the movie, this interview will inspire and educate film enthusiasts and movie fans alike.

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What you will learn in this episode * How BEAU IS AFRAID was pitched to Pawel (01:31) * Camera techniques to show anxiety (06:15) * Using wide lenses (12:37) * The different looks of BEAU IS AFRAID (16:27) * Using an LED wall for the cruise ship scenes (22:35) * Why the Sony Venice was the best choice (30:46) * Relationship with camera operators (37:08) * Not putting yourself in a genre box with cinematography (40:11) * Pawel's philosophy as a cinematographer (42:14) * And more!

Go Creative Show is supported by:

Sony Cine For the month of May 2023, Sony is offering special financing on their entire cinema line, and extended financing on the VENICE and VENICE 2 cameras. Visit SonyCine.com for details. Subscribe + Follow Go Creative Show * Twitter * Facebook * Apple Podcasts * Stitcher * Google Play Podcasts * iHeart Radio * YouTube

Show Links * BEAU IS AFRAID IMDb

Follow Our Guest * Pawel Pogorzelski's Instagram * Pawel Pogorzelski's IMDb

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Ignition Visuals' website

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ELVIS director of photography Mandy Walker, ASC, ACS breaks down her incredible Oscar-nominated visual approach to the film. We discuss her great level of detail recreating iconic Elvis concerts, how different lenses were used for each of the decades, portraying Elvis’ internal struggles through evolving lighting, and more.

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What you will learn in this episode * Relationship with director Baz Luhrmann (03:17) * How lens choice represented different time periods of ELVIS (06:10) * Camera movement of ELVIS (13:20) * The importance of meticulous prep (16:55) * What to look for in a great camera operator (22:59) * Lighting the Vegas hotel room (25:26) * The evolving lighting in ELVIS (28:51) * How historical accuracy can be a fun challenge (35:16) * Detuning lenses for a custom look (36:33) * Filming Elvis' last performance (41:13) * And more!

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Show Links * ELVIS trailer * ELVIS IMDb

Follow Our Guest * Mandy Walker ASC ACS IMDb * Mandy Walker ASC ACS’ Instagram

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Ignition Visuals' website

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DEVOTION director of photography Erik Messerschmidt, ASC shares the incredible way most of the fighter plane shots were captured practically. Plus, we discuss the visual approach to the film, the advantage of using custom lenses over filtration, the disadvantages to using an LED volume, and so much more.

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What you will learn in this episode * Creating a muted look to DEVOTION (03:41) * How the plane sequences were shot practically (09:31) * Filming the oner aerial crash scene (20:38) * Using custom lenses with the RED Komodo (26:12) * Two different visual worlds - military and family life (29:33) * How to decide on lens focal length (33:12) * Visual approach to France scenes (40:52) * Pressure for historical accuracy (43:21) * Filming with the LED volume (46:43) * Why it's important for theaters to have good projectors (50:21) * And more!

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Show Links * DEVOTION IMDb * DEVOTION trailer

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GLASS ONION: A KNIVES OUT MYSTERY director of photography Steve Yedlin, ASC gives a masterclass in murder mystery cinematography. Learn how the blackout scene was shot, techniques for filming ensemble casts, and how motivated camera movement was its own character in the film.

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What you will learn in this episode * Steve's thoughts on streaming distribution (04:31) * HDR problems and TV calibration (10:24) * Camera package used on GLASS ONION (16:11) * Lens filters and custom modifications (18:45) * Lighting techniques and technologies for GLASS ONION (26:18) * Lighting philosophies and embracing glass reflections (31:54) * Creating the lighthouse lighting rig (38:23) * Filming large ensamble scenes and understanding eyelines (46:50) * How camera motion is used in GLASS ONION (53:56) * And more!

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Show Links * GLASS ONION on Netflix * GLASS ONION trailer * GLASS ONION IMDb

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THE WHITE LOTUS season 2 director of photography Xavier Grobet, ASC, AMC joins us to discuss the pro’s and con’s of filming in a real hotel in Sicily, creating realistic sex scenes, shooting day for night, and more. Xavier tells Go Creative Show host Ben Consoli all about his camera and lens choices and how he paid homage to Monica Vitti’s classic Italian films.

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What you will learn in this episode * Paying homage to italian films (01:20) * Challenges of filming in a real hotel (04:08) * Visually approaching season 2 (09:17) * Lighting and lensing for filming exteriors in Sicily (11:43) * Lighting the environment for maximum camera co... (17:02) * Xavier's Camera and Lens Choices (19:11) * What makes filming sex scenes so difficult (23:33) * Building suspense with cinematography (31:26) * Tanya and the yacht massacre (35:58) * Why DPs are ultimately probelm solvers (40:18) * Shooting night for night (42:56) * And more!

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Show Links * THE WHITE LOTUS IMDb * THE WHITE LOTUS on HBO Max

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AVATAR: THE WAY OF WATER director of photographer Russell Carpenter ASC talks with Go Creative Show host Ben Consoli about the making of the film and using the custom-made 3D Sony Venice. Russell also dives deep into the underwater motion capture system, the process of virtual filmmaking, lighting in a virtual world and so much more.

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What you will learn in this episode * Russell's thoughts on critics (02:40) * Filming the incredible underwater scenes with motion capture (07:37) * Why Russell decided to film with the Sony Venice (15:28) * Deep dive into the lighting of AVATAR: THE WAY OF WATER (26:09) * Was the Sony Venice Rialto born from AVATAR: THE WAY OF WATER? (33:10) * Filming at 48 frames per second (37:44) * The cinematographer's role in a VFX-heavy film (43:10) * AVATAR's production workflow explained (52:16) * Why it's important for filmmakers to embrace new technology (01:01:07) * And more!

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Sony Venice Subscribe + Follow Go Creative Show * Twitter * Facebook * Apple Podcasts * Stitcher * Google Play Podcasts * iHeart Radio * YouTube

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BLACK PANTHER: WAKANDA FOREVER director of photographer Autumn Durald Arkapaw ASC joins Go Creative Show host Ben Consoli to discuss her camera, lighting and lens choices. We also discuss her early career, filming Underwater “dry for wet," night exterior and Autumn's experience with the Sony Venice.

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What you will learn in this episode * Lighting philosophy of Wakanda Forever (02:04) * A cinematographer's role in visual effects (06:33) * Filming Talokan and underwater cinematography (13:57) * The cameras and lenses used on Wakanda Forever (24:13) * Why Autumn chose the Sony Venice (27:03) * Filming night exteriors (30:56) * Filming the Namor flashback sequence (40:11) * Why Autumn loves the Okoye firing scene (43:58) * Filming in Boston (47:35) * Autumn's early days in filmmaking (50:25) * And more!

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Show Links * Black Panther: Wakanda Forever IMDb * Black Panther: Wakanda Forever trailer

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THE BEAR is a masterclass in creating visual chaos and its director of photography Andrew Wehde shares his camera and lighting techniques and philosophies.

Andrew and Go Creative Show host, Ben Consoli, discuss tips of filming food, how his approach to cinematography is different in and out of the kitchen, use of camera movement, approach to lighting, and so much more.

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What you will learn in this episode * Creating chaos with Cinematography (05:01) * The benefits of efficiency in filmmaking (09:06) * Advice on filming food (15:23) * Comparing the cinematography inside and outside the kitchen (18:50) * Filming on the Alexa Mini LF (20:23) * The lighting design of THE BEAR (21:55) * Andrew's use of camera movement on THE BEAR (27:53) * Breaking down the 20-minute oner shot in episode 7 (30:46) * Andrew's favorite scenes, and why (48:28) * And more!

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Show Links * THE BEAR IMDb * THE BEAR trailer * THE BEAR on Hulu

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Cinematographer Jason McCormick breaks down his cinematography for the Netflix hit series, DAHMER - MONSTER: THE JEFFREY DAHMER STORY.

Jason and Go Creative Show host, Ben Consoli, discuss the gritty cinematography, challenges of working with episodic directors, shooting with the Sony Venice, and we break down some of the series’ most brutal scenes.

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What you will learn in this episode * Controversy of DAHMER (01:21) * Storytelling techniques of DAHMER (07:13) * Are locked off shots boring for cinematographers? (16:21) * Shooting on the Sony Venice (23:46) * Warm approach to lighting (32:27) * Tribe Blackwing 7 lenses (40:21) * How to deal with reflections in glasses (42:44) * And more!

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Show Links * DAHMER trailer * DAHMER on Netflix * DAHMER IMDb * TRIBE BLACKWING 7 Lenses

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Director Robert Eggers and cinematographer Jarin Blaschke return to the Go Creative Show to discuss THE NORTHMAN. Listen as Robert and Jarin boldly and honestly share their struggles and victories while making the film.

Robert, Jarin, and Go Creative Show host, Ben Consoli, break down the film's fluid camera movement, how to expose for low light scenes, pros vs cons of large film crews, challenging actors with the raw elements of nature, multiple approaches to filming night exterior scenes, and more!

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What you will learn in this episode * How Robert and Jarin's careers have progressed since THE WITCH (01:14) * Why there's lots of camera movement (05:31) * Can historical accuracy hinder a project? (12:01) * Challenges of the firey raid sequence (16:41) * How to expose for low light scenes (20:53) * Working through complex setups on set (23:06) * Why larger crews can be more frustrating (31:25) * How a "clean" look was achieved (34:06) * Different ways of approaching night scenes (39:54) * Working with actors in the raw elements outdoors (47:03) * Filming with smoke and fire on set (51:18) * Different ways of incorporating visual effects (52:50) * Biggest lessons learned filming THE NORTHMAN (55:52) * And more!

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Shot Lister - The Best Shot List App Email gocreativeshow@shotlister.com to claim your free gift Subscribe + Follow Go Creative Show * Twitter * Facebook * Apple Podcasts * Stitcher * Google Play Podcasts * iHeart Radio * YouTube

Show Links * THE NORTHMAN IMDb * THE NORTHMAN on Apple TV

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EVERYTHING EVERYWHERE ALL AT ONCE is a gloriously, messy, genre-bending film directed by The Daniels and shot in only 36 days by Director of photographer Larkin Seiple.

Larkin and Go Creative Show host, Ben Consoli, break down his visual approach to the different universes. Plus, we discuss how the multi-verse transitions were achieved, the inspiration for hot dog fingers, the many types of lenses used, working with tight budgets, driving 4 hours for a 1 minute rock scene, and much more.

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What you will learn in this episode * Making sense of EVERYTHING EVERYWHERE as filmmakers (01:29) * How to avoid overwhelming your audience (08:44) * Visual approach to each universe (10:42) * Why the Wong Kar Wai flashbacks were so challenging (13:46) * Driving 4 hours to film the rock scene (19:32) * Why so many lenses were used (22:12) * Filming EVERYTHING EVERYWHERE in only 36 days (32:45) * Choreographing all the fight scenes (38:09) * How filming music videos translated to EVERYTHING EVERYWHERE (45:53) * Shooting the multi-verse transitions (50:21) * And more!

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Show Links * EVERYTHING EVERYWHERE trailer * EVERYTHING EVERYWHERE IMDb * Todd-AO Anamorphic — Camtec

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Marvel’s MOON KNIGHT and A24’s THE GREEN KNIGHT are filled with original and compelling cinematography thanks to director of photography Andrew Droz Palermo. We do a deep dive into Andrew’s visual approach for both projects.

Andrew and Go Creative Show host, Ben Consoli, discuss why he avoided excessive close up angles, how filming handheld can motivate editing, what no one thinks about when filming in the desert, cinematography tricks to make someone look crazy, and so much more.

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What you will learn in this episode * Learning from other cinematographers on a series (01:03) * Avoiding excessive close ups (07:00) * How shooting handheld can motivate editing (08:54) * Why cinematographers should rehearse with actors (12:56) * Setting yourself up for success filming 360° on set (18:11) * What no one thinks about when filming in the desert (22:23) * How to light scenes with only flashlights (27:32) * Working with practical references for CGI elements (32:49) * Why filming reflections is so challenging (35:15) * Making someone look crazy with cinematography (39:58) * Tricks to film duplicates of actors in camera (43:37) * Cinematography of THE GREEN KNIGHT (46:27) * Framing composition inspired by paintings (50:10) * Why Arri DNA lenses were the clear choice (54:42) * And more!

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Show Links * MOON KNIGHT IMDb * MOON KNIGHT trailer * MOON KNIGHT on Disney+ * THE GREEN KNIGHT IMDb * THE GREEN KNIGHT trailer * THE GREEN KNIGHT on Hulu * THE GREEN KNIGHT on ShowTime

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JURASSIC WORLD DOMINION brings the dinosaurs to the rest of the world in a terrifying way. Director of photography John Schwartzman ASC shares how the scare factor was pushed thanks in part to his amazing cinematography.

John and Go Creative Show host, Ben Consoli, discuss shooting both on film and digitally, working with animatronic dinosaurs, the hustle of being a cinematographer, filming with iPhones, plus we break down some of the biggest scenes in the movie.

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What you will learn in this episode * Filming JURASSIC WORLD DOMINION during COVID (01:29) * Why DOMINION was shot on both film and digital (09:15) * Benefits of filming animatronics vs CGI (18:37) * Working with the original cast from JURASSIC PARK (21:07) * The hustle of being a cinematographer (24:05) * Creating dinosaur "witness cam" footage with iPhones (30:08) * Filming Claire hiding underwater from the dinosaura (36:32) * Avoiding looking at a monitor while filming (41:33) * Shooting the interior of Biosyn (45:06) * Filming the Biosyn Locust scene (51:38) * Using custom tuned lenses (58:16) * And more!

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Show Links * JURASSIC WORLD DOMINION trailer * JURASSIC WORLD DOMINION IMDb * The Beaumonte mini vistavision camera * N-Cam Technology * Artemis Pro * Pinewood Studios * What is Vista Vision * The Architecture of Raymond Loewy

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OUTER RANGE keeps you on the edge of your seat with its dramatic, sci-fi focused storytelling and incredible visuals. Cinematographer Drew Daniels shares how he “steals” the great DP Roger Deakins’ lighting techniques as we deconstruct the show’s visual approach.

Drew and Go Creative Show host, Ben Consoli, discuss collaborating with other cinematographers on a series, having a sense of humor with cinematography, the effects of camera movement on a scene, relying on practical lighting, and so much more.

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What you will learn in this episode * How OUTER RANGE is unconventionally science fiction (01:32) * Collaborating with the other cinematographers (04:19) * How to leave your cinematography mark (06:04) * Why filming less gives cinematographers more control (09:48) * Having a sense of humor with cinematography (15:20) * Regretting the chosen aspect ratio (20:21) * "Stealing" from Roger Deakins' lighting approach (24:32) * Using practical lighting in cinematography (29:18) * OUTER RANGE visual references (31:33) * How camera movement perfected the rodeo scenes (34:51) * And more!

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Show Links * OUTER RANGE trailer * OUTER RANGE on Amazon Prime Video * OUTER RANGE IMDb * Robert Muller * Ernst Hass

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BETTER CALL SAUL cinematographer Marshall Adams shares how the show's visual approach has evolved over its six seasons plus we break down some of the final seasons biggest moments.

Marshall and Go Creative Show host, Ben Consoli, discuss using choreographed dance actors in the season 6 opening scene, why the “ant macro shot” was so challenging, filming the beautiful desert vistas, how crew is affected by filming in the desert, and so much more!

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What you will learn in this episode * The emotional impact of filming the end of a show (02:07) * Why the opening of season 6 was shot with dance actors (04:30) * How to prep and film a oner continuous shot (08:16) * Embracing new filmmaking technology (13:52) * Creatively using smaller camera packages (17:28) * Why the Alexa mini LF is the best choice (21:02) * Complexities of filming an ant (24:22) * Visual evolution of Better Call Saul (29:34) * Capturing the breath-taking sweeping desert vistas (35:33) * Visually communicating the journey of Saul (40:39) * How BETTER CALL SAUL pays homage to filmmaking industry (43:36) * How filming in the desert impacts film production (47:07) * And more!

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Show Links * BETTER CALL SAUL IMDb * BETTER CALL SAUL season 6 trailer * DJI RS2 * Xeen Prime Lenses * Laowa Lenses

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Learn how cinematographer Simon Dennis BSC created an authentic and super saturated early 1980’s world for CANDY on Hulu.

Simon and Go Creative Show host, Ben Consoli, discuss why he chose the Sony Venice and custom tuned lenses to create CANDY and how the look was inspired by William Eggleston and Napoleon Dynamite. We also dive deep into the 1:66 aspect ratio, the challenges of working with child actors, how to make multi-camera look like single camera, and much more!

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What you will learn in this episode * How color and saturation represents plot (03:35) * Being influenced by Nepolioan Dynamite (09:15) * Recreating the 1980s through cinematoraphy (13:18) * Shooting with limited daylight hours (17:14) * Why the 1.66 aspect ratio is important (20:10) * Simion's approach to shooting wideshots (24:09) * Creating a "vinyl" look with detuned lenses (30:31) * Approach to lighting CANDY (36:25) * Working with actor Justin Timberlake (40:32) * Deconstructing the court room scenes (50:02) * And more!

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Show Links * CANDY IMDb * CANDY trailer * CANDY on Hulu * William Eggleston - unseen Kodachrome dye transfer process photos * Napoleon Dynamite * The Magic Of The 1.66:1 Aspect Ratio

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PACHINKO cinematographer Florian Hoffmeister BSC shares how he created one cohesive look to represent multiple decades in Japan and Korea. What cameras and lenses did he choose and why? We discuss it all. Florian and Go Creative Show host, Ben Consoli, talk about the challenges of filming in a language and culture he didn’t understand, why episode 7 has a completely different look, his approach to the earthquake scene, lessons learned, and more!

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What you will learn in this episode * What PACHINKO accomplishes as a story (01:46) * Portraying the changing time periods (03:09) * How to use space effectively in cinematography (06:05) * Challenges of not knowing the language or culture (10:32) * When to say no to a project (17:38) * The visual approach to PACHINKO (24:57) * Florian's approach to filming exteriors (30:05) * The crazy logistics of using a camera crane on the water (35:42) * Shooting episode 7 with a different aspect ratio (42:22) * Breaking down the earthquake scenes (47:45) * Lessons learned filming PACHINKO (51:54) * And more!

