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- Ben Consoli
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This podcast currently has no reviews.
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!
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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!
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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:
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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!
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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!
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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:
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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.
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!
Go Creative Show is supported by:
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.
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!
Go Creative Show is supported by:
Show Links
- JURASSIC WORLD DOMINION trailer
- JURASSIC WORLD DOMINION IMDb
- The Beaumonte mini vistavision camera
- tech.com/">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.
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!
Show Links
- OUTER RANGE trailer
- OUTER RANGE on Amazon Prime Video
- OUTER RANGE IMDb
- Robert Muller
- haas.com/">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!
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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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!
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!
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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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!
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!
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!
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!
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.
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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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!
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!
Go Creative Show is supported by:
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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- Todd Banhazl’s Instagram
- Todd Banhazl’s IMDb
- Mihai Malaimare Jr’s Instagram
- Mihai Malaimare Jr’s IMDb
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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.
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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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!
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!
Go Creative Show is supported by:
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- 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
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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!
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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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!
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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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!
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)
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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.
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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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!
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!
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- OZARK on Netflix
- camera.com/en-GB/photography/lenses/m/noctilux-m-50mm-f0-95-asph-black"> Leica Noctilux-M 50mm f/0.95 ASPH., black anodized
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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.
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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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!
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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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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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!
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!
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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.
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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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!
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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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!
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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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!
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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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!
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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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!
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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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
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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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”.
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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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.
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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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.
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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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!
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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- 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.
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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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!
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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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!
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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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!
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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- FEAR STREET PART 2: 1978 on Netflix
- FEAR STREET PART 3: 1666 on Netflix
- FEAR STREET trilogy trailer
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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!
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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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!
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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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!
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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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!
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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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!
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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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.
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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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!
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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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!
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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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!
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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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!
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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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!
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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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!
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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- Large format cinematography in a small package: Tokina Vista lenses on Fujifilm GFX100
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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!
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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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!
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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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!
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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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!
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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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!
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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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!
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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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!
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!
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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- The United States vs Billie Holiday IMDb
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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!
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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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!
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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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!
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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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!
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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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!
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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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!
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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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!
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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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!
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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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!
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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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!
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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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!
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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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!
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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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!
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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- https://www.nationalgeographic.com/news/2017/04/autochrome-photography-archive-vintage-history/
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- wiki.org/wiki/Astro_Berlin">http://camera-wiki.org/wiki/Astro_Berlin
- prime-radiance-lenses.html"> 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!
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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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!
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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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!
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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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!
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!
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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!
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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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!
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!
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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!
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!
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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!
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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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!
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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- Raised by Wolves trailer
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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!
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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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!
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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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!
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!
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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!
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!
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- The End of the F***ing World Season 2 Trailer
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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!
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!
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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!
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!
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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!
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!
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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.
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!
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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!
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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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.
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!
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- Inside look at Greyhound
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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!
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!
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:
Show Links
Follow Our Guest
Follow Ben Consoli
Follow Matt Russell
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!
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
Follow Our Guest
Follow Ben Consoli
Follow Matt Russell
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