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!

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Show Links

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

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

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• Ignition Visuals' website
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• 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!

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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:

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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' website
• Ignition Visuals' Instagram

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• 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!

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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)

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Show Links

• TEXAS CHAINSAW MASSACRE on Netflix
• TEXAS CHAINSAW MASSACRE IMDb
• TEXAS CHAINSAW MASSACRE trailer

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• Michael Perry’s website
• Michael Perry’s IMDb

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• Ignition Visuals' Instagram

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• 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.

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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:

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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

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• 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!

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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:

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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

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• Ignition Visuals' Instagram

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• 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.

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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

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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

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• 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!

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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

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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

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• Ignition Visuals' Instagram

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• 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:

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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
•  

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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!

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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:

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Show Links

• YELLOWJACKETS IMDb
• YELLOWJACKETS trailer

Follow Our Guest

• C Kim Miles’ Instagram
• C Kim Miles’ IMDb

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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.

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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

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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

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