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Show Links * PACHINKO trailer * PACHINKO on Apple TV+ * PACHINKO IMDb * Panaspeed | Panavision * Gordon Parks's Long-Forgotten Color Photographs of Everyday Segregation * Gordon Parks's Intimate Color Photographs of Life in Segregated Alabama - Artsy

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Learn the masterful way that cinematographer Shawn Peters visually portrayed dementia in THE LAST DAYS OF PTOLEMY GREY on Apple TV+.

Shawn and Go Creative Show host, Ben Consoli, discuss how to use different lenses and camera tricks to evolve a show's look over time, using broken glass to create stunning in-camera effects, how to create the perfect day for night, and more!

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What you will learn in this episode * Working on an Oscar-winning project (00:55) * Incorporating archive footage into a project (03:41) * Did Will Smith's slap take away from winning an Oscar? (11:10) * Establishing an evolving look to the series (12:54) * Using broken glass to create unique in-camera effects (18:48) * Portraying character development through different lenses (29:22) * How to do a perfect day for night (41:15) * Creating realistic moonlight (49:23) * Lighting and filming realistic fire scenes (55:54) * And more!

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Show Links * THE LAST DAYS OF PTOLEMY GREY IMDb * THE LAST DAYS OF PTOLEMY GREY trailer * THE LAST DAYS OF PTOLEMY GREY on Apple TV+ * Angenieux 50mm .95 * Camtec Falcon Lenses * Days of Heaven * The Plot Against America Interview on Go Creative Show

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THE DROPOUT cinematographer, Michelle Lawler, shares her unique opportunities and challenges while filming on location for the hit Hulu series about Elizabeth Holmes and Theranos.

Michelle and Go Creative Show host, Ben Consoli, discuss how character development affects cinematography, using 200 astera tubes to light an office, tips for creating eyelights, and so much more.

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What you will learn in this episode * Cinematography appeal to THE DROPOUT (01:57) * How reality can affect cinematography (06:00) * The role of a pilot cinematographer (09:14) * Using 200 astera tubes to light an office (11:43) * How character development motivates cinematography (20:20) * Why Cooke lenses are so good (26:30) * Using Leica lenses to create a modern look (30:18) * Shooting on stage vs. shooting on location (37:19) * Using very intentional camera movement (40:30) * Limited lighting options for office interiors (46:50) * Using a pizza box bounce for eyelights (48:53) * Cramming 5 weeks of prep for 4 episodes (54:19) * And more!

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Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership Subscribe + Follow Go Creative Show * Twitter * Facebook * Apple Podcasts * Stitcher * Google Play Podcasts * iHeart Radio * YouTube

Show Links * THE DROPOUT IMDb * THE DROPOUT trailer * THE DROPOUT on Hulu * Leica Summilux-C Lenses

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Even if you're not a basketball fan, you will fall in love with the 1980s visual style of HBO's WINNING TIME. Cinematographers Todd Banhazl and Mihai Malaimare Jr. discuss how they used several different camera types and formats to perfectly capture the look of the series.

Todd, Mihai, and Go Creative Show host, Ben Consoli, discuss filming with the Ikegami camera, post-processing techniques to help age the look, creating a visual rule book, how hard light affects character development, breaking down the biggest scenes, and more!

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What you will learn in this episode * Why WINNING TIME was shot multi-format (01:34) * The 1980s visual look with the Ikegami camera (04:35) * Techniques to help age the footage even more in post (11:55) * Why having a visual rule book was so crucial (15:29) * "Aggressive" cinematography style approach (21:55) * Building light structures in ceilings (25:34) * Referencing 1980s advertising (29:50) * How hard light affects character development (34:07) * Approach to night exteriors (41:25) * Techniques for filming authentic basketball games (44:28) * Lighting the White Party scene (52:57) * Shooting the Lodge scene (56:35) * And more!

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Show Links * WINNING TIME trailer * WINNING TIME on HBO * WINNING TIME IMDb * ReFlex - R15 - Cineo Lighting * Ikegami ITC-730A * Ikegami HL-79E 3 Tube Camera

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CODA cinematographer, Paula Huidobro, discusses the Oscar-winning film and unique challenges of filming actors using sign language. Plus, her thoughts on the Will Smith slap incident.

Paula and Go Creative Show host, Ben Consoli, share techniques for lighting natural looking interiors, letting the camera take a back seat, embracing harsh sunlight and the cinematic beauty of New England. We also talk about how she captured the 1980s with her work on the show PHYSICAL.

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What you will learn in this episode * CODA's Oscar win and reaction to Will Smith slap (01:23) * How sign language affects cinematography (06:27) * Realistic approach to lighting interiors (13:14) * How the Sony Venice allowed for low light cinematography (20:38) * Capturing the Look of New England (24:45) * Why all boat scenes were shot in the ocean (28:45) * Embracing harsh sunlight for exteriors (32:15) * Go-to lighting fixtures and filtration (37:26) * Shooting the 1980s period comedy drama PHYSICAL (40:37) * Taking a backseat approach to shooting CODA (45:53) * And more!

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Show Links * CODA IMDb * CODA trailer * CODA on Apple TV+ * PHYSICAL IMDb * PHYSICAL trailer * PHYSICAL on Apple TV+

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Award-winning series DOPESICK is a masterclass in breathtaking cinematography and storytelling. Director of photography Checco Varese ASC shares how he evolved the show's visual approach throughout the series.

Checco and Go Creative Show host, Ben Consoli, discuss the importance of dailies looking as close to final as possible, making office spaces visually-appealing, lighting an entire house for a oner, and much more!

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What you will learn in this episode * Evolving color palette of DOPESICK (04:31) * Pairing the Sony Venice and FX3 with Zeiss lenses (16:57) * Importance of having dailies represent a final look (26:39) * Cinematography of people under the influence (34:00) * Making office spaces visually appealing (40:05) * Lighting an entire house for one continuous shot (46:49) * How COVID impacted the production of DOPESICK (50:04) * Importance of historical accuracy (55:36) * And more!

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Show Links * Amazon’s Them Cinematography (with Checco Varese ASC) * The Cinematic Violence of IT Chapter 2 (with Checco Varese) * DOPESICK IMDb * DOPESICK on Hulu * DOPESICK trailer * Tiffen 4 x 5.65" Solid Color Chocolate 1/2 Filter - 45650CH12

Follow Our Guest * Checco Varese ASC’s website * Checco Varese ASC’s Instagram * Checco Varese ASC’s IMDb

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SEVERANCE is a mind-bending and visually stunning thriller and one of this year's best series. Cinematographer Jessica Lee Gagné shares why she was hesitant to take on the show, and her incredible work throughout the season.

Jessica and Go Creative Show host, Ben Consoli, discuss her visual approach to the “innie” and “outie” worlds, making a bland stark-white office space visually interesting, psychological tricks with cinematography, working with Ben Stiller and Christopher Walken, and more!

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What you will learn in this episode * Why Jessica did not want to film SEVERANCE (01:43) * Approach to filming Lumon (04:15) * Visual approach to the outside world (09:50) * Pairing the Sony Venice with vintage lenses (15:23) * Challenges of soft lighting in Lumon (22:15) * Developing lighting plans with the gaffer (31:43) * Achieving the severed transition look (35:13) * Filming the maze of hallways (37:44)
Dividing characters in the framing (40:14) * Working with Ben Stiller and Christopher Walken (42:39) * Importance of self-reflection at work (45:39) * And more!

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Show Links * SEVERANCE IMDb * SEVERANCE on Apple TV+ * SEVERANCE trailer

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THE POWER OF THE DOG director of photographer, Ari Wegner ACS, shares how her cinematography communicates loneliness in the Oscar-nominated Netflix film.

Ari and Go Creative Show host, Ben Consoli, discuss techniques for realistic eyelights, why the amount of prep time can be a red flag, filming wide landscapes with long lenses, and much more!

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What you will learn in this episode * The importance of prep time (01:08) * Value of a good director and DP relationship (05:12) * Visually-communicating loneliness (10:13) * Creating eyelight in dark environments (13:42) * Pairing the Alexa Mini LF with Ultra Panatar lenses (20:46) * Shooting wide vistas with long lenses (27:33) * Lighting contrast ratio for THE POWER OF THE DOG (32:43) * Creating tension visually (35:42) * The locations of THE POWER OF THE DOG (52:57) * Crafting a "rewatchable" film (57:38) * And more!

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Show Links * THE POWER OF THE DOG on Netflix * THE POWER OF THE DOG trailer * THE POWER OF THE DOG IMDb

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TEXAS CHAINSAW MASSACRE production designer Michael Perry created an entire Texas town from scratch. Learn all about the challenges he faced and the scenes and sets he’s most proud of. Michael and Go Creative Show host, Ben Consoli, discuss filming with blood, creating an authentic gas station, when to ignore logic in filmmaking, techniques for aging props, challenges of horror movie production design, and that INSANE decapitation scene!

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What you will learn in this episode * Balancing practical and VFX blood effects (01:32) * Honoring the original film through easter eggs (09:22) * Creating a whole town from sets (12:22)
Working on a low-budget film schedule (22:17) * Creating a gas station from scratch (23:54) * Some of the most challenging sets (28:44) * When to ignore logic for set design (33:32) * Developing story and character through production design (36:28) * Techniques for aging props and sets (42:03) * Executing the final death scene (46:46)
Challenges of horror movie production design (49:10)

Go Creative Show is supported by:

Show Links * TEXAS CHAINSAW MASSACRE on Netflix * TEXAS CHAINSAW MASSACRE IMDb * TEXAS CHAINSAW MASSACRE trailer

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DEATH ON THE NILE and BELFAST cinematographer Haris Zambarloukos takes us behind the scenes of both films and shares his filmmaking secrets. Haris and Go Creative Show host, Ben Consoli, discuss DEATH ON THE NILE’S enormous 1000 lights boat set, tips for creating the perfect black and white, why every shot is important, and of course his brilliant work on the film BELFAST.

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What you will learn in this episode * Timeless black and white opening of DEATH ON THE NILE (05:34) * Hyperreality of the opening scene (10:31) * Using nearly 1000 lights for the boat set (18:09) * Ensuring continuous shots serve the story (35:35) * Wide framing in BELFAST (49:28) * Camera package for Belfast (58:39) * And more!

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Show Links * DEATH ON THE NILE IMDb * DEATH ON THE NILE trailer * BELFAST IMDb * BELFAST trailer

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OZARK returns for its final season with a new cinematographer - Shawn Kim. Learn how Shawn evolved the show’s iconic cool-blue look while getting darker with each episode.

Shawn and Go Creative Show host, Ben Consoli, discuss the psychological effects of lens focal lengths, the complexity of lighting day exteriors, how to keep cinematography fresh and interesting, plus so much more!

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What you will learn in this episode * Finding work during COVID (01:08) * Evolving visual approach to OZARK (05:44) * How focal length affects audience perception (13:12) * How OZARK is a filmmaker's dream (18:31) * Lighting daytime exteriors completely artificially (22:19) * Fresh filming approach to the Byrde's home (29:44) * Why the Sony Venice was the best choice (35:07) * Psychological approach to cinematography (40:20) * Creating OZARK's signature blue look (45:01) * Memorable scenes in season 4 (50:40)
Challenges of shooting in rainstorms (56:26) * And more!

Go Creative Show is supported by:

Show Links * OZARK IMDb * OZARK on Netflix * Leica Noctilux-M 50mm f/0.95 ASPH., black anodized * Building Rialto - 3 VENICE Extension System Sample Builds | Sony Cine

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THE WITCHER season 2 cinematographers Jean Philippe Gossart and Romain Lacourbas share details about how they collaborated on bringing more color and dimension to the series.

JP, Romain, and Go Creative Show host, Ben Consoli, discuss switching to spherical lenses, the challenges of creating natural light sources, attention to detail for dialogue scenes, and so much more.

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What you will learn in this episode * Collaborating as cinematographers (01:21) * Visual approach to The Witcher season 2 (03:12) * Spherical vs anamorphic lenses (09:38)
Working with the Arri DNA LF lenses (11:28) * Challenge of lighting for all natural sources (18:33) * Color theory for recreating moonlight (25:56) * Challenges of snowy exteriors (31:50)
Continuity with weather and locations (38:54) * Deconstructing the Eskel Leshy fight scene (40:29) * Collaboration with VFX (51:52) * Attention to detail for dialogue scenes (54:47) * The future of filmmaking with LED walls (58:28) * And more!

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Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership Arri Rental Subscribe + Follow Go Creative Show * Twitter * Facebook * Apple Podcasts * Stitcher * Google Play Podcasts * iHeart Radio * YouTube

Show Links * The Witcher season 2 trailer * The Witcher IMDb * The Witcher on Netflix

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SCREAM is back! Cinematographer Brett Jutkiewicz breaks down the biggest kill scenes and how he brought his unique visual style to the film franchise.

Brett and Go Creative Show host, Ben Consoli, discuss cinematography tricks to create tension in horror, lighting for horror movies, making day-time exteriors scary, the necessary skill sets for camera operators, learning from your mistakes on set, and more!

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What you will learn in this episode * SCREAM franchise visual approach (01:14) * Camera tricks to create tension in horror (06:08) * Making daylit scenes scary (10:37) * Using Panavision anamorphic lenses (20:24) * Importance of LUTs on set (25:45)
Communicating with camera operators on set (30:38) * What makes a good B camera operator (33:41) * Approach to lighting hospital scenes (36:51) * Approach to shooting Dewey's death (46:03) * Favorite shots from the film (48:39)
Filming a movie that's self-aware (50:00) * Living with mistakes made in movies (51:54) * And more!

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Show Links * SCREAM IMDb * SCREAM trailer * LA Rag House - QUARTER SILK BLACK Fabrics * G Series Anamorphic Prime Lenses | Panavision

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TICK, TICK... BOOM! follows Jonathan Larson on his path to being the successful musical composer we know of him today. Cinematographer Alice Brooks ASC breaks down her cinematic approach and biggest challenges of the film. Alice and Go Creative Show host, Ben Consoli, discuss the film's biggest scenes, challenges of musicals, having to use filtration in place of haze, and much more! Subscribe Now!

What you will learn in this episode * Transitioning from IN THE HEIGHTS to TICK, TICK... BOOM! (01:05) * Recreating Jonathan Larson's apartment (05:06) * Referencing source material from the real-life protagonist (08:46) * Claustrophobia through cinematography (14:06) * Creating juxtaposition through lighting and color theory (17:38) * Panavision cameras and anamorphic lenses (23:56) * Using filtration instead of haze (27:19) * Creating distinct looks for the workshop scenes (33:41) * Achieving seamless transitions for scenes (40:48) * Challenges of the pool scene (44:00) * Advice for aspiring cinematographers (47:13) * And more!

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Show Links * TICK, TICK… BOOM! IMDb * TICK, TICK… BOOM! on Netflix * TICK, TICK… BOOM! trailer

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YELLOWJACKETS follows the wild journey of a high school soccer team after they become the (un)lucky survivors of a plane crash. Cinematographer C Kim Miles ASC CSC breaks down each of the series' spectacular visual looks. Kim and Go Creative Show host, Ben Consoli, discuss making creative changes after filming the pilot, choosing lenses based on storyline, the incredible value of a DIT, deconstructing your favorite scenes, and more!

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What you will learn in this episode * Making creative changes after filming the pilot (03:24) * Production of television vs feature films (08:20) * Deconstructing the woods visual approach (14:16) * Visual tricks to play on the subconscious (20:34) * Approach to lighting exteriors (24:26) * Adjusting lenses to affect visual approach (27:54) * Visual approach to the 90s scenes (33:55) * Lighting and shooting interior scenes (43:49) * Choosing a lens based on plot (47:45)
Deconstructing the episode 8 walk and talk scene (52:28) * Value of having a DIT on set (58:14) * Advice for aspiring cinematographers (01:07:37) * And more!

Go Creative Show is supported by:

Show Links * YELLOWJACKETS IMDb * YELLOWJACKETS trailer

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SPIDER-MAN: NO WAY HOME cinematographer Mauro Fiore and production designer Darren Gilford discuss their collaboration on the blockbuster Marvel movie.

Mauro, Darren, and Go Creative Show host, Ben Consoli, discuss the dramatic last-minute changes at the start of production, the benefits of filming on location, and breakdowns of some of the biggest scenes in the movie.

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What you will learn in this episode * DP and Production Designer collaboration (01:07) * Working on such a big franchise (04:59) * Drastic production changes due to the pandemic (07:51) * On-location vs in a studio (14:32) * Breaking down the Sanctum Sanctorum set (17:11) * Tricks to lighting a dark set (23:33) * Using LED Walls for cinematography and production design (27:01) * Light motivation on sets (29:27) * Deconstructing the Peter Parker rooftop scene (32:19) * Approach to filming green screen sets (36:25) * Pairing the Alexa Mini LF with Panaspeed lenses (42:14) * Having story dictate focal depth of field (47:09) * Filming the tracking shot of Spider-Man in Aunt May's apartment (49:46) * High-energy camera movement (53:01) * Making the bridge scene realistic on green screen (54:43) * And more!

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Filmmaker's Academy - Master Your Craft Get 10% off the all access membership using code GOCREATIVE10 Subscribe + Follow Go Creative Show * Twitter * Facebook * Apple Podcasts * Stitcher * Google Play Podcasts * iHeart Radio * YouTube

Show Links * SPIDER-MAN: NO WAY HOME IMDb * SPIDER-MAN: NO WAY HOME trailer

Follow Our Guest * Darren Gilford’s Instagram * Darren Gilford's IMDb * Mauro Fiore's IMDb

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Aaron Sorkin’s BEING THE RICARDOS is a masterful retelling of Lucille Ball and Desi Arnaz’s life on and off camera. Cinematographer Jeff Cronenweth ASC shares the camera, lighting and lenses he used to recreate vintage Hollywood and the iconic I Love Lucy stage.

Jeff and Go Creative Show host, Ben Consoli, discuss bringing energy to dialogue scenes through blocking and camera movement, breaking down some of the scenes in the film, the lenses and filtration used, and more!

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What you will learn in this episode * Working with director Aaron Sorkin (02:41) * Establishing several visual looks (10:09) * Lighting the I Love Lucy set (22:19) * Capturing the essence of I Love Lucy (35:22) * Shooting on the RED Ranger with Arri DNA lenses (39:35) * Energetic dialogue scenes through camera movement (44:56) * Filming the opening in a unique way (54:21) * And more!

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Show Links * BEING THE RICARDOS trailer * BEING THE RICARDOS IMDb * BEING THE RICARDOS on Amazon Prime

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Steven Spielberg’s WEST SIDE STORY is a fresh remake of the classic film packed with stunning cinematography. Camera operators Mitch Dubin SOC AOC and John "Buzz" Moyer SOC share what it’s like working with Spielberg and the challenges of filming movie musicals.

