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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. Subscribe Now! 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: Shot Lister - The Best Shot List App Email gocreativeshow@shotlister.com to claim your free gift   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links JURASSIC WORLD DOMINION trailer JURASSIC WORLD DOMINION IMDb The Beaumonte mini vistavision camera N-Cam Technology Artemis Pro Pinewood Studios What is Vista Vision The Architecture of Raymond Loewy Follow Our Guest John Schwartzman’s IMDb John Schwartzman’s website Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

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. Subscribe Now! 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!   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links OUTER RANGE trailer OUTER RANGE on Amazon Prime Video OUTER RANGE IMDb Robert Muller Ernst Hass Follow Our Guest Drew Daniels’ IMDb Drew Daniels’ Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

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! Subscribe Now! 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!   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links BETTER CALL SAUL IMDb BETTER CALL SAUL season 6 trailer DJI RS2 Xeen Prime Lenses Laowa Lenses Follow Our Guest Marshall Adams IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

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! Subscribe Now! 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! Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube 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 Follow Our Guest Simon Dennis’ IMDb Simon Dennis’ Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

PACHINKO cinematographer Florian Hoffmeister BSC shares how he created one cohesive look to represent multiple decades in Japan and Korea. What cameras and lenses did he choose and why? We discuss it all.  Florian and Go Creative Show host, Ben Consoli, talk about the challenges of filming in a language and culture he didn’t understand, why episode 7 has a completely different look, his approach to the earthquake scene, lessons learned, and more! Subscribe Now! 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! Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube 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 Follow Our Guest Florian Hoffmeister’s Instagram Florian Hoffmeister’s IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

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! Subscribe Now! 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! Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube 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 Follow Our Guest Shawn Peters’ IMDb Shawn Peters’ website Shawn Peters’ Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

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. Subscribe Now! 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! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links THE DROPOUT IMDb THE DROPOUT trailer THE DROPOUT on Hulu Leica Summilux-C Lenses Follow Our Guest Michelle Lawler’s IMDb Michelle Lawler’s Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

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! Subscribe Now! 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: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links WINNING TIME trailer WINNING TIME on HBO WINNING TIME IMDb ReFlex - R15 - Cineo Lighting Ikegami ITC-730A Ikegami HL-79E 3 Tube Camera Follow Our Guest Todd Banhazl’s Instagram Todd Banhazl’s IMDb Mihai Malaimare Jr’s Instagram Mihai Malaimare Jr’s IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

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. Subscribe Now! 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! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links CODA IMDb CODA trailer CODA on Apple TV+ PHYSICAL IMDb PHYSICAL trailer PHYSICAL on Apple TV+ Follow Our Guest Paula Huidobro’s IMDb Paula Huidobro’s Instagram Paula Huidobro’s website Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

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! Subscribe Now! 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: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links Amazon’s Them Cinematography (with Checco Varese ASC) The Cinematic Violence of IT Chapter 2 (with Checco Varese) DOPESICK IMDb DOPESICK on Hulu DOPESICK trailer Tiffen 4 x 5.65" Solid Color Chocolate 1/2 Filter - 45650CH12 Follow Our Guest Checco Varese ASC’s website Checco Varese ASC’s Instagram Checco Varese ASC’s IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Connor Crosby's website Follow Dave Siegel (sound mixer) Dave Siegel's website

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! Subscribe Now! 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! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links SEVERANCE IMDb SEVERANCE on Apple TV+ SEVERANCE trailer Follow Our Guest Jessica Lee Gagné’s Instagram Jessica Lee Gagné’s IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

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! Subscribe Now! 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! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links THE POWER OF THE DOG on Netflix THE POWER OF THE DOG trailer THE POWER OF THE DOG IMDb Follow Our Guest Ari Wegner’s IMDb Ari Wegner’s Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

