In today’s episode, we interview Michael Franks, television cinematographer for Nickelodeon's reboot of the 90’s show, All That.

Michael shares stories from his early career at Saturday Night Live and how it prepared him for All That. Plus, insight on the grueling work schedule needed for a weekly sketch comedy show, lighting over 70 sets in 5 weeks, the challenge of lighting for multiple cameras, important skillsets for multi-camera cinematographers, and much more!

Today we welcome the cinematographer of IT Chapter 2, Checco Varese. Checco shares his cinematography and lighting techniques that made Pennywise both horrifying and engaging, how he lights for the darkness, the digital de-aging process, how he brings authenticity to violent scenes and so much more.

Matt Aeberhard, wildlife cinematographer for Netflix's Our Planet, shares his secrets to capturing the breath-taking shots as seen in the docu-series.

Matt and Go Creative Show host, Ben Consoli, discuss what life is like for a wildlife cinematographer, how he trudged through thick swampy jungle with expensive camera gear, ensuring you get the wildlife shots you want, why the Birds of Paradise sequence took 6 weeks to film, advice for aspiring wildlife filmmakers, and more!

Drew Boughton, production designer for Amazon's The Man in the High Castle, discusses how he designed an alternate world where the Nazi's and Imperial Japanese have taken over America.

Drew and Go Creative Show host, Ben Consoli, discuss how he prepped for the show, his relationship with lighting and wardrobe departments, his process aging sets and props, how his designs have evolved over the series, working with the VFX team, and more!

Get a rare look at how in-house production agencies function with the team from Kronos, plus tips on winning new clients! Go Creative Show host, Ben Consoli, talks to Joe Serra, lead producer, and Ken Volk, senior director of creative brand at Kronos. Together they run an in-house production team that handles everything from internal productions to working with vendors, like BC Media Productions, to produce bigger productions.

Barbara Ling, production designer for Once Upon a Time in Hollywood, discusses how she was able to turn back time and recreate 1960's Hollywood.

Barbara and Go Creative Show host, Ben Consoli, discuss how Quentin Tarantino kept the film's script a secret, how she restored Hollywood to the 1960's, not using green screen, sourcing vintage props from eBay, filming the real Playboy Mansion, the challenges of filming on Hollywood Boulevard, and much more.

Tim Ives, cinematographer for Netflix's Stranger Things, returns to teach us how he filmed season 3.

Tim and Go Creative Show host, Ben Consoli, discuss Tim's use of LED tubes, shooting season 3 with a full frame RED sensor, the programmable lighting design of the Starcourt Mall, Tim's thoughts on the future of filmmaking, plus Tim answers audience questions, and more!

Caleb Deschanel, cinematographer for Disney's live-action The Lion King, shares how they used traditional cinematography to create the life-like virtual film.

Caleb and Go Creative Show host, Ben Consoli, discuss modeling cameras and lenses for virtual filmmaking, how Caleb was able to move the sun around in virtual space to get the perfect lighting, using a real drone for the Circle of Life sequence, and more!

Jakob Ihre, cinematographer for HBO's Chernobyl, gives an inside look at his approach to shooting and lighting the dramatic mini-series.

Jakob and Go Creative Show host, Ben Consoli, discuss how he worked with colorist to create Chernobyl’s distinctive look, their incredible interior/exterior sound stage, most challenging shots of the series and why a water bottle is a valuable cinematic tool.

Pawel Pogorzelski, cinematographer for Hereditary and Midsommar, shares a behind the scenes look at his approach to lighting and shooting these chilling horror movies.

Pawel and Go Creative Show host, Ben Consoli, discuss working with the films' director Ari Aster, creating the dark and moody appearence of Hereditary, creating the bright Technicolor look for Midsommar, Midsommar's challenging 360 degree panning shots without seeing the crew, the color of Midsommar, audience questions, and much more!