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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! Subscribe Now! 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! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links JUNGLE CRUISE IMDb JUNGLE CRUISE on Disney+ JUNGLE CRUISE trailer Follow Our Guest Flavio Martinez Labiano’s IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

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! Subscribe Now! 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! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links RAYA AND THE LAST DRAGON IMDb RAYA AND THE LAST DRAGON trailer RAYA AND THE LAST DRAGON on Disney+ Follow Our Guests Rob Dressel IMDb Adolph Lusinsky IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

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! Subscribe Now! 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! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links BLACK WIDOW IMDb BLACK WIDOW trailer BLACK WIDOW on Disney+ Follow Our Guest Gabriel Beristain’s IMDb Gabriel Beristain’s Instagram Gabriel Beristain’s website Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

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. Subscribe Now! 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! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links THE MOSQUITO COAST IMDb THE MOSQUITO COAST on Apple TV+ ARRI Signature Prime Lenses ARRI Rental DNA LF T-REX Superscope Lens demo Follow Our Guest Alex Disenhof’s IMDb Alex Disenhof’s website Alex Disenhof on Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

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! Subscribe Now! 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! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links IN THE HEIGHTS IMDb IN THE HEIGHTS on HBO Max IN THE HEIGHTS trailer Follow Our Guest Alice Brooks’ website Alice Brooks’ IMDb Alice Brooks’ Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

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! Subscribe Now! 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! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links CONJURING 3 trailer CONJURING 3 on HBO Max CONJURING 3 IMDb Follow Our Guest Mike Burgess’ IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

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! Subscribe Now! 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! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links BRIDGERTON IMDb BRIDGERTON trailer BRIDGERTON on Netflix SHOTDECK :: Fully Searchable High-Res Movie Images Camera Systems Lenses ARRI Signature Prime Lenses Tiffen 4 x 5.65" Soft FX Filter Wendy Light Follow Our Guest Jeffrey Jur ASC’s IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

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! Subscribe Now! 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! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links Cruella trailer Cruella on Disney+ Cruella IMDb Follow Our Guest Nicolas Karakatsanis’ IMDb Nicolas Karakatsanis’ Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

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! Subscribe Now! 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! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links A Quiet Place Part II IMDb Follow Our Guest Polly Morgan ASC BSC on Instagram Polly Morgan ASC BSC’s IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

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! Subscribe Now! 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! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links TED LASSO IMDb TED LASSO trailer TED LASSO on Apple TV+ Large format cinematography in a small package: Tokina Vista lenses on Fujifilm GFX100 Follow Our Guest David Rom’s IMDb David Rom’s website Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

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! Subscribe Now! 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! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links HALSTON IMDb HALSTON trailer HALSTON on Netflix Follow Our Guest Tim Ive’s Instagram Tim Ives IMDb Tim Ive’s website Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

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! Subscribe Now! 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! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links STOWAWAY trailer STOWAWAY on Netflix STOWAWAY IMDb STOWAWAY on Netflix Follow Our Guest Klemens Becker IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

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! Subscribe Now! 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! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links THE HAUNTING OF BLY MANOR on Netflix THE HAUNTING OF BLY MANOR trailer THE HAUNTING OF BLY MANOR IMDb Follow Our Guest James Kniest IMDb James Kniest on Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

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! Subscribe Now! 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! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links IT Chapter 2 Cinematography (with Checco Varese ASC) WATCHMEN Cinematography (with Xavier Grobet ASC) THEM Trailer THEM on Amazon Prime Video THEM IMDb Follow Our Guest Checco Varese ASC’s website Checco Varese’s Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

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! Subscribe Now! 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!  Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links NOBODY website NOBODY IMDb Follow Our Guest Pawel Pogorzelski’s IMDb Pawel Pogorzelski’s website Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

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! Subscribe Now! 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! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links JUDAS IMDb JUDAS trailer Arri DNA lenses British Cinematographer: Sean Bobbitt BSC / Judas and the Black Messiah Follow Our Guest Sean Bobbitt BSC’s IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

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! Subscribe Now! 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! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links   Follow Our Guest   Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

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! Subscribe Now! 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! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links The United States vs Billie Holiday IMDb The United States vs Billie Holiday trailer The United States vs Billie Holiday on Hulu Black frost filter Follow Our Guest Andrew Dunn BSC's IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

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! Subscribe Now! 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! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links THE TRIAL OF THE CHICAGO 7 trailer THE TRIAL OF THE CHICAGO 7 IMDb THE TRIAL OF THE CHICAGO 7 on Netflix Follow Our Guest Phedon Papamichael ASC’s IMDb Phedon Papamichael ASC’s Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

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! Subscribe Now! 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! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links The Social Dilemma IMDb The Social Dilemma on Netflix The Social Dilemma trailer Follow Our Guest John Behrens’ IMDb John Behren’s website John Behren’s Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram