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

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• Marshall Adams IMDb

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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

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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

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• Florian Hoffmeister’s Instagram
• Florian Hoffmeister’s IMDb

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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!

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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!

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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

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• Shawn Peters’ IMDb
• Shawn Peters’ website
• Shawn Peters’ Instagram

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• Ignition Visuals' website
• Ignition Visuals' Instagram

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• 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.

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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

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Show Links

• THE DROPOUT IMDb
• THE DROPOUT trailer
• THE DROPOUT on Hulu
• Leica Summilux-C Lenses

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• Michelle Lawler’s IMDb
• Michelle Lawler’s Instagram

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• Ignition Visuals' Instagram

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• 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!

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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

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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

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• 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.

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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

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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

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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!

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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

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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

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• Connor Crosby's website

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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!

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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

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Show Links

• SEVERANCE IMDb
• SEVERANCE on Apple TV+
• SEVERANCE trailer

Follow Our Guest

• Jessica Lee Gagné’s Instagram
• Jessica Lee Gagné’s IMDb

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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!

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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

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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

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• Ignition Visuals' Instagram

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• Dave Siegel's website