Mitch, Buzz, and Go Creative Show host, Ben Consoli, discuss the the camera operators' creative freedom, tips for operating steadicams, accepting their mistakes, and more!

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What you will learn in this episode * Different camera operator roles (01:04) * Filming musicals vs narratives (04:09) * Adaptive camera framing for musicals (09:34) * Exterior lighting and lens flares (15:20) * Achieving a handheld look on a crane (20:26) * Relationship between director and cam operators (28:51) * Challenging scenes in WEST SIDE STORY (35:55) * What makes a great steadicam operator (39:53) * Creative freedom for camera operators (46:10) * Living with mistakes in films (49:41) * Advice for aspiring camera operators (54:01) * And more!

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Show Links * WEST SIDE STORY IMDb * WEST SIDE STORY Trailer

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SUCCESSION season 3 cinematographers Christopher Norr and Patrick Capone join us to discuss the show's multi-camera handheld-style and natural lighting.

Christopher, Patrick, and Go Creative Show host, Ben Consoli, share why they film close up shots first, showing vulnerability through cinematography, working as co-cinematographers, and more!

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What you will learn in this episode * In-the-moment handheld visual approach (01:10) * Deciding what to shoot handheld (08:38) * Perfectly timing lens zooms (10:32) * Having such a variety in takes (14:50) * Choosing to shoot close ups first (21:21) * Why SUCCESSION is shot on film (28:04) * 360º approach to lighting (30:41) * Vulnerability through cinematography (38:25) * Filming Kendall differently in season 3 (42:34) * Working together as cinematographers (45:01) * Challenging scenes in SUCCESSION (47:58) * And more!

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Show Links * SUCCESSION IMDb

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GHOSTBUSTERS AFTERLIFE -- with its incredible sets, props, and the infamous Ecto-1 car -- have given movie lovers the nostalgic and entertaining blockbuster they have been waiting for. Production designer Francois Audouy explains his approach to designing films, and how attention to detail and practical sets made GHOSTBUSTERS AFTERLIFE a massive success.

Francois and Go Creative Show host, Ben Consoli, discuss how the original film inspired him, Francois' love for practical locations vs sets, recreating the Ecto-1 car, filming car chase scenes, and more!

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What you will learn in this episode * Achieving high audience expectations (02:04) * Benefits of shooting on location (05:47) * Building the farmhouse set from a dilapidated barn (10:01) * Backstory through production design (20:49) * Inspiration from the original film (25:15) * Designing practical Ecto-1 cars (28:53) * Filming the car chase on location (37:46) * Filming the Walmart scene (39:09) * Designing the Mountain Tomb (40:47) * Building a set from scratch (44:13) * Tips for aspiring production designers (49:14) * And more!

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Show Links * GHOSTBUSTERS AFTERLIFE IMDb * GHOSTBUSTERS AFTERLIFE trailer

Follow Our Guest * Francois Audouy's IMDb * Francois Audouy's website * Francois Audouy's Instagram

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AMERICAN HORROR STORY DOUBLE FEATURE cinematographer Andrew Mitchell had a massive challenge to overcome: how to film two unique stories with distinct looks in a cohesive way. Learn his visual approach for each half of the season and how he transitioned from camera operator to DP. Andrew and Go Creative Show host, Ben Consoli, discuss the essential skills every DP should have, using visual effects and clever editing to fake Sarah Paulson being on set, converting color to black and white, and so much more!

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What you will learn in this episode * Working with Ryan Murphy (01:04) * Transitioning from camera operator to DP (02:57) * Skills a DP should have (15:03) * Muted cold visual approach to Part 1 (18:27) * LUTs affecting skin tones (24:43) * Filming Sarah Paulson scenes without her (30:03) * Using Helios tubes for fire scenes (32:14) * Shooting Belle's massacre at 96 fps (35:48) * Shooting on the Sony Venice with diopters (39:03) * Converting color to black and white (41:57) * Referencing CLOSE ENCOUNTERS for Part 2 (47:06) * Blooming effect using filtration (50:48) * And more!

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Show Links * AMERICAN HORROR STORY IMDb * DOUBLE FEATURE Part 1 trailer * DOUBLE FEATURE Part 2 trailer

Follow Our Guest * Andrew Mitchell’s IMDb

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Discover how FINCH cinematographer Jo Willems ASC SBC overcame the challenges of filming the relationship between Tom Hanks, a dog, and a motion capture robot.

Jo and Go Creative Show host, Ben Consoli, discuss the film's unique look and creating intimacy with the camera. Learn how Jo filmed the desert scenes practically, the decision to shoot handheld, embracing lens artifacts, and so much more.

Jo and Go Creative Show host, Ben Consoli, discuss

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What you will learn in this episode * Intimacy through cinematography (00:53) * Warm inviting approach to lighting the bunker (10:47) * Ignoring negative reviews (14:04) * Finch visual approach and references (17:03) * Filming desert scenes practically (19:38) * Heavily artifacting the lenses (25:21) * Challenges with filming an actual RV (30:56) * Filming a motion capture suit while handheld (34:02) * VFX approach of the robotChallenges of filming dogs (40:58) * Why night exteriors are so difficult (45:21) * And more!

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Show Links * FINCH IMDb * FINCH on Apple TV+ * FINCH trailer * Jamie XX Video Reference * Arri S360C

Follow Our Guest * Jo Willems’ IMDb * Jo Willem’s website * Jo Willem on Instagram

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Cinematographer Simon Dennis BSC of IMPEACHMENT: American Crime Story masterfully depicted one of the most iconic moments in American history while capturing portrayals of Monica Lewinsky, Linda Tripp, and of course Bill & Hillary Clinton.

Simon and Go Creative Show host, Ben Consoli, discuss the show's desaturated look, claustrophobic feeling, why he chose the Sony Venice, working with split diopters, and inventing a new visual genre… “Gloom Glam”.

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What you will learn in this episode * Balance of filming non-fictional projects (00:59) * "Glamorous gloom" visual approach (10:08) * Simon's stylistic lighting approach (12:58) * Warm visual approach to the White House (17:53) * Dreary look of the Pentagon (20:40) * Not having characters motivate cinematography (27:46) * Using a split diopter (30:37) * Why Simon chose the Sony Venice (36:15) * Feeling of claustrophobia (42:02) * Why the jury trial scene was so challenging (46:37) * Making the mundane exciting through cinematography (49:24) * Monica Lewinsky's involvement with the show (53:05) * And more!

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Show Links * AMERICAN CRIME STORY IMDb * AMERICAN CRIME STORY on FX Networks

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DUNE, with its stunning cinematography and epic sets, was packed with unique challenges for director of photography Greig Fraser ACS ASC -- including filming in whipping sands and lighting football field sized sets.

Greig and Go Creative Show host, Ben Consoli, discuss discuss how he balances epic and intimate, his techniques for large night exteriors, embracing the shadows and Greig’s unique film transfer process that jumps from digital to film and back again.

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What you will learn in this episode * Treating every movie like an indie (01:48) * Taking on projects you fear (05:27) * Soft lighting for interiors (11:09) * Lighting sandy exteriors (16:18) * Visual approach to DUNE (18:26) * Film to digital transfer process (21:36) * Balancing epicness with intimacy (29:04) * Sand worm collaboration with VFX (33:27) * Having actors' faces in shadow (38:10) * Viewing DUNE in theaters vs HBO Max (43:32) * Most challenging scene (46:56) * How the floating lights were filmed (51:15) * Lighting for night exteriors (54:09) * And more!

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Show Links * DUNE IMDb * DUNE trailer * DUNE on HBO Max

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The tragic death of Cinematogarpher Halyna Hutchins has ignited a worldwide conversation about gun safety on film sets. Armorer Bryan W Carpenter joins us to discuss current safety standards and what protocols were missed leading up to the tragic shooting.

Bryan and Go Creative Show host, Ben Consoli, discuss pros and cons of practical firearms vs visual effects, the difference between “blanks” and “dummy” ammunition, and what a “prop gun” actual is.

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What you will learn in this episode * Role of an armorer (01:21) * Types of prop guns (05:27) * What happened on the set of RUST (08:39) * Round types and safety distances (12:27) * Steps to ensure safety on set (23:28) * Certification for armorers (36:26) * Replacing prop guns with vfx (39:26) * America's gun obsession (47:14) * Preventing this tragedy from happening again (48:51) * And more

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Show Links * Halyna Hutchins Scholarship Fund

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HALLOWEEN KILLS is packed with gory murders and cinematography that elevates the horror genre. Cinematographer Michael Simmonds returns to discuss the film's camera choices, lighting techniques and visual approach while breaking down the most challenging kill scenes.

Michael and Go Creative Show host, Ben Consoli, discuss filming the 1978 flashbacks, Michael's use of zoom lenses, how the house fire scene was shot, telling micro stories within scenes, and more!

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What you will learn in this episode * What Michael enjoys about cinematography (01:07) * Transitioning from comedy to horror (08:12) * Filming the 1978 flashback sequences (11:40) * Why horror movies are perfect for zoom lenses (15:27) * Micro stories within scenes (21:03) * Breaking down how the house fire scene was shot (25:22) * Filming night time scenes (33:21) * Filming the hospital scenes (37:48) * Working with hundreds of extras on set (41:26) * Breaking down some of the kill scenes (44:30) * And more!

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Show Links * Halloween Kills’ IMDb * Halloween Kills trailer * Halloween Kills on Peacock * The Cinematography of Halloween 2018 (with Michael Simmonds)

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NO TIME TO DIE not only elevates the 007 universe, but it is filled with stunningly beautiful and logistically challenging cinematography. Director of Photographer Linus Sandgren FSF ASC talks lighting, lensing, locations and of course STUNTS!

Linus and Go Creative Show host, Ben Consoli, discuss finding the spirit of James Bond and using hand-held IMAX cameras to blend classic 007 storytelling with new filmmaking technologies.

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What you will learn in this episode * Visual approach to James Bond movies (00:51) * Pre-lighting sets using miniatures (07:58) * Shooting on IMAX handheld (13:41) * Grounding stunts in reality (21:31) * Filming in various locations around the world (24:59) * Challenges and logistics of NO TIME TO DIE (33:38) * And more!

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Show Links * NO TIME TO DIE IMDb * NO TIME TO DIE trailer

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Rather than releasing a series of music videos, Halsey has released a short film featuring her latest album IF I CAN'T LOVE, I WANT POWER. Music video producer Jamee Ranta gives us a behind the scenes look at making the film and music videos for other iconic artists.

Jamee and Go Creative Show host, Ben Consoli, discuss the decision to create this short film, how a producer is involved in the creative process, breaking into the music video industry, and more!

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What you will learn in this episode * Shooting and releasing the film on IMAX (01:09) * Producer's involvement in the creative process (09:33) * The role of a producer (12:53) * Why it's important to have technical knowledge (22:28) * Ensuring your crew remains happy (26:31) * Music videos vs films (31:12) * Examining the music video industry (40:17) * How to break into the music video industry (46:06) * And more!

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Show Links * IF I CAN’T LOVE I WANT POWER trailer * IF I CAN’T LOVE I WANT POWER IMDb

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By a nearly unanimous margin, IATSE members in TV and film production vote to authorize a nationwide strike. Cinematographer Jim Denault ASC explains the proposed changes union workers are looking for and why they matter.

Jim and Go Creative Show host, Ben Consoli, discuss the existing working conditions, what has changed over the decades in the industry, the opposition to the new terms, worldwide support, and more!

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What you will learn in this episode * Changing the film working conditions (01:19) * Length of average film production days (05:30) * Fighting for longer turnaround times (11:10) * Varying rates depending on project (15:38) * Opposition to these new terms (20:21) * Improvements for meal breaks (24:35) * Unions supporting each other worldwide (30:38) * The importance of having a union (33:21) * And more!

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Show Links * IATSE website

Follow Our Guest * Jim Denault ASC's website * Jim Denault ASC's IMDb

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Imagine having only six weeks to prep for an entire movie trilogy, each one having its own distinct look. That was exactly the reality for cinematographer Caleb Heymann with Netflix's Fear Street trilogy.

Caleb and Go Creative Show host, Ben Consoli, discuss relying on candles and sunlight for the 1666 movie, creating that incredible bread machine kill scene, how to deal with the challenges of neon colored lighting, and more!

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What you will learn in this episode * Having only 6 weeks to prep 3 films (01:01) * Adapting quickly as a cinematographer (08:43) * Relying on candles and sunlight for 1666 (11:00) * Using filtration with the Alexa Mini for 1666 (17:17) * Filming 1666 without practical lights (22:35) * 1994's horror movie inspiration (28:38) * Creating the bread machine kill scene (35:20) * Challenges of using neon lighting on set (42:24) * Characteristics you get with vintage lenses (49:50) * HALLOWEEN style visual approach for 1978 (53:45) * And more!

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Show Links * FEAR STREET PART 1: 1994 on Netflix * FEAR STREET PART 2: 1978 on Netflix * FEAR STREET PART 3: 1666 on Netflix * FEAR STREET trilogy trailer * Petzval lens * Titan Tube | Film Lighting Tube, Softlight, Cinema Effect light | photo light

Follow Our Guest * Caleb Heymann’s Instagram * Caleb Heymann’s IMDb * Caleb Heymann’s website

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THE WHITE LOTUS features incredible voyeuristic-style cinematography that constantly keeps you on edge. Director of photography Ben Kutchins explains his unique visual approach and the difficulty of filming in an actual hotel.

Ben and Go Creative Show host, Ben Consoli, discuss the juxtaposition between the warm color palette and plot, filming with as much natural light as possible, constantly rolling with the punches on set, and much more!

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What you will learn in this episode * The crazy writing of THE WHITE LOTUS (01:39) * Not having firm rules in cinematography (01:42) * Achieving voyeuristic cinematography (08:03) * Embarrassment through cinematography tricks (13:19) * Warm color palette of THE WHITE LOTUS (17:43) * Masterclass in covering dialogue scenes (22:06) * Shooting with Super Baltar and Cooke lenses (32:27) * Primarily using natural lighting (35:13) * Logistics of filming in an actual hotel (41:17) * Filming the water and boat scenes (48:32) * Not worrying about realism with sunlight (52:07) * Having to roll with the punches on set (57:06) * Filming Paul McCartney's latest music video (01:02:21) * And more!

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Show Links * THE WHITE LOTUS IMDb * THE WHITE LOTUS on HBO * Paul McCartney music video

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Learn how to skillfully introduce characters through cinematography and the benefits of cross-shooting with the director of photography of the Emmy-nominated series HACKS, Adam Bricker.

Adam and Go Creative Show host, Ben Consoli, discuss how and why the two lead characters were shot differently, blending cool and warm light sources, customizing lenses for projects, and much more!

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What you will learn in this episode * How to skillfully introduce characters (01:25) * Portraying isolation through cinematography (09:29) * Introducing characters (continued) (15:52) * Blending cool and warm light sources (21:41) * Cross shooting the scene Deborah and Ava meet (27:50) * Benefits of cross shooting (36:47) * Customizing lenses for projects (42:51) * Advice for aspiring filmmakers (56:29) * Filming Chef's Table without any documentary experience (01:01:33) * And more!

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Show Links * HACKS trailer * HACKS on HBO Max * HACKS IMDb

Follow Our Guest * Adam Bricker’s website * Adam Bricker’s Instagram * Adam Bricker’s IMDb

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JUNGLE CRUISE is a modern adventure film with cinematography inspired by old-school classics! Cinematographer Flavio Labiano shares his experience working with Emily Blunt and The Rock and shooting most of the film in a giant water-tank in an Atlanta parking lot.

Flavio and Go Creative Show host, Ben Consoli, discuss the challenges of filming the boat scenes, the role of 2nd unit cinematography, importance of color in cinematography, and more!

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What you will learn in this episode * What it’s like working with A-list actors (01:04) * Why the boat scenes were so challenging (03:29) * Importance of color in cinematography (07:02) * Why the Jungle Cruise ride was not a big inspiration (11:06) * The movie’s inspiration from 1970s movies (13:47) * The role of 2nd unit cinematography (16:08) * Deconstructing the “coming out” scene (19:02) * Challenges of shooting in an exterior water tank (22:57) * Creating the vintage camera scenes (34:11) * How to create engaging action sequences (35:57) * Shooting with Alexa Mini and Panavision lenses (40:52) * Flavio's early film career (44:10) * Lack of passion in some filmmakers (49:14) * And more!

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Show Links * JUNGLE CRUISE IMDb * JUNGLE CRUISE on Disney+ * JUNGLE CRUISE trailer

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Disney has outdone themselves again with the incredible life-like and vivid animation of RAYA AND THE LAST DRAGON. Co-cinematographers Adolph Lusinsky and Rob Dressel come on to discuss how Disney tackles animated films and the biggest challenges of RAYA.

Adolph, Rob, and Go Creative Show host, Ben Consoli, discuss each of their roles as cinematographers, striking the right balance of realistic lighting, designing Sisu the Dragon, and more!

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What you will learn in this episode * Role of animation cinematographers (01:41) * How shots are staged in animation (07:45) * The flexibility of lighting animated films (12:36) * Skills needed to become an animation cinematographer (19:49) * Striking the right balance with realistic lighting (23:21) * Creating a different look for each tribe in RAYA (27:23) * Designing Sisu the Dragon (37:10) * Most challenging scene to animate in RAYA (40:07) * And more!

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Show Links * RAYA AND THE LAST DRAGON IMDb * RAYA AND THE LAST DRAGON trailer * RAYA AND THE LAST DRAGON on Disney+

Follow Our Guests * Rob Dressel IMDb * Adolph Lusinsky IMDb

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BLACK WIDOW marks the return of the Marvel Cinematic Universe. Cinematographer Gabriel Beristain ASC BSC comes on to explain his filmmaking philosophy of treating the camera like a character.

Gabriel and Go Creative Show host, Ben Consoli, discuss the visual references of the film, why Gabriel always used 3 cameras on set, not being ashamed of relying on filmmaking fundamentals, and more!

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What you will learn in this episode * Responding to movie critiques (01:12) * Visual references for BLACK WIDOW (04:36) * The camera being a character (10:57) * 3 camera setup on set (18:35) * Not be ashamed to use filmmaking fundamentals (26:44) * Shooting on the Sony Venice (33:32) * Filming car chase scenes (38:23) * Challenges on set of BLACK WIDOW (43:39) * Lessons learned as a cinematographer (53:01) * And more!

