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

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

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What you will learn in this episode

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

Go Creative Show is supported by:

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Show Links

• The Plot Against America on HBO
• The Plot Against America IMDb
• The Plot Against America Trailer

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• Martin Ahlgren’s IMDb
• Martin Ahlgren’s Website
• Martin Ahlgren’s Instagram

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

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

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What you will learn in this episode

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

Go Creative Show is supported by:

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Show Links

• The End of the F***ing World on Netflix
• The End of the F***ing World IMDb
• The End of the F***ing World Season 2 Trailer

Follow Our Guest

• Benedict Spence’s IMDb
• Benedict Spence’s Website
• Benedict Spence’s Instagram

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

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

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What you will learn in this episode

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

Go Creative Show is supported by:

MZed - Education for Creatives PostLab - Stress-free collaboration for Final Cut Pro X   Subscribe + Follow Go Creative Show

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Show Links

• Queer Eye trailer
• Queer Eye’s IMDb
• Queer Eye on Netflix
• Cinema Verite

Follow Our Guest

• Garrett Rose’s IMDb
• Garret Rose’s Instagram

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

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

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What you will learn in this episode

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

Go Creative Show is supported by:

MZed - Education for Creatives PostLab - Stress-free collaboration for Final Cut Pro X   Subscribe + Follow Go Creative Show

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Show Links

• Umbrella Academy IMDb
• Umbrella Academy Season 2 Trailer
• Umbrella Academy on Netflix

Follow Our Guest

• Craig Wrobleski’s website
• Craig Wrobleski’s Instagram
• Craig Wrobleski’s IMDb

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

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

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What you will learn in this episode

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

Go Creative Show is supported by:

MZed - Education for Creatives PostLab - Stress-free collaboration for Final Cut Pro X   Subscribe + Follow Go Creative Show

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• iHeart Radio
• YouTube

Show Links

• Sony A7S III
• Canon EOS R5 and R6
• Blackmagic URSA Mini Pro 12K

Follow Our Guest

• Matthew Allard Twitter
• Newshooter.com

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• BC Media Productions
• BenConsoli.com
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Learn the unique challenges and skills it takes to edit dramas, comedies, and documentaries with Mrs. America editor Todd Downing ACE.

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

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What you will learn in this episode

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

Go Creative Show is supported by:

MZed - Education for Creatives   Subscribe + Follow Go Creative Show

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• iHeart Radio
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Show Links

• Mrs. America IMDb
• Mrs. America Trailer
• Mrs. America on Hulu

Follow Our Guest

• Todd Downing’s IMDb

Follow Ben Consoli

• BC Media Productions
• BenConsoli.com
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Discover the challenges of filming a comic series based in a dramatic reality with HBO's Watchmen cinematographer, Xavier Grobet ASC.

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

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What you will learn in this episode

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

Go Creative Show is supported by:

MZed - Education for Creatives PostLab - Stress-free collaboration for Final Cut Pro X   Subscribe + Follow Go Creative Show

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Show Links

• Watchmen IMDb
• Watchmen on HBO

Follow Our Guest

• Xavier Grobet’s Website
• Xavier Grobet’s IMDb

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

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

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What you will learn in this episode

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

Go Creative Show is supported by:

MZed - Education for Creatives PostLab - Stress-free collaboration for Final Cut Pro X   Subscribe + Follow Go Creative Show

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Show Links

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

Follow Our Guest

• Shelly Johnson’s IMDb
• Shelly Johnson’s Instagram

Follow Ben Consoli

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

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

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What you will learn in this episode

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

Go Creative Show is supported by:

MZed - Education for Creatives PostLab - Stress-free collaboration for Final Cut Pro X   Subscribe + Follow Go Creative Show

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Show Links

• Devs on Hulu
• Devs trailer
• Devs IMDb
• Bathroom fight scene in Mission Impossible: Fallout
• Skydiving sequence in Mission Impossible: Fallout

Follow Our Guest

• Rob Hardy’s IMDb

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

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

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What you will learn in this episode

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

Go Creative Show is supported by:

MZed - Education for Creatives   Subscribe + Follow Go Creative Show

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Show Links

• Servant IMDb
• Us IMDb
• Photographer Gregory Crewdson

Follow Our Guest

• Michael Gioulakis’ IMDb
• Michael Gioulakis’ Instagram
• Michael Gioulakis’ website

Follow Ben Consoli

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