NO TIME TO DIE not only elevates the 007 universe, but it is filled with stunningly beautiful and logistically challenging cinematography. Director of Photographer Linus Sandgren FSF ASC talks lighting, lensing, locations and of course STUNTS!

Linus and Go Creative Show host, Ben Consoli, discuss finding the spirit of James Bond and using hand-held IMAX cameras to blend classic 007 storytelling with new filmmaking technologies.

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• Visual approach to James Bond movies (00:51)
• Pre-lighting sets using miniatures (07:58)
• Shooting on IMAX handheld (13:41)
• Grounding stunts in reality (21:31)
• Filming in various locations around the world (24:59)
• Challenges and logistics of NO TIME TO DIE (33:38)
• And more!

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Rather than releasing a series of music videos, Halsey has released a short film featuring her latest album IF I CAN'T LOVE, I WANT POWER. Music video producer Jamee Ranta gives us a behind the scenes look at making the film and music videos for other iconic artists.

Jamee and Go Creative Show host, Ben Consoli, discuss the decision to create this short film, how a producer is involved in the creative process, breaking into the music video industry, and more!

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• Shooting and releasing the film on IMAX (01:09)
• Producer's involvement in the creative process (09:33)
• The role of a producer (12:53)
• Why it's important to have technical knowledge (22:28)
• Ensuring your crew remains happy (26:31)
• Music videos vs films (31:12)
• Examining the music video industry (40:17)
• How to break into the music video industry (46:06)
• And more!

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By a nearly unanimous margin, IATSE members in TV and film production vote to authorize a nationwide strike. Cinematographer Jim Denault ASC explains the proposed changes union workers are looking for and why they matter.

Jim and Go Creative Show host, Ben Consoli, discuss the existing working conditions, what has changed over the decades in the industry, the opposition to the new terms, worldwide support, and more!

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• Changing the film working conditions (01:19)
• Length of average film production days (05:30)
• Fighting for longer turnaround times (11:10)
• Varying rates depending on project (15:38)
• Opposition to these new terms (20:21)
• Improvements for meal breaks (24:35)
• Unions supporting each other worldwide (30:38)
• The importance of having a union (33:21)
• And more!

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Imagine having only six weeks to prep for an entire movie trilogy, each one having its own distinct look. That was exactly the reality for cinematographer Caleb Heymann with Netflix's Fear Street trilogy.

Caleb and Go Creative Show host, Ben Consoli, discuss relying on candles and sunlight for the 1666 movie, creating that incredible bread machine kill scene, how to deal with the challenges of neon colored lighting, and more!

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• Having only 6 weeks to prep 3 films (01:01)
• Adapting quickly as a cinematographer (08:43)
• Relying on candles and sunlight for 1666 (11:00)
• Using filtration with the Alexa Mini for 1666 (17:17)
• Filming 1666 without practical lights (22:35)
• 1994's horror movie inspiration (28:38)
• Creating the bread machine kill scene (35:20)
• Challenges of using neon lighting on set (42:24)
• Characteristics you get with vintage lenses (49:50)
• HALLOWEEN style visual approach for 1978 (53:45)
• And more!

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THE WHITE LOTUS features incredible voyeuristic-style cinematography that constantly keeps you on edge. Director of photography Ben Kutchins explains his unique visual approach and the difficulty of filming in an actual hotel.

Ben and Go Creative Show host, Ben Consoli, discuss the juxtaposition between the warm color palette and plot, filming with as much natural light as possible, constantly rolling with the punches on set,  and much more!

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• The crazy writing of THE WHITE LOTUS (01:39)
• Not having firm rules in cinematography (01:42)
• Achieving voyeuristic cinematography (08:03)
• Embarrassment through cinematography tricks (13:19)
• Warm color palette of THE WHITE LOTUS (17:43)
• Masterclass in covering dialogue scenes (22:06)
• Shooting with Super Baltar and Cooke lenses (32:27)
• Primarily using natural lighting (35:13)
• Logistics of filming in an actual hotel (41:17)
• Filming the water and boat scenes (48:32)
• Not worrying about realism with sunlight (52:07)
• Having to roll with the punches on set (57:06)
• Filming Paul McCartney's latest music video (01:02:21)
• And more!