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Show Links * BLACK WIDOW IMDb * BLACK WIDOW trailer * BLACK WIDOW on Disney+

Follow Our Guest * Gabriel Beristain’s IMDb * Gabriel Beristain’s Instagram * Gabriel Beristain’s website

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THE MOSQUITO COAST on Apple TV+ is a gripping drama with a spectacular, colorful yet gritty cinematic approach. Director of photographer Alex Disenhof gives us a behind the scenes look and why the series has such active camera movement.

Alex and Go Creative Show host, Ben Consoli, break down one of the most dramatic sequences in the series, approaching daylight exteriors, color grading and theory, extensive location scouting, and much more.

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What you will learn in this episode * Gritty and colorful cinematic approach (01:17) * Engaging and active camera movement (06:52) * Filming on location vs in studio (15:10) * Shooting on the Alexa Mini LF and DNA lenses (17:19) * Breaking down the opening sequence in episode 2 (23:06) * Avoiding lights for daylight exteriors (36:34) * And more!

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Show Links * THE MOSQUITO COAST IMDb * THE MOSQUITO COAST on Apple TV+ * ARRI Signature Prime Lenses * ARRI Rental DNA LF * T-REX Superscope Lens demo

Follow Our Guest * Alex Disenhof’s IMDb * Alex Disenhof’s website * Alex Disenhof on Instagram

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IN THE HEIGHTS is the masterful musical movie of the summer! Cinematographer Alice Brooks shares her cinematic approach adapting Lin-Manuel Miranda's hit broadway show to the big screen.

Alice and Go Creative Show host, Ben Consoli, break down how they filmed the big musical numbers, filming most of the movie on location, being inspired by local photographers, advice for aspiring cinematographers, and more!

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What you will learn in this episode * Filming musical numbers on location (02:04) * Obstacles filming Abuela's apartment on location (03:30) * Visuals inspired by local photographers (10:17) * Panavision DXL2 camera and NYC lighting (16:28) * "96,000" breakdown (19:57) * "When the Sun Goes Down" breakdown (30:08) * "Champagne" breakdown (37:45) * "Paciencia y Fe" subway breakdown (41:01) * Advice for young and female DPs (48:39) * And more!

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Show Links * IN THE HEIGHTS IMDb * IN THE HEIGHTS on HBO Max * IN THE HEIGHTS trailer

Follow Our Guest * Alice Brooks’ website * Alice Brooks’ IMDb * Alice Brooks’ Instagram

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With terrifying and haunted scenes, jump scares, exorcisms, and more, THE CONJURING: THE DEVIL MADE ME DO IT does an excellent job standing up against the previous films. Cinematographer Michael Burgess shares his cinematic and lighting approach for the top horrific scenes in the film.

Michael and Go Creative Show host, Ben Consoli, discuss his camera and lens package, why he avoids operating cameras now, the opening exorcism scene breakdown, cinematography tricks, and more!

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What you will learn in this episode * Scary cinematography in THE CONJURING movies (01:08) * Shooting on the Alexa SXT camera and Primo lenses (05:15) * Why Michael no longer operates cameras (10:03) * Having Don Burgess ASC as a dad and role model (13:13) * Why THE CONJURING 3 was not shot anamorphic (15:17) * Lighting for horror movies (17:03) * Filming David's scary waterbed scene (20:58) * Breaking down the opening exorcism scene (26:55) * Controlling all lights on set from an iPad (32:38) * How the day to night transition in woods was shot (34:34) * Representing the 1980s through sets and costumes (38:14) * Will there be more CONJURING movies? (40:22) * And more!

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Show Links * CONJURING 3 trailer * CONJURING 3 on HBO Max * CONJURING 3 IMDb

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BRIDGERTON is Netflix's most-watched series ever. Cinematographer Jeffrey Jur ASC explains how he used the Sony Venice camera and lighting using candles to bring us back in time to 17th century London.

Jeffrey and Go Creative Show host, Ben Consoli, discuss his contemporary cinematic approach, his career switch from film to TV, using 2-6 cameras on set, breaking down the most challenging scene in the series, and more!

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What you will learn in this episode * Contemporary cinematic approach of BRIDGERTON (02:00) * Best uses for intentional camera movement (05:46) * Planning a shot list based off rehearsals (09:08) * How Jeffrey preps for film shoots (10:49) * Low light cinematography with Sony Venice (15:51) * Creating a clean lifted look in post (21:01) * Shooting with 2 cameras on set (29:25) * Approach to lighting candle lit scenes (34:21) * Using sparklers to light a scene practically (48:36) * Jeffrey’s most challenging scene on BRIDGERTON (51:39) * Switching from a film career to TV (55:23) * Reflecting back on DIRTY DANCING (59:02) * And more!

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Show Links * BRIDGERTON IMDb * BRIDGERTON trailer * BRIDGERTON on Netflix * SHOTDECK :: Fully Searchable High-Res Movie Images * Camera Systems Lenses ARRI Signature Prime Lenses * Tiffen 4 x 5.65" Soft FX Filter * Wendy Light

Follow Our Guest * Jeffrey Jur ASC’s IMDb

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Disney's film CRUELLA combines handheld, high energy cinematography with elegant traditional camera movement. Cinematographer Nicolas Karakatsanis explains his masterful cinematic approach.

Nicolas and Go Creative Show host, Ben Consoli, discuss working with Emma Stone and Emma Thompson, shooting both on film and digitally, having to pre-light sets before they were built, camera and lens package, and more!

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What you will learn in this episode * Lessons learned shooting I, TONYA (01:02) * High energy cinematography of CRUELLA (03:54) * Pre-lighting before sets are built (15:04) * Having to build the Baroness workshop set twice (20:30) * Cruella concert scene breakdown (24:29) * Cinematography differences between Cruella and Baroness (31:42) * Shooting on film vs digital (36:16) * Why Nicolas hates lens filtration (52:28) * Not being reliant on VFX (57:43) * Not being inspired by the 101 Dalmations animation (01:01:09) * Collaborating with costume design dept (01:02:29) * Working with Emma Stone and Emma Thompson (01:04:52) * And more!

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Show Links * Cruella trailer * Cruella on Disney+ * Cruella IMDb

Follow Our Guest * Nicolas Karakatsanis’ IMDb * Nicolas Karakatsanis’ Instagram

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A QUIET PLACE PART II cinematographer Polly Morgan ASC BSC takes us behind-the-scenes of this highly anticipated sequel. Polly and Go Creative Show host, Ben Consoli, discuss the challenges of shooting on film, why one sequence was shot digitally, why practical stunts are better, working with John Krasinski and Emily Blunt, mentorship advice, and more!

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What you will learn in this episode * Coming back to movie theaters (00:59) * Risks of shooting on film (04:07) * Exposing properly when shooting on film (09:04) * Shooting the Volvo Bus scene practically (13:41) * Working with John Krasinski (21:43) * Creating scary scenes in daylight (24:33) * Filming A QUIET PLACE like a western (29:01) * Challenges of the steel mill furnace (30:41) * Why the Marina sequence was shot digitally (37:34) * Lighting for dark interiors (42:56) * Working with Emily Blunt (46:54) * Collaborating with a colorist (47:28) * Mentorship in filmmaking (49:16) * Advice for aspiring female DPs (53:16) * And more!

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Show Links * A Quiet Place Part II IMDb

Follow Our Guest * Polly Morgan ASC BSC on Instagram * Polly Morgan ASC BSC’s IMDb

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Emmy award-winning comedy series TED LASSO follows an American football coach as he helps a struggling London soccer team. Cinematographer David Rom comes on to explain how they turned Jason Sudeikis' successful shorts into a full blown TV series.

David and Go Creative Show host, Ben Consoli, discuss avoiding comedy visual stereotypes, fish-out-of-water cinematography style, pairing the Alexa LF with Tokina lenses, why they had to recreate the entire soccer field, and more!

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What you will learn in this episode * Avoiding comedy visual stereotypes (02:24) * Translating Jason Sudeikis' shorts to a full series (04:54) * Lighting a locker room with only overhead lighting (08:21) * Approach to camera angle coverage (14:13) * Fish out of water cinematography (15:46) * Working with other cinematographers on a series (21:20) * Using the Alexa LF paired with Tokina lenses (23:53) * Challenges of shooting on location (27:32) * Recreating the pitch soccer field (30:24) * Shooting with such a shallow focus (37:28) * Why collaboration is so important (39:14) * "Panic attack" scene cinematic approach (40:45) * And more!

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Show Links * TED LASSO IMDb * TED LASSO trailer * TED LASSO on Apple TV+ * Large format cinematography in a small package: Tokina Vista lenses on Fujifilm GFX100

Follow Our Guest * David Rom’s IMDb * David Rom’s website

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Fashion... Sex... Drama... The filming and lighting of HALSTON on Netflix with cinematographer Tim Ives. Learn about the incredible use of color theory, lighting, lenses and more.

Tim and Go Creative Show host, Ben Consoli, discuss using special Sigma lenses to give the Studio 54 nightclub atmosphere, using cinematography to make a character feel isolated, what the heck a "book light" is, and more!

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What you will learn in this episode * Adding haze using specialty lenses (02:09) * Recreating Studio 54 (06:18) * Preventing bright colored lights from spilling onto skin tone (11:44) * Making Halston feel isolated (14:08) * Filming scenes with mirrors (17:40) * Keeping Halston out of red lighting (19:56) * How HALSTON was approached differently from STRANGER THINGS (22:26) * Filming fashion clothing (27:36) * Benefits of using a book light (29:59) * Shooting on Red Monstro and Sigma lenses (36:19) * Challenges of Halston's loft apartment (38:41) * Intimacy through cinematography (44:20) * Filming Halston's beach house (49:53) * And more!

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Show Links * HALSTON IMDb * HALSTON trailer * HALSTON on Netflix

Follow Our Guest * Tim Ive’s Instagram * Tim Ives IMDb * Tim Ive’s website

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In STOWAWAY, cinematographer Klemens Becker embraces claustrophobic cinematography while filming inside a spaceship. We also discuss simulated gravity, recreating the suns intensity in space, and his human take on a space story.

Klemens and Go Creative Show host, Ben Consoli, discuss how 36,000 LEDs lit up the spaceship set, why almost all the VFX was created before filming began, recreating zero gravity, and much more!

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What you will learn in this episode * Why Klemens was drawn to STOWAWAY (01:13) * Filming a small confined spaceship set (04:12) * Using 36,000 LEDs to light the spaceship (09:59) * Why cinematography and VFX were so tied together (25:47) * Giving a sense of claustrophobia through cinematography (37:00) * How gravity in space works (43:40) * Rigs used on set to achieve zero gravity (50:53) * Recreating the sun with one light source (58:01) * And more!

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Show Links * STOWAWAY trailer * STOWAWAY on Netflix * STOWAWAY IMDb * STOWAWAY on Netflix

Follow Our Guest * Klemens Becker IMDb

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THE HAUNTING OF BLY MANOR expands on the cinematic universe of HILL HOUSE with gorgeous dark cinematography and blooming highlights. Cinematographer James Kniest shares this approach and filming an episode entirely in black and white.

James and Go Creative Show host, Ben Consoli, discuss lighting a scene with only candlelight, how netting on lenses blooms highlights, how to gradually adjust aperture, the show's subtle camera movement, and more!

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What you will learn in this episode * Filming an entire episode in black and white (03:13) * Lighting a scene with only candlelight (07:13) * Using rear netting to bloom highlights (12:16) * Gradually adjust aperture using a Cinefade (17:57) * Shift towards in-camera filtration and looks (22:31) * Approach to subtle camera movement (29:04) * Seamlessly merging the bly manor's upstairs and downstairs sets (34:57) * Challenges of filming a lake with actors (41:29) * James' favorite scenes to shoot (45:39) * And more!

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Show Links * THE HAUNTING OF BLY MANOR on Netflix * THE HAUNTING OF BLY MANOR trailer * THE HAUNTING OF BLY MANOR IMDb

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Horror cinematographer mastermind Checco Varese ASC teaches us how he filmed trauma and fear for Amazon Studios' THEM. Checco explains his approach to the series' gorgeous cinematography and his philosophy as a filmmaker.

Checco and Go Creative Show host, Ben Consoli, discuss ways to invoke anxiety and terror through cinematography, tips for new cinematographers, using virtual filmmaking to film a creature attack on a 1950s bus, the Jordan Peele US controversy and more!

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What you will learn in this episode * Invoking fear and terror through THEM’s visual approach (03:30) * Horror filmmaking techniques (12:15) * Rules to live by as a cinematographer (23:16) * Comparing THEM to Jordan Peele’s US (28:00) * Creature attack on a 1950s bus using virtual filmmaking (35:48) * And more!

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Show Links * IT Chapter 2 Cinematography (with Checco Varese ASC) * WATCHMEN Cinematography (with Xavier Grobet ASC) * THEM Trailer * THEM on Amazon Prime Video * THEM IMDb

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NOBODY is a thrilling, high-paced action movie starring BETTER CALL SAUL's Bob Odenkirk. Cinematographer Pawel Pogorzelski shares his experiences coming from films like MIDSOMMAR and HEREDITARY to his first action film.

Pawel and Go Creative Show host, Ben Consoli, discuss how the his cinematic approach evolves throughout the movie, his close relationship with the stunt coordinator, why the car chases were the so challenging, lighting for the darkness, and more!

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What you will learn in this episode * Working with actor Bob Odenkirk (01:02) * First experience on an action movie (02:31) * Character development through camera movement and lighting (06:08) * Prepping and storyboarding for action movies (09:44) * How cinematographers work with stunt coordinators (15:07) * Why car chases are so challenging (21:40) * Achieving the floating gun shot (28:31) * Shooting anamorphic with the RED Helium (30:49) * Recreating a vintage 70s look (34:45) * Lighting for the darkness (37:22) * Filming simple dialogue in films (43:07) * Going from MIDSOMMAR to NOBODY (46:45) * Making haze look realistic on movies (48:38) * Most challenging part of filming NOBODY (50:26) * And more!

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Show Links * NOBODY website * NOBODY IMDb

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Oscar-nominated film JUDAS AND THE BLACK MESSIAH masterfully replicates the visuals of 1960s Chicago. Inspired by Kodachrome and Ektachrome film stock, Cinematographer Sean Bobbitt BSC explains the film's wide aspect ratio, hand-made lens package, and the proper use for closeups.

Sean and Go Creative Show host, Ben Consoli, discuss adapting to various director's needs, shooting on the Alexa LA and DNA lenses, Sean's collaborative approach to color grading, his love of filming the color green, subtle camera movement, and more!

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What you will learn in this episode * Adapting to director's needs (01:02) * Cinematic approach and use of the color green (07:43) * Filming with the intention of a heavy color grade (16:11) * Pairing the Alexa LF with DNA Lenses (28:11) * Benefits of shooting a wide aspect ratio (34:11) * Is storyboarding necessary? (39:15) * Reserving close-ups for important moments (41:05) * The shot that makes Sean smile in JUDAS (47:26) * Importance of subtle camera movement (50:11) * Was the bar sign reflection shot practically? (52:44) * Why Sean is nervous to work on Captain Marvel 2 (54:25) * And more!

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Show Links * JUDAS IMDb * JUDAS trailer * Arri DNA lenses * British Cinematographer: Sean Bobbitt BSC / Judas and the Black Messiah

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The Russo Brothers' new film CHERRY is really six films in one. Each chapter has its own unique style, lens package, and lighting technique. Learn how cinematographer Newton Thomas Sigel ASC created six distinctive looks for this visually-stunning film.

Tom and Go Creative Show host, Ben Consoli, discuss creating the feeling of romance with vintage anamorphic lenses, using wide angel lenses so Tom Holland's character felt trapped, showing drug addiction through tilt shift lenses, using a special infrared 3D camera rig, and more!

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What you will learn in this episode * Creating distinct looks for each chapter (00:56) * Using vintage anamorphic lenses for a romantic feel (05:56) * Using wide angle lenses for the "Basic" army training chapter (13:42) * How wide angle lenses make characters feel trapped (17:40) * Filming the war chapter with a wide aspect ratio (23:02) * Lighting exterior desert shots (27:49) * Tilt shift lenses and composition for drug addiction (31:24) * "Dope Life" chapter visual approach (37:06) * "Epilogue" dolly tracking shot (50:24) * How an infrared camera was used on a 3D rig (54:12) * Working with the Russo Brothers (01:01:19) * Maintaining consistency throughout various looks (01:05:43) * And more!

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THE UNITED STATES VS BILLIE HOLIDAY is a visually raw biopic combining stunning imagery of Billie Holiday's life and her musical performances. Cinematographer Andrew Dunn BSC explains how he crafted these visuals by shooting on film, using filtration and haze, and a variety of camera movement.

Andrew and Go Creative Show host, Ben Consoli, discuss why cinematographers are chameleons, why Andrew loves filtration, his philosophy behind camera motivation and movement, and much more!

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What you will learn in this episode * Why cinematographers are chameleons (01:23) * Visual approach for US vs Billie Holiday (07:33) * Shooting on film and anamorphic lenses (15:54) * Using filtration and haze to enhance the look (18:20) * Filming musical performances in unique ways (35:42) * Using a variety of camera movement (40:28) * Filming different genres on set (51:22) * And more!

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Show Links * The United States vs Billie Holiday IMDb * The United States vs Billie Holiday trailer * The United States vs Billie Holiday on Hulu * Black frost filter

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Aaron Sorkin's Golden Globe-nominated film THE TRIAL OF THE CHICAGO 7 perfectly balances incredible visuals with stunning performances. Cinematographer Phedon Papamichael ASC comes on to discuss working with Sorkin and the importance daylight plays when filming the courtroom scenes.

Phedon and Go Creative Show host, Ben Consoli, discuss how the visual approach contrasts between the courtroom and riots, his obsession with motivated camera movement, filming with up to 3 cameras at once on a tight schedule, and more!

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What you will learn in this episode * Working with Aaron Sorkin and overview on visual approach (02:24) * Why windows played a pivotal role in the courtroom (13:09) * The film’s fast-paced shooting schedule (20:55) * Is a film like this important to be accurate? (25:01) * Using natural sunlight to your advantage for exterior scenes (29:56) * Shooting multiple cameras at once and getting coverage (34:59) * Keeping camera movement motivated (49:11) * How virtual production can be valuable (53:29) * And more!

