In today’s episode, we interview Michael Franks, television cinematographer for Nickelodeon's reboot of the 90’s show, All That.

Michael shares stories from his early career at Saturday Night Live and how it prepared him for All That. Plus, insight on the grueling work schedule needed for a weekly sketch comedy show, lighting over 70 sets in 5 weeks, the challenge of lighting for multiple cameras, important skillsets for multi-camera cinematographers, and much more!

Multi-Camera Sketch Comedy and All That (with Michael Franks) GCS186

Go Creative Show is a place for revealing and informative interviews with A-list filmmakers. Hosted by Producer and Director Ben Consoli, each week we feature cinematographers, production designers, directors and producers to share behind the scenes experiences from the hottest movies and shows. Whether you're a brand new filmmaker or a film industry veteran, Go Creative Show will entertain, inform and make you a better filmmaker.

TV & Film

Film Interviews

 WINNING TIME season 2 director and cinematographer Todd Banhazl joins cinematographers John Matysiak and Ricardo Diaz to discuss their use of mixed formats to create an authentic '80s aesthetic. They shed light on their collaboration in bringing the Celtics vs. Lakers rivalry to life on screen, their seamless blend of drama and humor, collaboration as cinematographers, and Todd's story of going from cinematographer to director. Subscribe Now!   Subscribe + Follow Go Creative Show  Twitter Facebook  Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube  Show Links   WINNING TIME season 2 WINNING TIME IMDb  Our Winning Time season 1 interview with Todd Banhazl and Mihai Malaimare Jr.  Follow Our Guests  Ricardo Diaz’s IMDb Todd Banhazl’s IMDb John Matysiak’s IMDb  Follow Ben Consoli  BC Media Productions BenConsoli.com Twitter Instagram   Follow Connor Crosby (producer)  Ignition Visuals' website 

Winning Time Season 2 Cinematography (with Todd Banhazl, Ricardo Diaz, and John Matysiak) GCS330

GRAN TURISMO director of photography Jacques Jouffret shares his adrenaline-inducing visual approach to creating this gripping and authentic racing film. We discuss his meticulous approach to capturing the racing world's intensity, blending realism and authenticity without relying on heavy VFX. Also find out about his meticulous approach to recreating the pivotal Nürburgring crash and much more. Subscribe Now! Go Creative Show is supported by:  Sony VENICE  Subscribe + Follow Go Creative Show  Twitter Facebook  Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube  Show Links  Gran Turismo IMDb  Follow Our Guest  Jacques Jouffret IMDb  Follow Ben Consoli  BC Media Productions BenConsoli.com Twitter Instagram   Follow Connor Crosby (producer)  Ignition Visuals' website 

Gran Turismo Cinematography (with Jacques Jouffret) GCS329

THE RIGHTEOUS GEMSTONES director of photography Paul Daley breaks down his visual approach to season 3. We discuss the various camera movement, lighting, and lensing tricks he used to advance the latest season. Find out how the lotus scene was shot practically, how Paul makes studio sets look real, and so much more. Subscribe Now! What you will learn in this episode    Shooting the Locust scene practically (02:26) Visual approach to season 3 (07:45) Using both Signature and Supreme lenses (16:35) Camera movement and lighting (20:35) Approach to night exteriors (25:33) Practical locations vs sets (29:12) Filming the racecar and monster truck scenes (36:43) Paul's favorite scene in season 3 (41:14) And more!    Subscribe + Follow Go Creative Show  Twitter Facebook  Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube  Show Links   The Righteous Gemstones on MAX  Follow Ben Consoli  BC Media Productions BenConsoli.com Twitter Instagram   Follow Connor Crosby (producer)  Ignition Visuals' website 

The Righteous Gemstones Cinematography (with Paul Daley) GCS328

Disney's live-action adaptation of THE LITTLE MERMAID is a beautiful retelling of the beloved animated film. It's filled with the characters and songs you love while keeping it fresh and modern. Director of photography Deon Beebe ACS ASC shares how they used incredible rigs to pull off the spectaular underwater scenes. Deon and Go Creative Show host, Ben Consoli, discuss the inspriation from BBC's BLUE PLANET series, using different lens types above and below the water, cinematography tricks used when Ariel can't speak, why the Italian coast was perfect to portray the Caribbean, and so much more. Subscribe Now! What you will learn in this episode    Bringing the animated film to life (03:26) Being inspired by BBC's BLUE PLANET (08:15) Filming the underwater world (11:30) Putting actors in rigs to simulate swimming (18:18) Using different lenses for above and below water (25:57) Why THE LITTLE MERMAID is so dark (28:11) Turning an Italian beach into the Caribbean (32:26) Why the underwater scenes were so difficult (40:33) Filming the shipwreck scenes (42:37) Cinematography tricks used when Ariel can't speak (46:01) Filming Under The Sea musical number (52:36) Dion's thoughts on the visual effects (54:27) And more!    Subscribe + Follow Go Creative Show  Twitter Facebook  Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube  Show Links  THE LITTLE MERMAID (2023) trailer THE LITTLE MERMAID on IMDb  Follow Our Guest  Dion Beebe’s Instagram Dion Beebe’s IMDb  Follow Ben Consoli  BC Media Productions BenConsoli.com Twitter Instagram   Follow Connor Crosby (producer)  Ignition Visuals' website 

The Little Mermaid Cinematography (with Deon Beebe ACS ASC) GCS327

Cinematographer Pawel Pogorzelski returns to Go Creative Show to discuss his latest film Beau Is Afraid and his collaboration with director Ari Aster. Pawel shares his experience filming with the Sony Venice and Rialto extension system, how he creates a cohesive palette for the film's many different looks, and the lens and lighting choices that gave Beau Is Afraid its many unique and surreal looks. We also answer audience questions and take a deep dive into how Pawel creates "vulnerability" in his cinematography. Pawel does his best to explain what the film is about, but after watching the 3-hour odyssey and our interview with Pawel, we still aren’t completely sure… maybe that's the point? Regardless of your understanding, or even opinion of the movie, this interview will inspire and educate film enthusiasts and movie fans alike. Subscribe Now! What you will learn in this episode  How BEAU IS AFRAID was pitched to Pawel (01:31) Camera techniques to show anxiety (06:15) Using wide lenses (12:37) The different looks of BEAU IS AFRAID (16:27) Using an LED wall for the cruise ship scenes (22:35) Why the Sony Venice was the best choice (30:46) Relationship with camera operators (37:08) Not putting yourself in a genre box with cinematography (40:11) Pawel's philosophy as a cinematographer (42:14) And more!  Go Creative Show is supported by: Sony Cine For the month of May 2023, Sony is offering special financing on their entire cinema line, and extended financing on the  VENICE and VENICE 2 cameras. Visit SonyCine.com for details.   Subscribe + Follow Go Creative Show  Twitter Facebook  Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube  Show Links  BEAU IS AFRAID IMDb  Follow Our Guest  Pawel Pogorzelski's Instagram Pawel Pogorzelski's IMDb  Follow Ben Consoli  BC Media Productions BenConsoli.com Twitter Instagram   Follow Connor Crosby (producer)  Ignition Visuals' website 

Multi-Camera Sketch Comedy and All That (with Michael Franks) GCS186

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