Go Creative Show

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!

Subscribe Now!

• 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!

Go Creative Show is supported by:

• Twitter
• Facebook
• Apple Podcasts
• Stitcher
• Google Play Podcasts
• iHeart Radio
• YouTube

• HACKS trailer
• HACKS on HBO Max
• HACKS IMDb

• Adam Bricker's website
• Adam Bricker's Instagram
• Adam Bricker's IMDb

• BC Media Productions
• BenConsoli.com
• Twitter
• Instagram

• Dave Siegel's website
• Dave Siegel's Instagram

Follow Connor Crosby (producer)

• Ignition Visuals' website
• Ignition Visuals' Instagram

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!

Subscribe Now!

• 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!

Go Creative Show is supported by:

• Twitter
• Facebook
• Apple Podcasts
• Stitcher
• Google Play Podcasts
• iHeart Radio
• YouTube

• JUNGLE CRUISE IMDb
• JUNGLE CRUISE on Disney+
• JUNGLE CRUISE trailer

• Flavio Martinez Labiano's IMDb

• BC Media Productions
• BenConsoli.com
• Twitter
• Instagram

• Dave Siegel's website
• Dave Siegel's Instagram

Follow Connor Crosby (producer)

• Ignition Visuals' website
• Ignition Visuals' Instagram

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!

Subscribe Now!

• 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!

Go Creative Show is supported by:

• Twitter
• Facebook
• Apple Podcasts
• Stitcher
• Google Play Podcasts
• iHeart Radio
• YouTube

• RAYA AND THE LAST DRAGON IMDb
• RAYA AND THE LAST DRAGON trailer
• RAYA AND THE LAST DRAGON on Disney+

• Rob Dressel IMDb
• Adolph Lusinsky IMDb

• BC Media Productions
• BenConsoli.com
• Twitter
• Instagram

• Dave Siegel's website
• Dave Siegel's Instagram

Follow Connor Crosby (producer)

• Ignition Visuals' website
• Ignition Visuals' Instagram

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!

Subscribe Now!

• 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!

Go Creative Show is supported by:

• Twitter
• Facebook
• Apple Podcasts
• Stitcher
• Google Play Podcasts
• iHeart Radio
• YouTube

• BLACK WIDOW IMDb
• BLACK WIDOW trailer
• BLACK WIDOW on Disney+

• Gabriel Beristain's IMDb
• Gabriel Beristain's Instagram
• Gabriel Beristain's website

• BC Media Productions
• BenConsoli.com
• Twitter
• Instagram

• Dave Siegel's website
• Dave Siegel's Instagram

Follow Connor Crosby (producer)

• Ignition Visuals' website
• Ignition Visuals' Instagram

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.

Subscribe Now!

• 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!

Go Creative Show is supported by:

• Twitter
• Facebook
• Apple Podcasts
• Stitcher
• Google Play Podcasts
• iHeart Radio
• YouTube

• THE MOSQUITO COAST IMDb
• THE MOSQUITO COAST on Apple TV+
• ARRI Signature Prime Lenses
• ARRI Rental DNA LF
• T-REX Superscope Lens demo

• Alex Disenhof's IMDb
• Alex Disenhof's website
• Alex Disenhof on Instagram

• BC Media Productions
• BenConsoli.com
• Twitter
• Instagram

• Dave Siegel's website
• Dave Siegel's Instagram

Follow Connor Crosby (producer)

• Ignition Visuals' website
• Ignition Visuals' Instagram

IN THE HEIGHTS is the masterful musical movie of the summer! Cinematographer Alice Brooks shares her cinematic approach adapting Lin-Manuel Miranda's hit broadway show to the big screen.

Alice and Go Creative Show host, Ben Consoli, break down how they filmed the big musical numbers, filming most of the movie on location, being inspired by local photographers, advice for aspiring cinematographers, and more!

Subscribe Now!