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Show Links * THE TRIAL OF THE CHICAGO 7 trailer * THE TRIAL OF THE CHICAGO 7 IMDb * THE TRIAL OF THE CHICAGO 7 on Netflix

Follow Our Guest * Phedon Papamichael ASC’s IMDb * Phedon Papamichael ASC’s Instagram

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THE SOCIAL DILEMMA shined a light on our addiction to social media and its effects on society. Cinematographer John Behrens explains the documentary's distinct looks and the challenges of filming with 6 cameras for each interview.

John and Go Creative Show host, Ben Consoli, discuss why and how they filmed the interviews in a huge vacant home, how John dealt with ever-changing exterior light, why some interviews took over a day to film, and much more!

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What you will learn in this episode * The effects of The Social Dilemma (01:02) * Creating the visual looks of The Social Dilemma (03:51) * Filming interviews with over 6 different angles (09:19) * Making interview subjects comfortable on camera (23:53) * Approach to lighting interviews (31:56) * Shooting interviews in a vacant home (34:15) * Filming interviews with changing exterior light (45:36) * Most challenging setup (52:50) * And more!

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Show Links * The Social Dilemma IMDb * The Social Dilemma on Netflix * The Social Dilemma trailer

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THE QUEEN’S GAMBIT production designer Uli Hanisch shares how he designed the show by recreating the 1960's with meticulously-constructed and stunningly-beautiful sets, wardrobe, props and more.

Uli and Go Creative Show host, Ben Consoli, discuss the fundamentals for prepping as a production designer, how Uli made chess visually interesting, creating the most iconic sets of the series, the important role of color, and more!

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What you will learn in this episode * Why 1960s design is so influential (00:54) * Basics of prepping for production design (03:23) * Critical role of a production designer (11:03) * Being tasked with making chess visually interesting (19:07) * Designing Alma Wheatley's home (24:54) * How Beth transforms Alma's house (35:45) * Designing unique looks for each hotel (39:22) * Uli's favorite set he designed (44:28) * How color plays an important role in production design (46:17) * And more!

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Show Links * The Queen’s Gambit IMDb * The Queen’s Gambit on Netflix

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PIECES OF A WOMAN cinematographer Benjamin Loeb discusses how he shot the films most controversial scene - a 20-minute single take of a mother's home birth. Plus capturing the stunning performances by Vanessa Kirby and Shia LaBeouf.

Benjamin and Go Creative Show host, Ben Consoli, discuss his unique camera movement, nontraditional coverage, having the camera "react" to characters, his first experience with shooting on a gimbal, and more!

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What you will learn in this episode * Unique approach to camera movement (01:03) * Filming the birth scene on a gimbal (08:54) * Character blocking and camera reacting (14:12) * Challenges of filming in a real house (19:00) * Small camera crew for birth scene (22:17) * Lighting a 20 minute scene (27:44) * Not having Boston feel stereotypical (32:12) * Having nontraditional coverage (36:50) * Lighting and filming the pre-dinner scene (42:35) * Color grading based off painters (45:24) * Filming the ending apple tree scene (49:40) * And more!

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Show Links * Pieces of a Woman IMDb * Pieces of a Woman trailer * Pieces of a Woman on Netflix

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Learn how Chadwick Boseman, Viola Davis, and cinematographer Tobias Schliessler ASC brought MA RAINEY'S BLACK BOTTOM to life despite very few sets and many lighting obstacles.

Tobias and Go Creative Show host, Ben Consoli, discuss his portfolio of uniquely styled films, his approach to camera tests, shooting exteriors in the wrong sunlight, making a one-window basement beautiful, working with Chadwick Boseman, and more!

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What you will learn in this episode * Working on very unique styles of films (01:01) * Making a basement visually interesting (06:53) * Lighting and filming a 360 degree set (15:40) * How Tobias approaches camera testing (24:09) * Collaborating and evolving a visual approach (34:29) * Why exterior lighting conditions were not ideal (37:10) * Lighting and filming musical numbers (43:43) * Working with Chadwick Boseman on his last film (52:02) * Working on films with varying budgets (56:01) * Cinematography of Palmer (59:07) * How Tobias lights his home (01:04:06) * And more!

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Show Links * Ma Rainey’s Black Bottom trailer * Ma Rainey’s Black Bottom on Netflix * Ma Rainey’s Black Bottom IMDb * Palmer trailer * Palmer on Apple TV+ * Palmer IMDb

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A cinematographer's role in an animated film is a unique challenge. In Pixar's SOUL, Cinematographer Matt Aspbury blended a photo-realistic New York City with an abstract look of the after-life and "You Seminar." Hear the untold story of directing photography for animation.

Matt and Go Creative Show host, Ben Consoli, discuss the process recreating NYC, Pixar's animation process, the biggest challenges faced, and much more!

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What you will learn in this episode * What cinematography means in animation (01:29) * Recreating a handheld camera look (06:27) * Recreating New York City in animation (07:54) * Animation cinematography process at Pixar (09:36) * Biggest challenge in Soul (12:56) * Collaborative process creating the visuals (14:31) * Finding the perfect balance of realism in animation (18:03) * Challenges of filming humans and souls (21:24) * Character development through cinematography (24:38) * Importance of diverse representation in animation (26:44) * And more!

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Show Links * Soul IMDb * Soul on Disney+

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Hollywood shutdowns and theater closures are changing the filmmaking industry. Variety's Matt Donnelly explains how this and Warner Brothers controversial distribution decision impacts movie making.

Matt and Go Creative Show host, Ben Consoli, discuss censorship on social media, will Warner Bros succeed in their plans for 2021, how COVID-19 lockdowns are affecting award ceremonies, what to look forward to in 2021, and more!

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What you will learn in this episode * Capitol Hill riots & censoring social media (01:54) * Warner Bros decision for 2021 movies (09:23) * Hollywood production shutdown (28:09) * How lockdowns affect award ceremonies (35:30) * What to look forward to in 2021 (38:02) * And more!

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Show Links * Variety.com

Follow Our Guest * Matt Donnelly’s Twitter * Matt Donnelly on Variety

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Streaming powerhouse COBRA KAI launched its 3rd season on Netflix. See how it all began with cinematographer Cameron Duncan. Learn how he celebrated the beloved Karate Kid film while also creating a new look for COBRA KAI. Plus, Cameron's experience filming 13 REASONS WHY and PREACHER.

Cameron and Go Creative Show host, Ben Consoli, discuss the importance of coverage for TV, how lighting can help tell a story, how he changed the look for 13 REASONS WHY, the magic of split diopters, and more!

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What you will learn in this episode * Joining COBRA KAI season 1 (01:30) * Reusing the same lenses as KARATE KID (04:27) * Importance of coverage for TV (08:42) * Not sacrificing quality for streaming (12:57) * Using lighting to tell story (16:44) * Why Cameron doesn't rewatch his work (20:23) * Changing the look of 13 REASONS WHY (26:23) * Using the Panavision DXL and shooting anamorphic (33:59) * Experience filming PREACHER (38:49) * How sunlight is different in Australia (42:29) * Challenges of filming with deep focus (48:28) * The magic of split diopters (51:14) * And more!

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Show Links * Cobra Kai trailer * Cobra Kai IMDb * Cobra Kai on Netflix * 13 Reasons Why IMDb * 13 Reasons Why trailer * 13 Reasons Why on Netflix * Preacher IMDb

Follow Our Guest * Cameron Duncan’s website * Cameron Duncan’s IMDb * Cameron Duncan’s Instagram

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Filming a wildlife documentary series shot entirely in darkness is now a reality! Thanks to technological advances in cameras, lenses and post production, executive producer Alex Williamson created EARTH AT NIGHT IN COLOR on Apple TV+ and gave viewers the ability to see the earth at night in vivid, remarkable color.

Alex and Go Creative Show host, Ben Consoli, discuss using special low-light camera technology and astronomy lenses, the challenges of using moonlight as your primary source of light, maintaining sharp focus in the dark, and more!

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What you will learn in this episode * Filming Earth at Night in Color (02:19) * Using moonlight as your primary light (09:33) * Discovering new animal behaviors (15:24) * Using low-light cameras and astronomy lenses (26:44) * Using lights in the wild (39:07) * Benefits of using infrared light (42:13) * Maintaining a clear image at night (46:02) * Finding the right narrator (51:26) * How production was affected by the pandemic (54:26) * And more!

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MZed - Education for Creatives PostLab - Stress-free collaboration for Final Cut Pro X Join Our Patreon: https://gocreativeshow.com/join Subscribe + Follow Go Creative Show * Twitter * Facebook * Apple Podcasts * Stitcher * Google Play Podcasts * iHeart Radio * YouTube

Show Links * Earth at Night in Color IMDb * Earth at Night in Color on Apple TV+

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Legendary cinematographer Matthew Libatique ASC joins us to discuss his latest film, Ryan Murphy's adaptation of the Broadway hit musical THE PROM . Learn how Matt flawlessly mixes the dynamic and colorful visuals of Broadway with the subtle realism of suburban Indiana. Cinematographer Matthew Libatique ASC comes on to talk all about it.

Matthew and Go Creative Show host, Ben Consoli, discuss Matt's initial fear of filming a musical, using unique filtration for lens flares, avoiding the chaos of filmmaking, embracing new gear and technology, creating the visual contrast between Broadway and Indiana, and more!

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What you will learn in this episode * Making a musical without musical experience (01:14) * Working with director Ryan Murphy (06:55) * Contrast between Indiana and Broadway (10:31) * Unique lenses and filtration (13:09) * Strong use of colored lighting (22:55) * Lighting "Zazz" (24:57) * Filming Love Thy Neighbor in a mall (29:33) * Lessons learned about camera movement (31:17) * Being shut down due to COVID-19 (36:25) * Avoiding the chaos of filmmaking (39:47) * Lessons learned filming The Prom (47:06) * And more!

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Show Links * The Prom IMDb * The Prom on Netflix * https://www.camtec.tv/new-specialty/camtec-falcon-full-frame-lenses * Camtec Color-Con filters

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David Fincher's highly-anticipated Netflix film MANK is here! Cinematographer Erik Messerschmidt ASC explains how modern equipment and techniques were used to create an authentic-looking 1930s black and white film.

Erik and Go Creative Show host, Ben Consoli, discuss why they chose not to shoot on film, how shooting & lighting black and white is different than color, Erik's philosophy on camera coverage, and so much more!

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What you will learn in this episode * Prep and working with David Fincher (03:31) * Authentic black and white visual approach (16:02) * Shooting with deep focus (21:44) * Lighting for black and white (23:15) * Lighting dissolve transitions in Mank (26:24) * Transforming 8K footage to look like film (30:43) * Why shooting on film was never considered (35:43) * Filtration used on Mank (40:30) * Philosophy on camera coverage (44:40) * Filming and lighting the election party (53:12) * Using ND filter contacts for actor eyes (57:40) * Production design in black and white (01:04:24) * And more!

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MZed - Education for Creatives PostLab - Stress-free collaboration for Final Cut Pro X Subscribe + Follow Go Creative Show * Twitter * Facebook * Apple Podcasts * Stitcher * Google Play Podcasts * iHeart Radio * YouTube

Show Links * Mank on Netflix * Mank IMDb

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Filming hundreds of children around the globe from birth to five years old is incredibly complex. Learn how executive producer Hamo Synth and his team did it for documentary series BECOMING YOU on Apple TV+

Hamo and Go Creative Show host, Ben Consoli, analyze the difficult prep involved creating this docu-series, finding the right families to feature, the challenges of filming large format 8K, how each episode was crewed, the complexities of editing all that footage, and much more!

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What you will learn in this episode * The challenge of filming children for 5 years (02:04) * Discovering the importance of a newborn's life (06:12) * Approach to filming a documentary with high quality visuals (12:37) * Filming with the Red Monstro (20:57) * Why natural lighting was crucial (22:08) * How episodes were crewed and directed (23:24) * All the challenges faced when filming (29:19) * The big task of editing this series (43:57) * Advice for aspiring filmmakers (50:04) * And more!

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Show Links * Becoming You IMDb * Becoming You on Apple TV+ * Becoming You trailer

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Fargo Season 4 Cinematographer and Director Dana Gonzales masterfully re-creates 1950s Kansas City with an alluring Kodachrome revival. Learn how Dana blends vintage Astro Berlin and modern Zeiss Supreme lenses with a fine-tuned recipe of stylized filters to create the shows look.

Dana and Go Creative Show host, Ben Consoli, discuss season 4 visual references, recreating Kodachrome, Autochrome and Tri-X film stocks, Dana's experience directing Chris Rock and an A-list cast, creating the vintage mugshot look, filming black and white , and more!

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What you will learn in this episode * Unique challenges of an anthology series (01:34) * Approach to Fargo season 4 (06:10) * Working with an A-list cast (09:14) * The amount of prep involved in creating season 4's visual style (15:28) * Recreating the Kodachrome look (24:42) * Approach to lighting (40:54) * Creating the mugshots look in season 4 (43:55) * Shooting on the Alexa mini LF (46:47) * Filming an episode in black and white (51:30) * Transitioning from cinematographer to director (01:03:18) * Directing Chris Rock and other talent (01:12:42) * Directing internal power struggles with characters (01:19:21) * Advice for aspiring cinematographers (01:24:43) * And more!

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Show Links * Fargo IMDb * Fargo season 4 trailer * Kodachrome * https://www.nationalgeographic.com/news/2017/04/autochrome-photography-archive-vintage-history/ * https://www.amazon.com/Saul-Leiter-Early-Color/dp/3865211399 * http://camera-wiki.org/wiki/Astro_Berlin * https://www.zeiss.com/consumer-products/us/cinematography/supreme-prime-radiance-lenses.html * https://petapixel.com/2016/04/04/kodak-tri-x-best-black-white-film-ever-made

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Season 4 of THE CROWN is the most exciting and anticipated yet. Listen as cinematographer Adriano Goldman ASC BSC ABC shares behind the scenes stories, filming Princess Diana and bringing the royal family to the screen.

Adriano and Go Creative Show host, Ben Consoli, discuss the show's visual evolution, lighting and cinematography challenges, why season 4 is special to Adriano, shooting on the Sony Venice, and much more!

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What you will learn in this episode * Remotely collaborating with the colorist (01:32) * Evolving look throughout the seasons (08:29) * Biggest lighting challenge of seaons 4 (18:37) * Portraying Princess Diana (29:02) * Shooting season 4 on the Sony Venice (35:59) * Prepping for a new Star Wars show (42:44) * Filming with 4 cameras (45:24) * And more!

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Show Links * The Crown on Netflix * The Crown Season 4 trailer

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Avoiding master shots and filming in New York City are two of the challenges that cinematographer Philippe Le Sourd ASC AFC faced while filming Sofia Coppola’s On The Rocks.

Philippe and Go Creative Show host, Ben Consoli, discuss the visual approach to On The Rocks, why establishing shots aren't always necessary, working with actor Bill Murray, the choice of shooting on film, filming in NYC, and so much more!

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What you will learn in this episode * Working with director Sofia Coppola (02:00) * Filming New York in a unique way (06:18) * Why On the Rocks wasn't shot as a romance/comedy (07:51) * Capturing the height of New York on film (08:48) * Capturing the warmth of characters (10:58) * Working with a hands-on director (16:30) * Working with Bill Murray (17:58) * Shooting on film (22:34) * Challenges of filming in New York (27:23) * Approach to lighting On The Rocks (31:47) * Why establishing shots were avoided (37:01) * Lens package and shooting shallow (45:31) * Not worrying about where the film will be viewed (48:53) * Working with the film's colorist (55:53) * Working during the pandemic (59:08) * And more!

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Show Links * On the Rocks IMDb * On the Rocks trailer * On the Rocks on Apple TV+

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Filming the word's smallest creatures for the Apple TV+ documentary series TINY WORLD was a giant undertaking. Learn how executive producer, writer and creator Tom Hugh-Jones got it done.

Tom and Go Creative Show host, Ben Consoli, discuss the fundamentals of filming creatures in their natural habitat, the series' crazy short filming schedule and logistics, using probe lenses, why the dung beetle was the most challenging to film, and much more!

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What you will learn in this episode * How Tiny World is different from other nature docs (02:30) * What an executive producer does (05:57) * Why the shooting schedule was so quick (08:42) * Logistics of shooting across the world (11:45) * Pre-production and planning of nature docs (14:22) * Fundamentals of filming nature (18:12) * Essential coverage to tell a story (23:23) * Camera and lens package (30:16) * Using probe lenses and mirror prisms (32:34) * How to avoid scaring animals while filming (35:39) * Why dung beetles were most challenging to film (38:06) * New challenges in season 2 of Tiny World (40:23) * Carefully-chosen lighting equipment (47:23) * The fun job of recording sound for nature docs (51:24) * Why Avid was the best choice for post production (56:46) * How Tom got into wildlife photography (01:00:29) * Tips for aspiring nature photographers (01:06:57) * And more!

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Show Links * Tiny World — Official Trailer l Apple TV+ * Tiny World on Apple TV+ * Tiny World on IMDb * Phantom VEO * Laowa Probe Lens * Optex Excellence Probe Lens

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With all the new restrictions, social distancing, and guidelines due to COVID-19, it's hard to keep everything straight. Jamieson Shea, a health and safety consultant for production, comes on the show to discuss how we can all return to work.

Jamieson and Go Creative Show host, Ben Consoli, discuss the importance of having a safety consultant on set, guidelines for small and large productions, bubbles for talent to keep them safe, and much more!

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What you will learn in this episode * Importance of a health and safety consultant (02:04) * COVID-19 guidelines for small productions (10:27) * Challenges of working with talent during COVID-19 (26:02) * Clients remotely watching video feeds (28:03) * COVID-19 guidelines for Hollywood productions (31:14) * How Jamieson got into the industry (40:25) * How the music industry is affected by COVID-19 (43:07) * Jamieson's experience in the music industry (47:16) * And more!

Go Creative Show is supported by:

Show Links * White Paper Industry Wide Labor Management Safety Committee Task Force * Safe Way Forward

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The future of filmmaking is here and it's virtual! Learn what it takes to be a virtual filmmaker and how productions such as The Mandalorian are using this virtual technology now. Cinematography Database's Matt Workman comes on the show to talk all about it.

Matt and Go Creative Show host, Ben Consoli, discuss how the COVID-19 pandemic ushered in a new way of virtual filmmaking, what you need to get started with virtual productions, the challenges you may face, and so much more!