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Learn how to skillfully introduce characters through cinematography and the benefits of cross-shooting with the director of photography of the Emmy-nominated series HACKS, Adam Bricker.

Adam and Go Creative Show host, Ben Consoli, discuss how and why the two lead characters were shot differently, blending cool and warm light sources, customizing lenses for projects, and much more!

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• How to skillfully introduce characters (01:25)
• Portraying isolation through cinematography (09:29)
• Introducing characters (continued) (15:52)
• Blending cool and warm light sources (21:41)
• Cross shooting the scene Deborah and Ava meet (27:50)
• Benefits of cross shooting (36:47)
• Customizing lenses for projects (42:51)
• Advice for aspiring filmmakers (56:29)
• Filming Chef's Table without any documentary experience (01:01:33)
• And more!

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JUNGLE CRUISE is a modern adventure film with cinematography inspired by old-school classics! Cinematographer Flavio Labiano shares his experience working with Emily Blunt and The Rock and shooting most of the film in a giant water-tank in an Atlanta parking lot.

Flavio and Go Creative Show host, Ben Consoli, discuss the challenges of filming the boat scenes, the role of 2nd unit cinematography, importance of color in cinematography, and more!

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• What it’s like working with A-list actors (01:04)
• Why the boat scenes were so challenging (03:29)
• Importance of color in cinematography (07:02)
• Why the Jungle Cruise ride was not a big inspiration (11:06)
• The movie’s inspiration from 1970s movies (13:47)
• The role of 2nd unit cinematography (16:08)
• Deconstructing the “coming out” scene (19:02)
• Challenges of shooting in an exterior water tank (22:57)
• Creating the vintage camera scenes (34:11)
• How to create engaging action sequences (35:57)
• Shooting with Alexa Mini and Panavision lenses (40:52)
• Flavio's early film career (44:10)
• Lack of passion in some filmmakers (49:14)
• And more!

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Disney has outdone themselves again with the incredible life-like and vivid animation of RAYA AND THE LAST DRAGON. Co-cinematographers Adolph Lusinsky and Rob Dressel come on to discuss how Disney tackles animated films and the biggest challenges of RAYA.

Adolph, Rob, and Go Creative Show host, Ben Consoli, discuss each of their roles as cinematographers, striking the right balance of realistic lighting, designing Sisu the Dragon, and more!

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• Role of animation cinematographers (01:41)
• How shots are staged in animation (07:45)
• The flexibility of lighting animated films (12:36)
• Skills needed to become an animation cinematographer (19:49)
• Striking the right balance with realistic lighting (23:21)
• Creating a different look for each tribe in RAYA (27:23)
• Designing Sisu the Dragon (37:10)
• Most challenging scene to animate in RAYA (40:07)
• And more!

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BLACK WIDOW marks the return of the Marvel Cinematic Universe. Cinematographer Gabriel Beristain ASC BSC comes on to explain his filmmaking philosophy of treating the camera like a character.

Gabriel and Go Creative Show host, Ben Consoli, discuss the visual references of the film, why Gabriel always used 3 cameras on set, not being ashamed of relying on filmmaking fundamentals, and more!

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• Responding to movie critiques (01:12)
• Visual references for BLACK WIDOW (04:36)
• The camera being a character (10:57)
• 3 camera setup on set (18:35)
• Not be ashamed to use filmmaking fundamentals (26:44)
• Shooting on the Sony Venice (33:32)
• Filming car chase scenes (38:23)
• Challenges on set of BLACK WIDOW (43:39)
• Lessons learned as a cinematographer (53:01)
• And more!

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THE MOSQUITO COAST on Apple TV+ is a gripping drama with a spectacular, colorful yet gritty cinematic approach. Director of photographer Alex Disenhof gives us a behind the scenes look and why the series has such active camera movement.

Alex and Go Creative Show host, Ben Consoli, break down one of the most dramatic sequences in the series, approaching daylight exteriors, color grading and theory, extensive location scouting, and much more.

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• Gritty and colorful cinematic approach (01:17)
• Engaging and active camera movement (06:52)
• Filming on location vs in studio (15:10)
• Shooting on the Alexa Mini LF and DNA lenses (17:19)
• Breaking down the opening sequence in episode 2 (23:06)
• Avoiding lights for daylight exteriors (36:34)
• And more!

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