• Filming musical numbers on location (02:04)
• Obstacles filming Abuela's apartment on location (03:30)
• Visuals inspired by local photographers (10:17)
• Panavision DXL2 camera and NYC lighting (16:28)
• "96,000" breakdown (19:57)
• "When the Sun Goes Down" breakdown (30:08)
• "Champagne" breakdown (37:45)
• "Paciencia y Fe" subway breakdown (41:01)
• Advice for young and female DPs (48:39)
• And more!

Go Creative Show is supported by:

• Twitter
• Facebook
• Apple Podcasts
• Stitcher
• Google Play Podcasts
• iHeart Radio
• YouTube

• IN THE HEIGHTS IMDb
• IN THE HEIGHTS on HBO Max
• IN THE HEIGHTS trailer

• Alice Brooks' website
• Alice Brooks' IMDb
• Alice Brooks' Instagram

• BC Media Productions
• BenConsoli.com
• Twitter
• Instagram

• Dave Siegel's website
• Dave Siegel's Instagram

Follow Connor Crosby (producer)

• Ignition Visuals' website
• Ignition Visuals' Instagram

With terrifying and haunted scenes, jump scares, exorcisms, and more, THE CONJURING: THE DEVIL MADE ME DO IT does an excellent job standing up against the previous films. Cinematographer Michael Burgess shares his cinematic and lighting approach for the top horrific scenes in the film.

Michael and Go Creative Show host, Ben Consoli, discuss his camera and lens package, why he avoids operating cameras now, the opening exorcism scene breakdown, cinematography tricks, and more!

Subscribe Now!

• Scary cinematography in THE CONJURING movies (01:08)
• Shooting on the Alexa SXT camera and Primo lenses (05:15)
• Why Michael no longer operates cameras (10:03)
• Having Don Burgess ASC as a dad and role model (13:13)
• Why THE CONJURING 3 was not shot anamorphic (15:17)
• Lighting for horror movies (17:03)
• Filming David's scary waterbed scene (20:58)
• Breaking down the opening exorcism scene (26:55)
• Controlling all lights on set from an iPad (32:38)
• How the day to night transition in woods was shot (34:34)
• Representing the 1980s through sets and costumes (38:14)
• Will there be more CONJURING movies? (40:22)
• And more!

Go Creative Show is supported by:

• Twitter
• Facebook
• Apple Podcasts
• Stitcher
• Google Play Podcasts
• iHeart Radio
• YouTube

• CONJURING 3 trailer
• CONJURING 3 on HBO Max
• CONJURING 3 IMDb

• Mike Burgess' IMDb

• BC Media Productions
• BenConsoli.com
• Twitter
• Instagram

• Dave Siegel's website
• Dave Siegel's Instagram

Follow Connor Crosby (producer)

• Ignition Visuals' website
• Ignition Visuals' Instagram

BRIDGERTON is Netflix's most-watched series ever. Cinematographer Jeffrey Jur ASC explains how he used the Sony Venice camera and lighting using candles to bring us back in time to 17th century London.

Jeffrey and Go Creative Show host, Ben Consoli, discuss his contemporary cinematic approach, his career switch from film to TV, using 2-6 cameras on set, breaking down the most challenging scene in the series, and more!

Subscribe Now!

• Contemporary cinematic approach of BRIDGERTON (02:00)
• Best uses for intentional camera movement (05:46)
• Planning a shot list based off rehearsals (09:08)
• How Jeffrey preps for film shoots (10:49)
• Low light cinematography with Sony Venice (15:51)
• Creating a clean lifted look in post (21:01)
• Shooting with 2 cameras on set (29:25)
• Approach to lighting candle lit scenes (34:21)
• Using sparklers to light a scene practically (48:36)
• Jeffrey's most challenging scene on BRIDGERTON (51:39)
• Switching from a film career to TV (55:23)
• Reflecting back on DIRTY DANCING (59:02)
• And more!