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What you will learn in this episode * Best microphone for podcasting (02:03) * How COVID-19 has brought virtual filmmaking mainstream (04:11) * Matt's experience with virtual filmmaking (06:49) * How The Mandalorian used virtual filmmaking (09:28) * Aspects of virtual filmmaking you can control (15:35) * How to monitor virtual filmmaking (19:06) * Challenges of virtual filmmaking (23:35) * Getting started with virtual filmmaking (36:43) * Finding virtual filmmaking studios (41:05) * Using green screen with virtual filmmaking (45:46) * Finding virtual sets (50:07) * Offering virtual filmmaking to clients (52:33) * And more!

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Show Links * Unreal engine * nDisplay * Unreal Engine Facebook Group

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Learn how color theory, surreal lighting, and camera motivation bring Ryan Murphy's Ratched to life with cinematographer Simon Dennis BSC.

Simon and Go Creative Show host, Ben Consoli, discuss the connection to One Flew Over the Cuckoo's Nest, shooting on the RED Helium camera, giving a dream-like feel with ultra-hot highlights, lighting 360 degree sets, and much more!

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What you will learn in this episode * The world of Ryan Murphy (02:15) * Use of color theory in Ratched (05:37) * How Ratched ties into One Flew Over the Cuckoo's Nest (07:09) * How production design can influence cinematography (13:14) * Shooting on the RED Helium camera (21:20) * Giving a dream-like feel using blown out lights (25:05) * Challenges of lighting for 360 sets (35:30) * Techniques for filming crazy characters (40:13) * Filming blood and gore (47:04) * Building tension in a scene (49:30) * Use of camera filtration for Ratched (56:08) * The current ways of filming while wearing PPE (59:40) * And more!

Go Creative Show is supported by:

Show Links * Ratched IMDb * Ratched on Netflix * Ratched trailer

Follow Our Guest * Simon Dennis BSC’s IMDb * Simon Dennis BSC’s website * Simon Dennis BSC’s Twitter * Simon Dennis BSC’s Instagram

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Cinematographer Robert McLachlan ASC CSC takes us behind the scenes of HBO's Lovecraft Country and teaches us how he blends fantastical science fiction with a grounded 1950's period look.

Robert and Go Creative Show host, Ben Consoli, discuss how Indiana Jones and The Goonies inspired his work, creating believable science fiction, natural lighting, strategies for filming underwater, how to light legendary actors, and so much more!

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What you will learn in this episode * Stock vs custom Zeiss lenses (01:33) * Working with and lighting talent (14:10) * Why Robert chose the Sony Venice (26:47) * Natural approach to lighting Lovecraft Country (32:33) * Challenges of filming with water (41:38) * Filming underwater in Lovecraft Country (50:46) * And more!

Go Creative Show is supported by:

Show Links * Zeiss Supreme Prime Lenses * Dedolight Octodome * Arri Maxima * Litra Lights

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The founder of Sandwich, Adam Lisagor, changed video production and advertising by inserting his own personality into his work for brands including Slack, Warby Parker, Airbnb, Uber, and more! Learn how Adam built his enormously successful production company, Sandwich, and his thoughts on the future of video production.

Adam and Go Creative Show host, Ben Consoli, discuss how he became a hit spokesperson, harsh lessons learned with clients, the important way to approach pitches, how Adam's team is producing videos during the pandemic, virtual filmmaking, and so much more!

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What you will learn in this episode * How Adam became a hit spokesperson (02:51) * The beauty of being straight-forward in ads (13:32) * Adam's early experience with production (17:48) * Harsh lessons learned with clients (26:04) * The important way to approach pitches (34:23) * How to approach client budget (44:22) * Sandwich's pre-production process (47:07) * Lessons learned during Adam's career (55:52) * Adam's favorite project he's worked on (59:04) * Remote camera production (01:02:13) * How virtual production is the future of filmmaking (01:11:00) * And more!

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Follow Our Guest * Sandwich’s Website * Sandwich’s Slack advertisements * Sandwich on Instagram

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Go behind the scenes of Ridley Scott's new HBO series, Raised by Wolves, with cinematographer Erik Messerschmidt ASC.

Erik and Go Creative Show host, Ben Consoli, discuss creating the unique look of the series, the challenging locations for scenes, differences between American and South African film crews, lighting challenges with multiple cameras, and much more!

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What you will learn in this episode * Getting involved with Raised by Wolves (02:20) * American crew vs South African crew (04:34) * About Raised by Wolves (10:11) * Challenging locations of the series (12:31) * Giving a feeling of vulnerability (18:20) * Collaborating with other cinematographers (23:33) * Allowing the camera to participate in the scene (29:04) * Approach to lighting (32:30) * Shooting day for night (37:30) * Visual approach to flashbacks (48:36) * Erik's favorite scene to film (53:14) * Filming in-camera effects (55:28) * What's next for Erik (59:09) * And more!

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Show Links * Cinematography of Mindhunter (with Erik Messerschmidt ASC) GCS219 * Raised by Wolves trailer * Raised by Wolves IMDb

Follow Our Guest * Erik Messerschmidt ASC’s IMDb * Erik Messerschmidt's Instagram

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Legendary camera operator Mitch Dubin SOC ACO has worked with Steven Spielberg on 17 films and he shares his experience with us!

Mitch and Go Creative Show host, Ben Consoli, define what it means to be a camera operator, how Mitch got involved with Steven Spielberg, filming Saving Private Ryan, and so much more!

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What you will learn in this episode * Defining the role of a camera operator (02:13) * Working with legendary director Steven Spielberg (04:58) * Relationship with director vs DP (17:19) * How to prep for camera operating (22:50) * Shoot schedule for a camera operator (26:17) * How to stay out of the talent’s way (29:07) * Providing your own camera operating style (31:45) * Filming Saving Private Ryan (35:47) * Why type of camera doesn’t matter (44:25) * Shifting from film to digital (46:06) * Filming during COVID-19 (47:26) * Filming the new West Side Story (51:22) * And more!

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Show Links * Garry Winogrand * The Black Stallion Film * SOC: Getting back to work during COVID-19

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Disney's highly-anticipated live-action remake of Mulan is here! Cinematographer Mandy Walker ASC ACS gives us a behind the scenes look at making the film.

Mandy and Go Creative Show host, Ben Consoli, break down Mulan's epic battle scenes, gender roles in cinematography, the perfect camera and lens combination for the film, using custom specialty lenses to draw focus, and more!

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What you will learn in this episode * Having this version be different from the animated classic (03:23) * Visual inspiration from Chinese culture and films (08:56) * Filming the great battle avalanche scene (14:46) * Filming Mulan differently as a man vs woman (26:08) * Filming the locked-down tracking shots (30:32) * Prep to film battle scenes (34:27) * Crafting and testing custom lenses (35:19) * Lighting in a quick but effective way (42:07) * Benefits of using a base LUT (50:05) * Challenge of lighting for moonlight (53:19) * Returning to work during the pandemic (56:07) * And more!

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Show Links * Disney+ * Mulan IMDb * Mulan trailer

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Learn how the golden age of photojournalism inspired the cinematography for the Emmy-Nominated “The Plot Against America” with director of photography Martin Alghren.

Martin and Go Creative Show host, Ben Consoli, discuss his use of deep focus to create a believable alternative history, and the perfect camera/lens combination to achieve the unique look. Plus the challenges of filming car scenes, changing camera movement throughout the series, shooting day for night, and more!

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What you will learn in this episode * Visually creating an alternative history piece (02:56) * Having a period piece not feel sentimental (11:12) * Choosing the perfect camera and lens pair for deep focus (13:06) * Shooting with deep focus (18:42) * Accommodations for lighting a period piece (29:45) * Building practical backgrounds on set (34:56) * Challenges of filming car scenes (37:51) * Changing camera movement throughout the series (44:37) * Martins approach to using a LUT (46:30) * Shooting Day for Night (50:09) * Martin's most challenging scene to film (56:15) * And more!

Go Creative Show is supported by:

Show Links * The Plot Against America on HBO * The Plot Against America IMDb * The Plot Against America Trailer

Follow Our Guest * Martin Ahlgren’s IMDb * Martin Ahlgren’s Website * Martin Ahlgren’s Instagram

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Emmy-nominated cinematographer Benedict Spence joins us to discuss his strict visual approach to season two of Netflix's End of the F***ing World.

Benedict and Go Creative Show host, Ben Consoli, discuss his process creating a strict visual rule book, using center framing to make characters feel isolated, working on a very tight schedule, most embarrassing moment on set, and much more!

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What you will learn in this episode * Obstacles of joining a show in its second season (03:20) * Approaching visuals in a minimal way (11:17) * Creating the show's visual rule book (20:38) * Making characters feel isolated using center framing (23:49) * Only getting essential shots on a tight schedule (27:08) * Shooting on the Arri Alexa LF with Zeiss lenses (33:28) * Benedict's best and worst shot of the season (42:02) * Zoom lenses and filtration (44:58) * Approach to lighting (47:20) * Filming an entire scene at blue hour with no lights (52:47) * Best part of filming the series (59:29) * Most embarrassing moment on set (01:00:41) * Importance of a gaffer (01:02:02) * Which crew member would you live with? (01:03:30) * And more!

Go Creative Show is supported by:

MZed - Education for Creatives Subscribe + Follow Go Creative Show * Twitter * Facebook * Apple Podcasts * Stitcher * Google Play Podcasts * iHeart Radio * YouTube

Show Links * The End of the Fing World on Netflix * The End of the Fing World IMDb * The End of the F***ing World Season 2 Trailer

Follow Our Guest * Benedict Spence’s IMDb * Benedict Spence’s Website * Benedict Spence’s Instagram

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Emmy-nominated cinematographer Garrett Rose discusses Cinema Verite and his simple but sophisticated approach to filming Netflix's Queer Eye reality series.

Garrett and Go Creative Show host, Ben Consoli, discuss the concept of "cinema verite," for reality tv, shooting on the versatile Sony FS7, Garrett's approach to soft but natural lighting, experimenting as a cinematographer, and more!

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What you will learn in this episode * Getting involved with Queer Eye (02:39) * Rebooting the series (06:13) * Shooting on the Sony FS7 (08:10) * Documentary filming style of Queer Eye (17:42) * Approach to lighting (29:03) * Filming authentic reactions (31:22) * Preparing to get as much coverage as possible (32:59) * Experimenting as a cinematographer (34:42) * Cinematic approach to filming Queer Eye (38:09) * Have light be soft but natural (48:11) * Why Garrett is not involved in Post Production (54:34) * And more!

Go Creative Show is supported by:

Show Links * Queer Eye trailer * Queer Eye’s IMDb * Queer Eye on Netflix * Cinema Verite

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Go behind the scenes of Netflix's popular superhero series, The Umbrella Academy, with director of photographer Craig Wrobleski CSC.

Craig and Go Creative Show host, Ben Consoli, discuss combining the visuals of comics with reality, shooting on the Alexa 65 and using wide lenses, Craig's philosophy on camera movement, the importance of communication on set, and much more!

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What you will learn in this episode * Filming during COVID-19 (03:05) * The Umbrella Academy synopsis (14:18) * Combining comic visuals with reality (16:51) * Visual differences between season 1 and 2 (25:14) * Shooting on the Alexa 65 and using wide lenses (29:40) * Philosophy on camera movement (36:24) * Challenges of filming a period piece (39:59) * Incorporating color and lighting (45:16) * The importance of communication on set (01:01:20) * And more!

Go Creative Show is supported by:

Show Links * Umbrella Academy IMDb * Umbrella Academy Season 2 Trailer * Umbrella Academy on Netflix

Follow Our Guest * Craig Wrobleski’s website * Craig Wrobleski’s Instagram * Craig Wrobleski’s IMDb

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We review the hottest new camera releases from Sony, Canon, and Blackmagic with Matthew Allard ACS of Newsshooter.

Matt and Go Creative Show host, Ben Consoli, discuss how COVID-19 has impacted trade shows, if the Sony A7S iii a worthy upgrade, Canon's new EOS R5 and R6 mirrorless cameras and their overheating controversy, Blackmagic's 12K Ursa Mini Pro camera, and more!

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What you will learn in this episode * Are trade shows a thing of the past? (02:28) * Thoughts on the newly announced Sony A7S iii (09:33) * Is the A7S worth the upgrade? * Canon’s new EOS R5 and R6 (31:01) * Is the Canon R5 truly 8K? * Should you purchase the Canon R5 or R6? * The incredible specs of the Blackmagic Ursa Mini Pro 12K (43:05) * How the Teradek Serv Pro will help remote shoots (53:43) * And more!

Go Creative Show is supported by:

Show Links * Sony A7S III * Canon EOS R5 and R6 * Blackmagic URSA Mini Pro 12K

Follow Our Guest * Matthew Allard Twitter * Newshooter.com

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Learn the unique challenges and skills it takes to edit dramas, comedies, and documentaries with Mrs. America editor Todd Downing ACE.

Todd and Go Creative Show host, Ben Consoli, discuss his process going through all the raw footage, working with assistant editors, why he likes to make an edit work without music, the challenges of editing comedies and documentaries, his work on FX's Mrs. America, and much more.

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What you will learn in this episode * Starting on a project as an editor (02:24) * Making an edit work without musical score (07:33) * COVID-19's effect on Mrs America (12:15) * Editing so many different genres of projects (16:00) * Challenges of editing comedies (19:53) * Skills to be a great documentary editor (23:45) * Going through all the footage in Mrs America (31:04) * Process working with assitant editors (34:22) * Editing the hallucination scene in Mrs America (36:29) * Determining a show's pacing (40:51) * Choosing between takes as an editor (44:48) * Collaborating with other editors (46:36) * Post production process after editorial (49:23) * Advice for new editors (51:39) * And more!

Go Creative Show is supported by:

MZed - Education for Creatives Subscribe + Follow Go Creative Show * Twitter * Facebook * Apple Podcasts * Stitcher * Google Play Podcasts * iHeart Radio * YouTube

Show Links * Mrs. America IMDb * Mrs. America Trailer * Mrs. America on Hulu

Follow Our Guest * Todd Downing’s IMDb

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Discover the challenges of filming a comic series based in a dramatic reality with HBO's Watchmen cinematographer, Xavier Grobet ASC.

Xavier and Go Creative Show host, Ben Consoli, discuss overcoming the visual challenges of Watchmen, the difficulties of lighting and filming masked characters, the unique camera rig used for Looking Glass' reflective shield, advice for new cinematographers, and more!

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What you will learn in this episode * Visual challenges of shooting a comic series based in reality (02:30) * Xavier’s prep process for Watchmen (16:16) * Shooting on the Alexa Mini with various lenses (23:52) * Discussing Watchmen's various looks (25:27) * Approach to lighting for Watchmen (29:38) * Challenges of filming masked characters (31:42) * The camera rig used for Looking Glass’ mask (36:13) * Collaborating with the VFX team (39:08) * Xavier’s approach to blocking scenes (42:24) * Beginning a film career in Mexico (46:51) * Advice for new cinematographers (48:18) * And more!

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Show Links * Watchmen IMDb * Watchmen on HBO

Follow Our Guest * Xavier Grobet’s Website * Xavier Grobet’s IMDb

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Listen as we explore the cinematography of the Apple TV+ film GREYHOUND with Director of Photography Shelly Johnson ASC.

Shelly and Go Creative Show host, Ben Consoli, discuss working with legendary actor Tom Hanks, recreating a WWII battle at sea, Shelly's focus on camera performance, using a white screen instead of green screen, the challenges of naturally lighting the interior of a dark battleship, and much more.

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What you will learn in this episode * Filming for theatrical vs streaming (03:22) * Visual approach to Greyhound (07:00) * Why it took Tom Hanks 10 years for financing (13:25) * Shelly’s focus on camera performance (18:05) * Recreating a battleship as a set (29:06) * How Shelly didn’t test his lenses until day one of filming (35:27) * Lighting the dark battleship interior (41:17) * Using a white screen instead of green screen (45:55) * Filming and lighting the night scenes (53:02) * Challenges of filming with water (58:56) * Working with Tom Hanks (01:03:43 * Shelly’s favorite sequence in Jurassic Park 3 (01:09:16) * And more!

Go Creative Show is supported by:

Show Links * Greyhound trailer * Greyhound on Apple TV+ * Inside look at Greyhound * https://www.panavision.com/products/sphero-65-lenses

Follow Our Guest * Shelly Johnson’s IMDb * Shelly Johnson’s Instagram

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Learn what it takes to shoot incredible sci-fi and action films with Devs, Annihilation, and Mission Impossible: Fallout cinematographer Rob Hardy BSC.

Rob and Go Creative Show host, Ben Consoli, discuss the unique visual and lighting approach of Devs, working with director Alex Garland, shooting and lighting VFX shots in Annihilation, the incredible sky diving sequence in Mission Impossible: Fallout, and so much more!

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What you will learn in this episode * Rob's career after Ex Machina (03:28) * Collaborating with the production designer on Devs (09:42) * The unique way of lighting the cube set (11:57) * Why Rob and Alex Garland don't reference other films (20:16) * Lighting philosophy of Devs (24:55) * Camera and lens tests and shooting on Sony Venice (36:00) * Resuming production after COVID-19 (43:47) * Rob's love for shooting anamorphic (47:30) * The long take style of Devs (51:01) * Lighting outdoor scenes of Annihilation (52:50) * Shooting VFX heavy shots (56:38) * Filming stunt shots on Mission Impossible Fallout (59:34) * Filming the skydiving scene in Mission Impossible Fallout (01:12:42) * And more!

Go Creative Show is supported by:

Show Links * Devs on Hulu * Devs trailer * Devs IMDb * Bathroom fight scene in Mission Impossible: Fallout * Skydiving sequence in Mission Impossible: Fallout

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Master the art of creating visual tension and suspense with Michael Gioulakis, cinematographer of Us, Servant, It Follows, and more!

Michael Gioulakis and Go Creative Show host, Ben Consoli, discuss working with directors M Night Shyamalan and Jordan Peele, using untraditional coverage in 'Servant', the challenges of shooting with doppelgängers in 'Us', giving a sense of unease in horror, and much more!

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What you will learn in this episode * Working with director M Night Shyamalan (01:32) * How M Night Shyamalan uses camera movement (11:16) * Working on an Apple TV+ show (13:00) * Challenges of shooting Servant (16:18) * Using untraditional coverage in Servant (17:54) * Lighting the house in Servant (20:27) * Using high contrast soft lighting (28:01) * Filming dark cinematography (29:17) * Working with Jordan Peele on Us (32:32) * Filming with doppelgängers and lighting approach (35:29) * Camera package for Us (41:09) * Filming the final fight scene (44:25) * Giving a sense of unease in horror (46:18) * Approach to lighting It Follows (50:38) * Visual approach for Under the Silver Lake (52:07) * And more!

