Go Creative Show

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

• 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

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

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

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:

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

• 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

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

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:

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

• YELLOWJACKETS IMDb
• YELLOWJACKETS trailer

Follow Our Guest

• C Kim Miles' Instagram
• C Kim Miles' IMDb

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

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

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

Aaron Sorkin's BEING THE RICARDOS is a masterful retelling of Lucille Ball and Desi Arnaz's life on and off camera. Cinematographer Jeff Cronenweth ASC shares the camera, lighting and lenses he used to recreate vintage Hollywood and the iconic I Love Lucy stage.

Jeff and Go Creative Show host, Ben Consoli, discuss bringing energy to dialogue scenes through blocking and camera movement, breaking down some of the scenes in the film, the lenses and filtration used, and more!

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What you will learn in this episode

• Working with director Aaron Sorkin (02:41)
• Establishing several visual looks (10:09)
• Lighting the I Love Lucy set (22:19)
• Capturing the essence of I Love Lucy (35:22)
• Shooting on the RED Ranger with Arri DNA lenses (39:35)
• Energetic dialogue scenes through camera movement (44:56)
• Filming the opening in a unique way (54:21)
• And more!

Go Creative Show is supported by:

Filmmaker's Academy - Master Your Craft Subscribe + Follow Go Creative Show

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Show Links

• BEING THE RICARDOS trailer
• BEING THE RICARDOS IMDb
• BEING THE RICARDOS on Amazon Prime

Follow Our Guest

• Jeff Cronenweth ASC'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

Steven Spielberg's WEST SIDE STORY is a fresh remake of the classic film packed with stunning cinematography. Camera operators Mitch Dubin SOC AOC and John "Buzz" Moyer SOC share what it's like working with Spielberg and the challenges of filming movie musicals.

Mitch, Buzz, and Go Creative Show host, Ben Consoli, discuss the the camera operators' creative freedom, tips for operating steadicams, accepting their mistakes, and more!

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What you will learn in this episode

• Different camera operator roles (01:04)
• Filming musicals vs narratives (04:09)
• Adaptive camera framing for musicals (09:34)
• Exterior lighting and lens flares (15:20)
• Achieving a handheld look on a crane (20:26)
• Relationship between director and cam operators (28:51)
• Challenging scenes in WEST SIDE STORY (35:55)
• What makes a great steadicam operator (39:53)
• Creative freedom for camera operators (46:10)
• Living with mistakes in films (49:41)
• Advice for aspiring camera operators (54:01)
• And more!

Go Creative Show is supported by:

MZed - Education for Creatives Subscribe + Follow Go Creative Show

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Show Links

• WEST SIDE STORY IMDb
• WEST SIDE STORY Trailer

Follow Our Guest

• John S. Moyer's IMDb
• Mitch Dubin's IMDb
• Mitch Dubin's Instagram

Follow Ben Consoli

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

• Ignition Visuals' website
• Ignition Visuals' Instagram

SUCCESSION season 3 cinematographers Christopher Norr and Patrick Capone join us to discuss the show's multi-camera handheld-style and natural lighting.

Christopher, Patrick, and Go Creative Show host, Ben Consoli, share why they film close up shots first, showing vulnerability through cinematography, working as co-cinematographers, and more!

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What you will learn in this episode

• In-the-moment handheld visual approach (01:10)
• Deciding what to shoot handheld (08:38)
• Perfectly timing lens zooms (10:32)
• Having such a variety in takes (14:50)
• Choosing to shoot close ups first (21:21)
• Why SUCCESSION is shot on film (28:04)
• 360º approach to lighting (30:41)
• Vulnerability through cinematography (38:25)
• Filming Kendall differently in season 3 (42:34)
• Working together as cinematographers (45:01)
• Challenging scenes in SUCCESSION (47:58)
• And more!

Go Creative Show is supported by:

MZed - Education for Creatives Subscribe + Follow Go Creative Show

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Show Links

• SUCCESSION IMDb

Follow Our Guest

• Christopher Noor's IMDb
• Christopher Noor's Instagram
• Patrick Capone's IMDb
• Patrick Capone's Instagram

Follow Ben Consoli

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

• Ignition Visuals' website
• Ignition Visuals' Instagram

GHOSTBUSTERS AFTERLIFE -- with its incredible sets, props, and the infamous Ecto-1 car -- have given movie lovers the nostalgic and entertaining blockbuster they have been waiting for. Production designer Francois Audouy explains his approach to designing films, and how attention to detail and practical sets made GHOSTBUSTERS AFTERLIFE a massive success.

Francois and Go Creative Show host, Ben Consoli, discuss how the original film inspired him, Francois' love for practical locations vs sets, recreating the Ecto-1 car, filming car chase scenes, and more!

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What you will learn in this episode

• Achieving high audience expectations (02:04)
• Benefits of shooting on location (05:47)
• Building the farmhouse set from a dilapidated barn (10:01)
• Backstory through production design (20:49)
• Inspiration from the original film (25:15)
• Designing practical Ecto-1 cars (28:53)
• Filming the car chase on location (37:46)
• Filming the Walmart scene (39:09)
• Designing the Mountain Tomb (40:47)
• Building a set from scratch (44:13)
• Tips for aspiring production designers (49:14)
• And more!

Go Creative Show is supported by:

MZed - Education for Creatives Subscribe + Follow Go Creative Show

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Show Links

• GHOSTBUSTERS AFTERLIFE IMDb
• GHOSTBUSTERS AFTERLIFE trailer

Follow Our Guest

• Francois Audouy's IMDb
• Francois Audouy's website
• Francois Audouy's Instagram

Follow Ben Consoli

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

• Ignition Visuals' website
• Ignition Visuals' Instagram

AMERICAN HORROR STORY DOUBLE FEATURE cinematographer Andrew Mitchell had a massive challenge to overcome: how to film two unique stories with distinct looks in a cohesive way. Learn his visual approach for each half of the season and how he transitioned from camera operator to DP.

Andrew and Go Creative Show host, Ben Consoli, discuss the essential skills every DP should have, using visual effects and clever editing to fake Sarah Paulson being on set, converting color to black and white, and so much more!

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What you will learn in this episode

• Working with Ryan Murphy (01:04)
• Transitioning from camera operator to DP (02:57)
• Skills a DP should have (15:03)
• Muted cold visual approach to Part 1 (18:27)
• LUTs affecting skin tones (24:43)
• Filming Sarah Paulson scenes without her (30:03)
• Using Helios tubes for fire scenes (32:14)
• Shooting Belle's massacre at 96 fps (35:48)
• Shooting on the Sony Venice with diopters (39:03)
• Converting color to black and white (41:57)
• Referencing CLOSE ENCOUNTERS for Part 2 (47:06)
• Blooming effect using filtration (50:48)
• And more!

Go Creative Show is supported by:

MZed - Education for Creatives Subscribe + Follow Go Creative Show

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Show Links

• AMERICAN HORROR STORY IMDb
• DOUBLE FEATURE Part 1 trailer
• DOUBLE FEATURE Part 2 trailer

Follow Our Guest

• Andrew Mitchell's IMDb

Follow Ben Consoli

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

• Ignition Visuals' website
• Ignition Visuals' Instagram