Go Creative Show is supported by:

• Twitter
• Facebook
• Apple Podcasts
• Stitcher
• Google Play Podcasts
• iHeart Radio
• YouTube

• BRIDGERTON IMDb
• BRIDGERTON trailer
• BRIDGERTON on Netflix
• SHOTDECK :: Fully Searchable High-Res Movie Images
• Camera Systems Lenses ARRI Signature Prime Lenses
• Tiffen 4 x 5.65" Soft FX Filter
• Wendy Light

• Jeffrey Jur ASC's IMDb

• BC Media Productions
• BenConsoli.com
• Twitter
• Instagram

• Dave Siegel's website
• Dave Siegel's Instagram

Follow Connor Crosby (producer)

• Ignition Visuals' website
• Ignition Visuals' Instagram

Disney's film CRUELLA combines handheld, high energy cinematography with elegant traditional camera movement. Cinematographer Nicolas Karakatsanis explains his masterful cinematic approach.

Nicolas and Go Creative Show host, Ben Consoli, discuss working with Emma Stone and Emma Thompson, shooting both on film and digitally, having to pre-light sets before they were built, camera and lens package, and more!

Subscribe Now!

• Lessons learned shooting I, TONYA (01:02)
• High energy cinematography of CRUELLA (03:54)
• Pre-lighting before sets are built (15:04)
• Having to build the Baroness workshop set twice (20:30)
• Cruella concert scene breakdown (24:29)
• Cinematography differences between Cruella and Baroness (31:42)
• Shooting on film vs digital (36:16)
• Why Nicolas hates lens filtration (52:28)
• Not being reliant on VFX (57:43)
• Not being inspired by the 101 Dalmations animation (01:01:09)
• Collaborating with costume design dept (01:02:29)
• Working with Emma Stone and Emma Thompson (01:04:52)
• And more!

Go Creative Show is supported by:

• Twitter
• Facebook
• Apple Podcasts
• Stitcher
• Google Play Podcasts
• iHeart Radio
• YouTube

• Cruella trailer
• Cruella on Disney+
• Cruella IMDb

• Nicolas Karakatsanis' IMDb
• Nicolas Karakatsanis' Instagram

• BC Media Productions
• BenConsoli.com
• Twitter
• Instagram

• Dave Siegel's website
• Dave Siegel's Instagram

Follow Connor Crosby (producer)

• Ignition Visuals' website
• Ignition Visuals' Instagram

A QUIET PLACE PART II cinematographer Polly Morgan ASC BSC takes us behind-the-scenes of this highly anticipated sequel. Polly and Go Creative Show host, Ben Consoli, discuss the challenges of shooting on film, why one sequence was shot digitally, why practical stunts are better, working with John Krasinski and Emily Blunt, mentorship advice, and more!

Subscribe Now!

• Coming back to movie theaters (00:59)
• Risks of shooting on film (04:07)
• Exposing properly when shooting on film (09:04)
• Shooting the Volvo Bus scene practically (13:41)
• Working with John Krasinski (21:43)
• Creating scary scenes in daylight (24:33)
• Filming A QUIET PLACE like a western (29:01)
• Challenges of the steel mill furnace (30:41)
• Why the Marina sequence was shot digitally (37:34)
• Lighting for dark interiors (42:56)
• Working with Emily Blunt (46:54)
• Collaborating with a colorist (47:28)
• Mentorship in filmmaking (49:16)
• Advice for aspiring female DPs (53:16)
• And more!

Go Creative Show is supported by:

• Twitter
• Facebook
• Apple Podcasts
• Stitcher
• Google Play Podcasts
• iHeart Radio
• YouTube

• A Quiet Place Part II IMDb

• Polly Morgan ASC BSC on Instagram
• Polly Morgan ASC BSC's IMDb

• BC Media Productions
• BenConsoli.com
• Twitter
• Instagram

• Dave Siegel's website
• Dave Siegel's Instagram

Follow Connor Crosby (producer)

• Ignition Visuals' website
• Ignition Visuals' Instagram