Go Creative Show is supported by:

MZed - Education for Creatives Subscribe + Follow Go Creative Show * Twitter * Facebook * Apple Podcasts * Stitcher * Google Play Podcasts * iHeart Radio * YouTube

Show Links * Servant IMDb * Us IMDb * Photographer Gregory Crewdson

Follow Our Guest * Michael Gioulakis’ IMDb * Michael Gioulakis’ Instagram * Michael Gioulakis’ website

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Learn what it takes to design an entire US base from scratch with Susie Mancini, production designer of Netflix's new comedy Space Force.

Susie and Go Creative Show host, Ben Consoli, discuss the quick turnaround she had when designing the Space Force base, her collaboration with the director and other departments, getting access to Elon Musk's SpaceX, referencing North Korean architecture, and so much more!

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What you will learn in this episode * The process designing for comedies (01:45) * Designing the brutalist-style Space Force base (07:57) * Collaborating with directors (24:11) * Getting access to Elon Musk's SpaceX base (32:07) * Working with actor John Malkovich (40:22) * Referencing North Korean architecture (48:27) * Collaborating with camera, lighting, and set departments (53:32) * Difference between art director and production designer (58:25) * How Hollywood is resuming after COVID-19 (01:01:17) * And more!

Go Creative Show is supported by:

Show Links * Space Force on Netflix * Space Force Trailer * Space Force IMDb

Follow Our Guest * Susie Mancini’s IMDb * Susie Mancini’s website

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In the wake of COVID-19, remote video production is the main way TV shows and videos are continuing to be produced. In this episode, Jason Liquori, owner of C Mount Rentals, shares how his team is partnering with The Late Late Show, Jimmy Kimmel Live, Ellen, and more for remote productions.

Jason and Go Creative Show host, Ben Consoli, discuss the type of equipment he's providing to TV networks, how they're remotely controlling the equipment, recording high quality footage, and more!

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What you will learn in this episode * How Jason became a rental house owner (01:43) * Providing remote production to TV networks (08:59) * Remote camera packages for late show hosts (13:46) * Remotely controlling cameras (24:16) * Recording high quality footage remotely (36:45) * How clients can view remotely (42:51) * Recording good sounding audio remotely (48:09) * Jason's recommendation for remote camera packages (53:26) * And more!

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Follow Our Guest * C Mount Rentals

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Learn about the tiring process behind editing some of your favorite reality TV shows with editor Molly Shock ACE.

Molly and Go Creative Show host, Ben Consoli, discuss how reality TV has evolved, her collaboration with editors and producers, the psychology of editing, plus behind the scenes of RuPaul's Drag Race, MasterChef, and more!

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What you will learn in this episode * Molly's experience editing for over 20 years (01:57) * How reality TV has evolved over the years (06:17) * Editing reality TV and RuPaul's Drag Race (15:16) * Editing MasterChef remotely due to COVID-19 (26:41) * Collaborating with other editors and producers (29:42) * Difficulty of editing out a scandalous character (35:50) * Psychology of editing reality tv (41:46) * Maintaining an engaging episode (44:52) * Shooting schedule for reality tv (45:52) * The process editing docu-style shows (47:50) * Finding or becoming mentors in the industry (52:58) * And more!

Go Creative Show is supported by:

Show Links * Entertainment Industry Professionals Mentoring Alliance

Follow Our Guest * Molly Shock’s IMDb * Molly Shock’s Twitter

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Learn how cinematographer Jonathan Freeman ASC created the cool, dramatic shots of DEFENDING JACOB for Apple TV+ and filmed classic episodes of GAME OF THRONES.

Jonathan and Go Creative Show host, Ben Consoli, discuss what he looks for when reviewing scripts, his visual and lighting approach to DEFENDING JACOB, using VR technology for GAME OF THRONES, the infamous Starbucks coffee cup shot, and more!

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What you will learn in this episode * Becoming the cinematographer of DEFENDING JACOB (01:37) * What to look for in a script (03:29) * Benefits of working with one director the entire series (06:35) * Visual approach of contemporary vs period pieces (08:22) * Approach to lighting for DEFENDING JACOB (11:26) * What it’s like working for Apple TV+ (15:51) * Jonathan’s experience filming in Boston (17:47) * The show’s cool visual approach (20:40) * Approach to lighting the knife reveal scene (31:36) * Camera and lens package (37:16) * Discussing the color science of using blue tones (42:59) * Jonathan’s work on GAME OF THRONES (44:32) * His favorite scenes he shot in Game of Thrones (51:23) * The infamous Starbucks coffee cup (58:55) * And more!

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Show Links * Defending Jacob IMDb

Follow Our Guest * Jonathan Freeman’s website * Jonathan Freeman’s IMDb

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Amazon Prime's HOMECOMING has some of the most compelling visuals on tv. Listen as Cinematographer Jas Shelton shares his techniques for lighting, lensing, camera movement and more.

Jas and Go Creative Show host, Ben Consoli, discuss how the look has evolved for season 2, how Alfred Hitchcock inspired the show, how they achieve the show's incredible cinematography, the importance of a DIT, and so much more!

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What you will learn in this episode * How COVID-19 has affected Jas (02:05) * Collaborating with the season 1 DP (06:20) * How the show’s look as evolved in season 2 (11:26) * Hitchcock’s inspiration on the show (20:19) * HOMECOMING’s incredible camera movement (23:35) * How Jas likes to prep for shoots (33:17) * Working with actress Janelle Monae (35:36) * Camera and lenses of HOMECOMING (38:35) * The importance of a DIT (44:10) * Approach to lighting (47:21) * Filming the incredible 360º house shot in season 2 (54:19) * And more!

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Show Links * Homecoming on Amazon Prime * Homecoming IMDb * http://www.toddhido.com

Follow Our Guest * Jas Shelton’s website * Jas Shelton’s Instagram * Jas Shelton’s IMDb

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Go behind the scenes of Netflix’s hit series HOLLYWOOD with cinematographer Simon Dennis BSC.

Simon and Go Creative Show host, Ben Consoli, discuss the visual approach to the series, working with director Ryan Murphy, shooting on the Sony Venice, his approach to lighting iconic scenes, and more!

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What you will learn in this episode * Working with director Ryan Murphy (02:24) * Paying homage to 1940's Hollywood (16:32) * Simon’s visual approach to the series (21:14) * Recreating 1940s film styles with "Meg" (32:36) * Shooting on the Sony Venice (36:10) * Using tons of haze in scenes (39:29) * Using colored lights for the theater and bar scenes (41:48) * Why Simon under-exposed while filming (45:03) * How lens focus affects production design (47:14) * Camera movement of HOLLYWOOD (51:35) * Filming the table read scene (54:48) * Classic movies that influenced the visual approach (58:31) * And more!

Go Creative Show is supported by:

Show Links * HOLLYWOOD IMDb * https://georgehurrell.com

Follow Our Guest * Simon Dennis’ website * Simon Dennis’ Twitter * Simon Dennis’ Instagram

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Cinematographer Adriano Goldman ASC ABC gives us a behind the scenes look at Netflix's hit series The Crown.

Adriano and Go Creative Show host, Ben Consoli, discuss the challenges of filming the first couple of episodes, the stunning visual approach to the series, why they changed cameras and lenses throughout the seasons, collaborating with costume design, and more!

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What you will learn in this episode * Adriano's thoughts on the effects of COVID-19 (02:24) * The difficulty establishing the look of THE CROWN (14:00) * Visual approach and importance of choosing coverage (22:26) * Camera and lens package (36:48) * Why the camera and lenses changed throughout the seasons (39:50) * Filming the interiors and working with haze (44:35) * Collaborating with production and costume design (50:58) * And more!

Go Creative Show is supported by:

Show Links * THE CROWN's IMDb * THE CROWN on Netflix * 65mm T1.3 Zeiss Super Speed * Glimmerglass Filter - 49GG1 – The Tiffen Company * Tiffen 4x5.65" Smoque #1/2, Smoke FX Glass Filter 4565SMQ12

Follow Our Guest * Adriano Goldman’s IMDb * Adriano Goldman’s Instagram

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The cinematographer of David Fincher's hit Netflix series, Mindhunter, Erik Messerschmidt ASC takes us behind the scenes the show.

Erik and Go Creative Show host, Ben Consoli, discuss how he created the distinct look of Mindhunter, why David Fincher shoots so many takes, mastering good camera movement, how Erik preps for shoots, and more!

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What you will learn in this episode * Importance of film school and on-set experience (02:22) * What Erik is watching during COVID-19 (12:08) * Visual approach to MINDHUNTER (15:48) * Mastering good camera movement (20:08) * Camera and lens package (22:22) * Why David Fincher shoots so many takes (27:28) * Compositing multiple takes together (42:05) * Approach to lighting (44:57) * Shot diagrams and storyboarding (54:18) * Lighting the prison scenes (01:01:59) * Exposing for dark cinematography (01:04:25) * Color theory and how it affects the audience (01:05:21) * And more!

Go Creative Show is supported by:

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Show Links * Mindhunter on Netflix * Season 1 trailer * Season 2 trailer * Mindhunter IMDb

Follow Our Guest * Erik Messerschmidt’s IMDb * Erik Messerschmidt’s Instagram

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The Witcher on Netflix is one of the year's most exciting new shows, and Go Creative Show takes you behind the scenes with cinematographer Jean-Philippe Gossart.

Jean-Philippe and Go Creative Show host, Ben Consoli, discuss his visual approach to the series, the importance of having second-unit experience, creating a medieval world, the show's camera and lighting package, and more!

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What you will learn in this episode * Jean-Philippe Gossart and COVID-19 (02:27) * Visual approach to THE WITCHER (04:12) * Why it’s important to have 2nd unit experience (11:09) * Visually creating a medieval world (14:46) * Approach to lighting THE WITCHER (27:39) * Lighting package used on set (35:21) * The challenges faced when filming the series (38:54) * The shooting schedule (42:14) * The amount of camera coverage they had (44:15) * Challenges of working with animals on set (45:14) * Color grading for THE WITCHER (51:29) * Relationship between VFX and cinematography (55:16) * And more!

Go Creative Show is supported by:

MZed - Education for Creatives Subscribe + Follow Go Creative Show * Twitter * Facebook * Apple Podcasts * Stitcher * Google Play Podcasts * iHeart Radio * YouTube

Show Links * The Witcher on Netflix

Follow Our Guest * Jean-Philippe Gossart’s IMDb * Jean-Philippe Gossart’s website * Jean-Philippe Gossart’s Instagram

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Cinematographer Jeff Cronenweth gives a behind the scenes look at Amazon's Tales from the Loop sci-fi series inspired by Simon Stålenhag.

Jeff and Go Creative Show host, Ben Consoli, discuss how Jeff‘s cinematography was inspired by the Simon Stålenhag paintings, the camera and lens packages used on the show, shooting with minimal coverage, blending science fiction with a period piece, working with visual effects artists, filming with haze, and more!

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What you will learn in this episode * Jeff Cronenweth’s thoughts on COVID-19 (02:02) * Working on high profile music videos (05:56) * Origins of Tales from the Loop and the Simon Stålenhag paintings (10:57) * Visual approach to the series (13:13) * Shooting with minimal coverage (20:12) * Shooting on the Panavision DXL2 (22:14) * How the lenses gave the show a soft look (27:03) * Color grading and HDR (28:31) * Jeff’s approach to filming for streaming (31:29) * Additional discussions about visual approach (33:45) * Relationship between visual effects and cinematography (48:23) * Challenges of filming with haze on location (55:03) * And more!

Go Creative Show is supported by:

Show Links * Tales from the Loop IMDb

Follow Our Guest * Jeff Cronenweth’s IMDb

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Westworld cinematographer Paul Cameron ASC. takes us behind the scenes of Season 3

Paul and Go Creative Show host, Ben Consoli, discuss the visual differences between seasons of Westworld, how he blends the old west with the future, transition from DP to director, how he fills the frame's background with lighting, and more!

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What you will learn in this episode * Staying creative during COVID-19 (02:40) * Visual approach to Westworld season 3 (07:49) * Importance of prepping and storyboarding (21:30) * Transitioning from DP to director (34:12) * Relationship between director and talent (39:23) * Challenges of filming with exterior lights at night (48:41) * How Paul fills the background using lights (52:38) * Approach to camera movement in Westworld (01:00:59) * Advice for filmmakers (01:04:50) * And more!

Go Creative Show is supported by:

MZed - Education for Creatives Subscribe + Follow Go Creative Show * Twitter * Facebook * Apple Podcasts * Stitcher * Google Play Podcasts * iHeart Radio * YouTube

Show Links * HBO Westworld * Westworld season 3 trailer

Follow Our Guest * Paul Cameron's website * Paul Cameron's Instagram * Paul Cameron's IMDb

Follow Ben Consoli * BC Media Productions * BenConsoli.com * Twitter * Instagram

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Go behind the scenes and learn about the cinematography of Netflix’s hit series Ozark season 3 with director of photography Ben Kutchins.

Ben Kutchins and Go Creative Show host, Ben Consoli, discuss how the series has evolved visually, shooting on the large format Sony Venice camera, overcoming shooting challenges, and more!

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What you will learn in this episode * How Ozark has evolved visually (03:09) * Shooting on the Sony Venice (07:08) * Benefits of shooting on a large format camera (11:55) * Visual approach to the Missouri Belle casino (19:10) * Challenges of filming with slot machine lighting (24:16) * Challenges of shooting on water (26:38) * Lighting and filming Omar Navarro's home (31:42) * Why season 3 may have a different look (35:05) * Using Astera LED light tubes (37:27) * Blocking and camera movement (41:59) * The challenges of filming daylight exteriors (49:00) * The lenses of Ozark (53:20) * And more!

Go Creative Show is supported by:

MZed - Education for Creatives Subscribe + Follow Go Creative Show * Twitter * Facebook * Apple Podcasts * Stitcher * Google Play Podcasts * iHeart Radio * YouTube

Show Links * Ozark season 3 trailer * Ozark on Netflix

Follow Our Guest * Ben Kutchins on Instagram * Ben Kutchins website * Ben Kutchins IMDb

Follow Ben Consoli * BC Media Productions * BenConsoli.com * Twitter * Instagram

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Go Creative Show explores the devastating effects of the COVID-19 Coronavirus on indie filmmakers, editors, and YouTube video creators.

In this episode, filmmaker and Film Riot creator Ryan Connolly and director and video editor Chris Fenwick discuss losing freelance work, creating YouTube content while social distancing, collaborating remotely, and more. Plus a workflow for remote recording.

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What you will learn in this episode * How COVID-19 has affected Ryan Connolly and Film Riot (02:50) * Film Riot's “Stay at Home” contest (07:36) * How COVID-19 affects YouTube sponsorship (09:42) * Losing freelance work due to COVID-19 (11:42) * Creating YouTube content while social distancing (13:02) * Software to help collaborate remotely (15:57) * COVID-19's effects on indie film production (19:26) * How filmmakers can utilize their free time (24:50) * Staying creative with existing footage (34:42) * Getting through COVID-19 as a filmmaker (44:00) * How COVID-19 has affected editor Chris Fenwick (52:32) * Remotely filming videos using Zoom (56:44) * And more!

Go Creative Show is supported by:

MZed - Education for Creatives Subscribe + Follow Go Creative Show * Twitter * Facebook * Apple Podcasts * Stitcher * Google Play Podcasts * iHeart Radio * YouTube

Show Links * BALLiSTIC short film * BALLiSTIC behind the scenes * Remote video production using Zoom

Follow Our Guests * Film Riot’s YouTube * Ryan Connolly's Twitter * Ryan Connolly's Instagram * Chris Fenwick’s website * Chris Fenwick’s Twitter * Chris Fenwick’s Instagram

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Go Creative Show is exploring the devastating effects of the COVID-19 Coronavirus on filmmaking. In this episode, cinematographer Brendan Uegama and Variety's Matt Donnelly discuss how the Hollywood film industry has been effected and how it will adapt to the changing landscape.

Brendan, Matt, and Go Creative Show host, Ben Consoli, discuss Hollywood's reaction to the spread of COVID-19, ways you can best use your time self-quarantining, being prepared for outbreaks in the future, staying motivated and creative during uncertain times, and more!

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What you will learn in this episode Cinematographer Brendan Uegama:

Effects of COVID-19 on film production (04:17)
Ways to stay creative at home (15:42)
Increasing your skills during this downtime (22:17)
Work lost because of self-quarantining (28:45)
Will we see a work boom after COVID-19? (29:36)
Can cinematographers work remotely? (30:52)
How COVID-19 is effecting rental houses (34:01)
Why you should be contacting people you want to work with (35:55)

Variety’s Matt Donnelly:

Hollywood's response to COVID-19 (40:12)
Rescheduling movie releases (43:27)
The lengths films go to getting awards (50:56)
When will productions resume? (01:02:06)
Preparing for future outbreaks (01:05:28)
Film festivals reaction to COVID-19 (01:09:35)
How to utilize your free time as a filmmaker (01:11:51)
And more!

Go Creative Show is supported by:

Post Lab - Stress free collaboration for Final Cut Pro MZed - Education for Creatives Subscribe + Follow Go Creative Show * Twitter * Facebook * Apple Podcasts * Stitcher * Google Play Podcasts * iHeart Radio * YouTube

Show Links * Film-Grab.com * Shotdeck.com * Unsplash.com * Variety.com

Follow Our Guests * Matt Donnelly’s Twitter * Brendan Uegama’s Twitter * Brendan Uegama’s Instagram

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Legendary gaffer of Fargo, Risky Business, Breakfast Club, Steel Magnolias, Gilmore Girls, and more Mike Moyer joins us to share stories and advice from his 40+ years in the film industry.

Mike and Go Creative Show host, Ben Consoli, discuss why gaffers should have theater experience, his lighting philosophy for different film genres, hilarious behind the scenes stories from some of the biggest films and tv shows in history, the impact that coronavirus has had on production, and so much more.

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What you will learn in this episode * Coronavirus COVID-19 impact on production (02:38) * Benefits of being in the union (08:14) * Why it's valuable to work in theater (15:22) * What the role of a gaffer is (17:00) * How lighting equipment has changed over the years (19:59) * Motivating colored light sources (30:34) * How Mike lights a scene (35:04) * Lighting for specific genres (48:04) * The films Mike enjoyed working on (56:31) * Breaking into the industry (01:08:53) * And more!

