Oscar-nominated film JUDAS AND THE BLACK MESSIAH masterfully replicates the visuals of 1960s Chicago. Inspired by Kodachrome and Ektachrome film stock, Cinematographer Sean Bobbitt BSC explains the film's wide aspect ratio, hand-made lens package, and the proper use for closeups.

Sean and Go Creative Show host, Ben Consoli, discuss adapting to various director's needs, shooting on the Alexa LA and DNA lenses, Sean's collaborative approach to color grading, his love of filming the color green, subtle camera movement, and more!

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What you will learn in this episode

• Adapting to director's needs (01:02)
• Cinematic approach and use of the color green (07:43)
• Filming with the intention of a heavy color grade (16:11)
• Pairing the Alexa LF with DNA Lenses (28:11)
• Benefits of shooting a wide aspect ratio (34:11)
• Is storyboarding necessary? (39:15)
• Reserving close-ups for important moments (41:05)
• The shot that makes Sean smile in JUDAS (47:26)
• Importance of subtle camera movement (50:11)
• Was the bar sign reflection shot practically? (52:44)
• Why Sean is nervous to work on Captain Marvel 2 (54:25)
• And more!

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Show Links

• JUDAS IMDb
• JUDAS trailer
• Arri DNA lenses
• British Cinematographer: Sean Bobbitt BSC / Judas and the Black Messiah

Follow Our Guest

• Sean Bobbitt BSC's IMDb

Follow Ben Consoli

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

Follow Dave Siegel (sound mixer)

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

Follow Connor Crosby (producer)

• Ignition Visuals' website
• Ignition Visuals' Instagram