Go Creative Show

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.

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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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Show Links

• THE BEAR IMDb
• THE BEAR trailer
• THE BEAR on Hulu

Follow Our Guest

• Andrew Wehde's IMDb
• Andrew Wehde's Instagram

Follow Ben Consoli

• BC Media Productions
• BenConsoli.com
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Follow Connor Crosby (producer)

• Ignition Visuals' website
• Ignition Visuals' Instagram

Follow Dave Siegel (sound mixer)

• Dave Siegel's website

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.

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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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Show Links

• DAHMER trailer
• DAHMER on Netflix
• DAHMER IMDb
• TRIBE BLACKWING 7 Lenses

Follow Our Guest

• Jason McCormick's IMDb
• Jason McCormick's Instagram

Follow Ben Consoli

• BC Media Productions
• BenConsoli.com
• Twitter
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Follow Connor Crosby (producer)

• Ignition Visuals' website
• Ignition Visuals' Instagram

Follow Dave Siegel (sound mixer)

• Dave Siegel's website

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!

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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!

Go Creative Show is supported by:

Shot Lister - The Best Shot List App Email [email protected] to claim your free gift Subscribe + Follow Go Creative Show

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Show Links

• THE NORTHMAN IMDb
• THE NORTHMAN on Apple TV

Follow Our Guest

• Robert Eggers' Instagram
• Robert Eggers' IMDb
• Jarin Blaschke's IMDb

Follow Ben Consoli

• BC Media Productions
• BenConsoli.com
• Twitter
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Follow Connor Crosby (producer)

• Ignition Visuals' website
• Ignition Visuals' Instagram

Follow Dave Siegel (sound mixer)

• Dave Siegel's website

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.

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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:

Shot Lister - The Best Shot List App Email [email protected] to claim your free gift Subscribe + Follow Go Creative Show

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Show Links

• EVERYTHING EVERYWHERE trailer
• EVERYTHING EVERYWHERE IMDb
• Todd-AO Anamorphic — Camtec

Follow Our Guest

• Larkin Seiple's IMDb
• Larkin Seiple'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

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.

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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:

Shot Lister - The Best Shot List App Email [email protected] to claim your free gift Subscribe + Follow Go Creative Show

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• iHeart Radio
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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

Follow Our Guest

• Andrew Droz Palermo's IMDb
• Andrew Droz Palermo'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

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.

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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 [email protected] to claim your free gift Subscribe + Follow Go Creative Show

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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
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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.

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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!

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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
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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!

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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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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
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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!

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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!

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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
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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!

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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!

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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
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Follow Connor Crosby (producer)

• Ignition Visuals' website
• Ignition Visuals' Instagram

Follow Dave Siegel (sound mixer)

• Dave Siegel's website