Go Creative Show is supported by:

Post Lab - Stress free collaboration for Final Cut Pro Subscribe + Follow Go Creative Show * Twitter * Facebook * Apple Podcasts * Stitcher * Google Play Podcasts * iHeart Radio * YouTube

Follow Our Guests * Mike Moyer’s IMDb * Mike Moyer’s Instagram

Follow Ben Consoli * BC Media Productions * BenConsoli.com * Twitter * Instagram

Follow Matt Russell * Gain Structure Sound * Twitter

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Go behind the scenes of Better Call Saul season 5 with series director of photography Marshall Adams ASC.

Marshall and Go Creative Show host, Ben Consoli, discuss what to expect from Better Call Saul season 5, the shows crazy filming schedule, utilizing a b-cam for alternative angles, what makes a great director, and more!

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What you will learn in this episode * Behind the scenes of Better Call Saul season 5 (01:48) * Benefits of being the only DP on a series (07:29) * The crazy filming schedule on Better Call Saul (12:42) * Why Marshall did not work on 13 Reasons Why (14:36) * Breaking Bad Easter eggs (17:36) * Why Marshall does not pre-vis shots (22:19) * Coverage and utilizing a b-camera angle (23:23) * Working with multiple directors (29:33) * What makes a great director (33:52) * Switching from RED to Arri cameras (35:22) * The lighting approach to Better Call Saul (42:10) * Marshall’s essential lighting equipment * Do cinematographers need gaffing experience? (52:59) * Better Call Saul color theory for characters (54:53) * Are the Gene flash-forward scenes really shot black and white? (58:05) * Why Marshall is so heavily involved in color grading (01:02:32) * And more!

Show Links * Better Call Saul Season 5 Trailer * Better Call Saul IMDb

Go Creative Show is supported by:

Rule Boston Camera - Buy Rent and Create at Rule Post Lab - Stress free collaboration for Final Cut Pro Subscribe + Follow Go Creative Show * Twitter * Facebook * Apple Podcasts * Stitcher * Google Play Podcasts * iHeart Radio * YouTube

Follow Our Guests * Marshall Adam’s Twitter

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The Making of The Invisible Man with cinematographer Stefan Duscio ACS.

Stefan Duscio and Go Creative Show host, Ben Consoli, discuss the technical issues behind filming an invisible character, using a robotic camera for VFX shots and the value of unmotivated camera movement. We also discuss why Stefan still uses a light meter, filming with the Alexa Mini LF and how he prepared for an IMAX release!

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What you will learn in this episode * The original 1933 version of THE INVISIBLE MAN (02:01) * Stefans pre-production process (05:15) * Pitching ideas and treatments to directors (14:55) * The technical approach to filming an invisible character (21:08) * Filming the kitchen fight scene in THE INVISIBLE MAN (27:12) * Stefan’s approach to lighting (32:48) * Using a robotic camera to create unmotivated camera movement (35:52) * Filming as much in-camera as possible (38:57) * The camera and lens package on THE INVISIBLE MAN (48:42) * What it’s like having a film released in IMAX (56:33) * Stefan's filmmaking philosophy (59:02) * Stefan's use of natural light (01:02:22) * Why Stefan still uses a light meter (01:07:47) * And more!

Show Links * The Invisible Man IMDb * The Invisible Man trailer * https://film-grab.com

Go Creative Show is supported by:

Rule Boston Camera - Buy Rent and Create at Rule Post Lab - Stress free collaboration for Final Cut Pro Subscribe + Follow Go Creative Show * Twitter * Facebook * Apple Podcasts * Stitcher * Google Play Podcasts * iHeart Radio * YouTube

Follow Our Guests * Stefan Duscio’s IMDb * Stefan Duscio’s Instagram

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HBO's adaptation of Stephen King's THE OUTSIDER is a masterclass in camera movement, framing and focus. Listen as the cinematographers share how they achieved its dark and moody look.

Two of the series directors of photography, Igor Martinovic and Zak Mulligan, and Go Creative Show host, Ben Consoli, discuss how Igor transitioned from cinematographer to director, shooting on the Sony Venice, lighting and exposing for dark cinematography, and more!

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What you will learn in this episode * Transitioning from cinematographer to director (03:32) * Stephen King’s involvement in THE OUTSIDER (06:44) * Collaboration between the director and cinematographer (10:55) * Ensuring a consistent look across cinematographers (12:29) * How to film dark cinematography (12:29) * Filming with the Sony Venice (30:18) * Tips for lighting and exposing for dark cinematography (34:36) * Working with the production designer (37:30) * Framing and composition of THE OUTSIDER (38:31) * Value of a single shot scene (45:20) * The use of focus in THE OUTSIDER (51:05) * Camera movement in THE OUTSIDER (56:32) * Challenging the audience to think and engage (01:03:43) * And more!

Show Links * The Outsider IMDb * The Outsider trailer * Transcendental Style In Film by Paul Schrader

Go Creative Show is supported by:

Follow Our Guests * Igor Martinovic’s IMDb * Zak Mulligan’s IMDb * Zak Mulligan’s website * Zak Mulligan’s Instagram

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Transcendental Style In Film (A Da Capo paperback)

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Today we challenge ourselves to re-think how to run a successful video production company, with filmmaking entrepreneur and founder of Next Level Creators, Paul Xavier.

Paul and Go Creative Show host, Ben Consoli, share techniques that can help us grow your businesses, where video marketing is heading in 2020 and beyond, best practices for marketing your video production services, the importance of saying no, and much more!

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What you will learn in this episode * The future of video marketing (01:32) * Tips for promoting your video production company online (06:59) * Using LinkedIn to get new clients * How you can “earn the deal” during client meetings (22:14) * Why having clients on retainer is important (25:17) * How to pitch and structure video retainers (33:22) * Saying no to (some) projects (41:12) * Providing distribution options to clients (45:38) * Do you need to be a digital marketer? (59:52) * How to scale your video production company (01:03:23) * And more!

Show Links * Our previous interview with Paul Xavier * The Art of Food Photography (with Sarah Fennel) * Next Level Creators

Go Creative Show is supported by:

Follow Our Guest * Paul Xavier's website * Paul Xavier's Facebook * Paul Xavier's Instagram * Paul Xavier's YouTube

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Discover how to advance your filmmaking and photography career on YouTube and Instagram in our interview with YouTuber and podcaster Tyler Stalman.

Tyler and Go Creative Show host, Ben Consoli, discuss what it takes to stand out on YouTube, Tyler's experience going from a stock photographer to freelance cinematographer, why it's helpful to have a wide skillset of services, and much more!

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What you will learn in this episode * How Tyler is successful with YouTube gear reviews (03:09) * Going from web developer to stock photographer to freelancer * Importance of having a wide skill set for freelancing (09:03) * Tyler’s experience as a stock photographer * Embracing smartphones for photography (21:33) * Is there a future for photography cameras? (24:49) * Transitioning from photography to cinematography (33:03) * The challenges of going from photography to cinematography (37:04) * Gear Tyler regrets buying (43:55) * Thoughts on Apple’s new Mac Pro (47:15) * What Tyler uses for photo and video editing (56:16) * Why 8K isn’t something Tyler is interested in for now (01:00:25) * Tips and strategies for having a successful social media presence (01:02:40) * And more!

Show Links * Sandwich Video * Spark Camera app * Unfold app

Go Creative Show is supported by:

Follow Our Guest * Tyler Stalman’s YouTube * Tyler Stalman’s website * Tyler Stalman’s podcast * Tyler Stalman’s Twitter * Tyler Stalman’s Instagram

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Go behind the scenes of Taika Waititi’s Oscar-nominated film, Jojo Rabbit, with cinematographer Mihai Malaimare Jr.

Mihai and Go Creative Show host, Ben Consoli, discuss how they used rich color saturation to bring a new visual approach to a World War II film, what it’s like working with an actor who was also directing, how to motivate camera movement and composition, working with child actors, and so much more!

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What you will learn in this episode * Mihai's visual approach to Jojo Rabbit (03:48) * Working with director Taika Waititi (13:21) * Benefits of being your own camera operator (16:01) * How to motivate camera movement (18:08) * How being an editor can make you a better cinematographer (25:11) * The sets and locations of Jojo Rabbit (28:31) * How to motivate framing and composition (30:18) * The importance of shoes in Jojo Rabbit (35:21) * Working with child actors (38:16) * Mihai’s camera and lens choices (45:12) * Why Mihai used plastic wrap on the camera lens (52:45) * Using a lens baby to create interesting in-camera effects (54:45) * How Mihai used filters on Jojo Rabbit (56:37) * Breaking down the most challenging scene in Jojo Rabbit (58:59) * Reactions to being nominated for best picture (01:01:25) * And more!

Show Links * Jojo Rabbit IMDb * Jojo Rabbit trailer

Go Creative Show is supported by:

Follow Our Guest * Mihai Malaimare Jr’s website * Mihai Malaimare Jr’s IMDb * Mihai Malaimare Jr's Instagram for Photography * Mihai Malaimare Jr's Instagram for Cinematography

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Follow Matt Russell * Gain Structure Sound * Twitter

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Learn how the Honey Boy cinematographer Natasha Braier brought her strong visual approach to create the films unique look.

Natasha and Go Creative Show host, Ben Consoli, discuss how the film's star, Shia LaBeouf, wrote and acted in the film, her unique approach to adding artifacts onto the lenses, and much more!

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What you will learn in this episode * How audiences are reacting to Honey Boy's compelling story (02:59) * Why Shia LaBeouf did not want this to be an auto-biographical film (06:15) * Natasha’s documentary-style visual approach (14:50) * Finding a crew on a low budget (20:23) * Honey Boy's unique lighting approach (25:27) * The camera and lens package for Honey Boy (39:35) * Natasha’s innovative approach to adding lens artifacts (45:09) * Shooting for the edit - filming the opening flashback scenes (52:24) * And more!

Show Links * Honey Boy Trailer * Honey Boy IMDb

Go Creative Show is supported by:

Follow Our Guest * Natasha Braier’s Instagram * Natasha Braier’s Website

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Legendary production design Rick Carter takes us behind the scenes of his most iconic films including Star Wars: The Rise of Skywalker, Avatar, Jurassic Park, Forrest Gump, and more.

Rick and Go Creative Show host, Ben Consoli, discuss Rick's incredible portfolio of films, working with Steven Spielberg and JJ Abrams, the philosophy of production design, and much more!

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What you will learn in this episode * Rick’s early years in cinema (03:07) * Being inspired by real-world experiences * Working with Steven Spielberg * Developing the world of STAR WARS: THE FORCE AWAKENS (09:46) * How metaphors are a key for filmmaking and production design * Creating the world of Pandora for AVATAR (16:53) * Collaborating with JJ Abrams and Rian Johnson on Disney’s STAR WARS trilogy (31:46) * Designing Emperor Palpatine’s lair on Exegol for STAR WARS: THE RISE OF SKYWALKER (41:19) * The pre-production process for production design (47:49) * Collaborating with other film departments (53:14) * Why it’s important to NOT know what you’re doing (01:00:21) * Rick personal filmmaking journals (01:13:25) * And more!

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Go behind the scenes of Knives Out and Star Wars The Last Jedi with cinematographer Steve Yedlin.

Steve and Go Creative Show host, Ben Consoli, discuss what was involved in finding the perfect mansion for Knives Out, collaborating with director Rian Johnson, using scientific formulas and rigs to light the small interiors, plus scene breakdowns for Knives Out and Star Wars: The Last Jedi, and much more!

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What you will learn in this episode * Writer/director Rian Johnson’s approach to KNIVES OUT (03:20) * Collaborating with Rian Johnson * Finding the perfect mansion for KNIVES OUT (16:18) * Steve’s tips on location scouting for films (23:37) * Using advanced calculations and science to match the exact outdoor light (27:07) * The rig they built to mount lights in tight spaces (33:43) * Disguising lights as windows with forced perspective (38:56) * What goes into creating the look of a film (45:20) * Motivating camera movement (01:01:19) * How Steve filmed and composited dusk for night shots (01:04:20) * Filming and lighting THE LAST JEDI Praetorian Guards lightsaber battle (01:11:59) * And more!

Show Links * Knives Out IMDb * Knives Out trailer * Disguising lights as windows with forced perspective * Filming and compositing dusk for night

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Go behind the scenes of the popular Star Wars series, The Mandalorian, with cinematographer Baz Idoine.

Baz and Go Creative Show host, Ben Consoli, discuss the look of the series, how they used innovated LED panel technology for backgrounds, his thoughts on the phenomenon that is Baby Yoda, and much more!

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What you will learn in this episode * What it's like working with cinematographer Greig Fraser (03:50) * Going from 2nd unit cinematographer to director of photography (05:02) * The pressure of working on a Star Wars series (10:57) * The sets and locations of THE MANDALORIAN (12:11) * Using LED technology to create backdrops (13:49) * Using digital sputniks for lighting (35:26) * Lighting the prisoner ship with over 600 lights and a DMX board (37:03) * How lighting shows has evolved over the years (39:43) * Baz's approach to lighting THE MANDALORIAN (41:48) * Filming the golden hour scenes (44:40) * Lighting the reflective armor of the Mandalorian (47:51) * Giving THE MANDALORIAN a western feel (49:27) * Bringing Baby Yoda to life (54:00) * Most challenging scene to film (58:35) * The challenges of shooting anamorphic for VFX (1:00:32) * Shooting for HDR (01:01:51) * And more!

Show Links * The Mandalorian IMDb * Disney+ - 7 day free trial * The Mandalorian website * The Mandalorian trailer

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Premium Beat Rule Boston Camera Hedge Shutterstock Premium Beat Song of the Week * End Game by ARTiria Productions

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Happy New Year! In this episode, we discuss the trends in cinematography, audio, and color grading from the past year and what we expect for 2020.

You'll hear from Go Creative Show host, Ben Consoli, show producer Connor Crosby, show audio mixer Matt Russell, director of photography Chris Loughran, and colorist Rob Bessette.

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What you will learn in this episode * The latest cinematography trends (03:06) * Why the anamorphic look has become so popular (12:45) * How anamorphic lenses work (15:31) * How 4G and 5G cellular networks are affecting audio production (19:05) * The latest creative audio trends (28:37) * Where color grading trends are going (35:43) * Should you worry about what devices your work is being seen on? (39:34) * Creating custom LUTs for monitoring (43:16) * Things we’re excited about in 2020 for audio, video, and color (53:58) * And more!

Show Links * Rob Bessette’s Website * Rob Bessette’s Twitter * Chris Loughran’s Website * Chris Loughran’s Twitter * Matt Russell’s Website * Matt Russell’s Twitter * Connor Crosby’s Website * Connor Crosby’s Twitter

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Premium Beat Rule Boston Camera Hedge Shutterstock Premium Beat Song of the Week * Growing by Arenas

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Learn how the cinematographer of CATS, Christopher Ross, transformed Francesca Hayward, Taylor Swift, Idris Elba, and more into dancing felines.

Chris and Go Creative Show host, Ben Consoli, discuss working on the film up until its premiere, the large practical sets they built, the challenges of filming with forced perspective, and much more!

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What you will learn in this episode * Working on CATS up until the film premieres (04:44) * Audience reaction to the first trailer (07:25) * The incredible large sets and production design (12:47) * The challenges of filming with forced perspective (17:00) * Lens package and focal lengths used (23:21) * Transforming actors into cats (31:15) * How Christopher was involved in production design (36:52) * Learning from film musicals (46:28) * Shooting large choreographed scenes (51:22) * Why the sets for CATS weren't digitally animated (58:06) * The post-production of CATS (01:01:59) * And more!

Show Links * Cats IMDb * Cats Trailer * Cat’s Featurette

Go Creative Show is supported by:

Premium Beat Rule Boston Camera Hedge Shutterstock Premium Beat Song of the Week * Beacon in Deep Space by Viljami Mehto

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Go behind the scenes of Terrence Malick's A Hidden Life with cinematographer Joerg Widmer.

Joerg and Go Creative Show host, Ben Consoli, discuss working with director Terrence Malick, the challenges of shooting ONLY on wide angle lenses, going from camera operator to cinematographer, and more!

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What you will learn in this episode * The camera and lens packages for A Hidden Life (07:35) * Working with director Terrence Malick * Challenges of shooting with only wide lenses (11:01) * Why the longest take was almost an hour * The challenges of lighting A Hidden Life (21:33) * Why Joerg was able to get away with barely any coverage (29:07) * Making the jump from camera operator to director of photography (34:10) * Shooting on location (39:19) * Why post-production took 2 years to complete (43:15) * Joerg’s relationship with the colorist * The most challenging scene in the film (48:05) * The one piece of gear Joerg has on every shoot (51:08) * And more!

Show Links * A Hidden Life website * A Hidden Life trailer * A Hidden Life IMDb

Go Creative Show is supported by:

Premium Beat Rule Boston Camera Hedge Shutterstock Premium Beat Song of the Week * The Workshop by Oliver Lyu

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Legendary cinematographer Jeff Cronenweth (Fight Club, Social Network, Girl with the Dragon Tattoo) gives us an inside look at the making of his latest film A Million Little Pieces

Jeff and Go Creative Show host, Ben Consoli, discuss the constraints of turning a book into a screenplay, how they only had 21 days and $4 million dollars to produce it, how Jeff utilized 3 cameras, the use of practical special effects, and more!

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What you will learn in this episode * What Jeff is currently working on for Las Vegas (03:47) * Behind the scenes of A Million Little Pieces (09:42) * The constraints of turning the book into a screenplay (14:59) * How they managed to film for only 21 days and $4 million * Creating the look for A Million Little Pieces * Jeff’s camera package * How Jeff used 3 cameras for A Million Little Pieces (36:10) * Jeff’s lens package (42:02) * How color and lighting was motivated for specific scenes (49:18) * Properly lighting smoke (54:41) * Using physical special effects for the sewer hallway scene (57:46) * How the whiskey glass reflection shot was done in-camera (01:01:14) * Why Jeff embraces fear when working (01:03:35) * How Jeff uses LED lighting technology (01:04:53) * Advice for new cinematographers (01:06:30) * And more!

Show Links * GCS047 Cinematography of Gone Girl (with Jeff Cronenweth)

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Premium Beat Rule Boston Camera Hedge Shutterstock Premium Beat Song of the Week * The Path to Abundance by Vincent Tone

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