- Publisher |
- Ben Consoli
- Media Type |
- audio
- Podknife tags |
- Creativity,
- Interview,
- Movies,
- Music,
- TV & Film
- Categories Via RSS |
- Film Interviews,
- TV & Film
- People |
- Country Of Origin |
- USA
- Produced In |
- Boston, MA
- Related Hashtags |
- #cinematographer,
- #Cinematographer,
- #cinematography,
- #Cinematography,
- #filmmaking
- Frequency |
- Monthly
- Explicit |
- No
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Submit ReviewELVIS 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.
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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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.
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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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.
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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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.
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!
Show Links
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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.
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!
Go Creative Show is supported by:
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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.
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!
Go Creative Show is supported by:
Show Links
Follow Our Guest
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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.
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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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.
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!
Show Links
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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!
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!
Go Creative Show is supported by:
Show Links
Follow Our Guest
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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.
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!
Go Creative Show is supported by:
Show Links
Follow Our Guest
Follow Ben Consoli
Follow Connor Crosby (producer)
Follow Dave Siegel (sound mixer)
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