TEXAS CHAINSAW MASSACRE production designer Michael Perry created an entire Texas town from scratch.  Learn all about the challenges he faced and the scenes and sets he’s most proud of.  Michael and Go Creative Show host, Ben Consoli, discuss filming with blood, creating an authentic gas station, when to ignore logic in filmmaking, techniques for aging props, challenges of horror movie production design, and that INSANE decapitation scene! Subscribe Now! What you will learn in this episode Balancing practical and VFX blood effects (01:32) Honoring the original film through easter eggs (09:22) Creating a whole town from sets (12:22) Working on a low-budget film schedule (22:17) Creating a gas station from scratch (23:54) Some of the most challenging sets (28:44) When to ignore logic for set design (33:32) Developing story and character through production design (36:28) Techniques for aging props and sets (42:03) Executing the final death scene (46:46) Challenges of horror movie production design (49:10) Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links TEXAS CHAINSAW MASSACRE on Netflix TEXAS CHAINSAW MASSACRE IMDb TEXAS CHAINSAW MASSACRE trailer Follow Our Guest Michael Perry’s website Michael Perry’s IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

DEATH ON THE NILE and BELFAST cinematographer Haris Zambarloukos takes us behind the scenes of both films and shares his filmmaking secrets. Haris and Go Creative Show host, Ben Consoli, discuss DEATH ON THE NILE’S enormous 1000 lights boat set, tips for creating the perfect black and white, why every shot is important, and of course his brilliant work on the film BELFAST. Subscribe Now! 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! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links DEATH ON THE NILE IMDb DEATH ON THE NILE trailer BELFAST IMDb BELFAST trailer Follow Our Guest Haris Zambarloukos’ IMDb Haris Zambarloukos’ Instagram Haris Zambarloukos’ website Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

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! Subscribe Now! What you will learn in this episode Finding work during COVID (01:08) Evolving visual approach to OZARK (05:44) How focal length affects audience perception (13:12) How OZARK is a filmmaker's dream (18:31) Lighting daytime exteriors completely artificially (22:19) Fresh filming approach to the Byrde's home (29:44) Why the Sony Venice was the best choice (35:07) Psychological approach to cinematography (40:20) Creating OZARK's signature blue look (45:01) Memorable scenes in season 4 (50:40) Challenges of shooting in rainstorms (56:26) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links OZARK IMDb OZARK on Netflix Leica Noctilux-M 50mm f/0.95 ASPH., black anodized Building Rialto - 3 VENICE Extension System Sample Builds | Sony Cine Follow Our Guest Shawn Kim’s IMDb Shawn Kim’s Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

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. Subscribe Now! 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! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Arri Rental   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links The Witcher season 2 trailer The Witcher IMDb The Witcher on Netflix Follow Our Guest Jean Philippe Gossart's Instagram Romain Lacourbas' Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

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! Subscribe Now! 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! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links SCREAM IMDb SCREAM trailer LA Rag House - QUARTER SILK BLACK Fabrics G Series Anamorphic Prime Lenses | Panavision Follow Our Guest Brett Jutkiewicz’s IMDb Brett Jutkiewicz’s Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

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! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links TICK, TICK… BOOM! IMDb TICK, TICK… BOOM! on Netflix TICK, TICK… BOOM! trailer Follow Our Guest Alice Brooks ASC’s IMDb Alice Brooks ASC’s Instagram   Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

YELLOWJACKETS follows the wild journey of a high school soccer team after they become the (un)lucky survivors of a plane crash. Cinematographer C Kim Miles ASC CSC breaks down each of the series' spectacular visual looks. Kim and Go Creative Show host, Ben Consoli, discuss making creative changes after filming the pilot, choosing lenses based on storyline, the incredible value of a DIT, deconstructing your favorite scenes, and more! Subscribe Now! What you will learn in this episode Making creative changes after filming the pilot (03:24) Production of television vs feature films (08:20) Deconstructing the woods visual approach (14:16) Visual tricks to play on the subconscious (20:34) Approach to lighting exteriors (24:26) Adjusting lenses to affect visual approach (27:54) Visual approach to the 90s scenes (33:55) Lighting and shooting interior scenes (43:49) Choosing a lens based on plot (47:45) Deconstructing the episode 8 walk and talk scene (52:28) Value of having a DIT on set (58:14) Advice for aspiring cinematographers (01:07:37) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links YELLOWJACKETS IMDb YELLOWJACKETS trailer Follow Our Guest C Kim Miles’ Instagram C Kim Miles’ IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

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. Subscribe Now! 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! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Get 10% off the all access membership using code GOCREATIVE10   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links SPIDER-MAN: NO WAY HOME IMDb SPIDER-MAN: NO WAY HOME trailer Follow Our Guest Darren Gilford’s Instagram Darren Gilford's IMDb Mauro Fiore's IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website