Go Creative Show

Emmy award-winning comedy series TED LASSO follows an American football coach as he helps a struggling London soccer team. Cinematographer David Rom comes on to explain how they turned Jason Sudeikis' successful shorts into a full blown TV series. David and Go Creative Show host, Ben Consoli, discuss avoiding comedy visual stereotypes, fish-out-of-water cinematography style, pairing the Alexa LF with Tokina lenses, why they had to recreate the entire soccer field, and more! Subscribe Now! What you will learn in this episode Avoiding comedy visual stereotypes (02:24) Translating Jason Sudeikis' shorts to a full series (04:54) Lighting a locker room with only overhead lighting (08:21) Approach to camera angle coverage (14:13) Fish out of water cinematography (15:46) Working with other cinematographers on a series (21:20) Using the Alexa LF paired with Tokina lenses (23:53) Challenges of shooting on location (27:32) Recreating the pitch soccer field (30:24) Shooting with such a shallow focus (37:28) Why collaboration is so important (39:14) "Panic attack" scene cinematic approach (40:45) And more! Go Creative Show is supported by: MZed - Education for Creatives Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links TED LASSO IMDb TED LASSO trailer TED LASSO on Apple TV+ Large format cinematography in a small package: Tokina Vista lenses on Fujifilm GFX100 Follow Our Guest David Rom's IMDb David Rom's website 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

Fashion... Sex... Drama... The filming and lighting of HALSTON on Netflix with cinematographer Tim Ives. Learn about the incredible use of color theory, lighting, lenses and more. Tim and Go Creative Show host, Ben Consoli, discuss using special Sigma lenses to give the Studio 54 nightclub atmosphere, using cinematography to make a character feel isolated, what the heck a "book light" is, and more! Subscribe Now! What you will learn in this episode Adding haze using specialty lenses (02:09) Recreating Studio 54 (06:18) Preventing bright colored lights from spilling onto skin tone (11:44) Making Halston feel isolated (14:08) Filming scenes with mirrors (17:40) Keeping Halston out of red lighting (19:56) How HALSTON was approached differently from STRANGER THINGS (22:26) Filming fashion clothing (27:36) Benefits of using a book light (29:59) Shooting on Red Monstro and Sigma lenses (36:19) Challenges of Halston's loft apartment (38:41) Intimacy through cinematography (44:20) Filming Halston's beach house (49:53) And more! Go Creative Show is supported by: MZed - Education for Creatives Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links HALSTON IMDb HALSTON trailer HALSTON on Netflix Follow Our Guest Tim Ive's Instagram Tim Ives IMDb Tim Ive's website 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

In STOWAWAY, cinematographer Klemens Becker embraces claustrophobic cinematography while filming inside a spaceship. We also discuss simulated gravity, recreating the suns intensity in space, and his human take on a space story. Klemens and Go Creative Show host, Ben Consoli, discuss how 36,000 LEDs lit up the spaceship set, why almost all the VFX was created before filming began, recreating zero gravity, and much more! Subscribe Now! What you will learn in this episode Why Klemens was drawn to STOWAWAY (01:13) Filming a small confined spaceship set (04:12) Using 36,000 LEDs to light the spaceship (09:59) Why cinematography and VFX were so tied together (25:47) Giving a sense of claustrophobia through cinematography (37:00) How gravity in space works (43:40) Rigs used on set to achieve zero gravity (50:53) Recreating the sun with one light source (58:01) And more! Go Creative Show is supported by: MZed - Education for Creatives Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links STOWAWAY trailer STOWAWAY on Netflix STOWAWAY IMDb STOWAWAY on Netflix Follow Our Guest Klemens Becker 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

THE HAUNTING OF BLY MANOR expands on the cinematic universe of HILL HOUSE with gorgeous dark cinematography and blooming highlights. Cinematographer James Kniest shares this approach and filming an episode entirely in black and white. James and Go Creative Show host, Ben Consoli, discuss lighting a scene with only candlelight, how netting on lenses blooms highlights, how to gradually adjust aperture, the show's subtle camera movement, and more! Subscribe Now! What you will learn in this episode Filming an entire episode in black and white (03:13) Lighting a scene with only candlelight (07:13) Using rear netting to bloom highlights (12:16) Gradually adjust aperture using a Cinefade (17:57) Shift towards in-camera filtration and looks (22:31) Approach to subtle camera movement (29:04) Seamlessly merging the bly manor's upstairs and downstairs sets (34:57) Challenges of filming a lake with actors (41:29) James' favorite scenes to shoot (45:39) And more! Go Creative Show is supported by: MZed - Education for Creatives Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links THE HAUNTING OF BLY MANOR on Netflix THE HAUNTING OF BLY MANOR trailer THE HAUNTING OF BLY MANOR IMDb Follow Our Guest James Kniest IMDb James Kniest on Instagram 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

Horror cinematographer mastermind Checco Varese ASC teaches us how he filmed trauma and fear for Amazon Studios' THEM. Checco explains his approach to the series' gorgeous cinematography and his philosophy as a filmmaker. Checco and Go Creative Show host, Ben Consoli, discuss ways to invoke anxiety and terror through cinematography, tips for new cinematographers, using virtual filmmaking to film a creature attack on a 1950s bus, the Jordan Peele US controversy and more! Subscribe Now! What you will learn in this episode Invoking fear and terror through THEM's visual approach (03:30) Horror filmmaking techniques (12:15) Rules to live by as a cinematographer (23:16) Comparing THEM to Jordan Peele's US (28:00) Creature attack on a 1950s bus using virtual filmmaking (35:48) And more! Go Creative Show is supported by: MZed - Education for Creatives Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links IT Chapter 2 Cinematography (with Checco Varese ASC) WATCHMEN Cinematography (with Xavier Grobet ASC) THEM Trailer THEM on Amazon Prime Video THEM IMDb Follow Our Guest Checco Varese ASC's website Checco Varese's Instagram 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

NOBODY is a thrilling, high-paced action movie starring BETTER CALL SAUL's Bob Odenkirk. Cinematographer Pawel Pogorzelski shares his experiences coming from films like MIDSOMMAR and HEREDITARY to his first action film. Pawel and Go Creative Show host, Ben Consoli, discuss how the his cinematic approach evolves throughout the movie, his close relationship with the stunt coordinator, why the car chases were the so challenging, lighting for the darkness, and more! Subscribe Now! What you will learn in this episode Working with actor Bob Odenkirk (01:02) First experience on an action movie (02:31) Character development through camera movement and lighting (06:08) Prepping and storyboarding for action movies (09:44) How cinematographers work with stunt coordinators (15:07) Why car chases are so challenging (21:40) Achieving the floating gun shot (28:31) Shooting anamorphic with the RED Helium (30:49) Recreating a vintage 70s look (34:45) Lighting for the darkness (37:22) Filming simple dialogue in films (43:07) Going from MIDSOMMAR to NOBODY (46:45) Making haze look realistic on movies (48:38) Most challenging part of filming NOBODY (50:26) And more! Go Creative Show is supported by: MZed - Education for Creatives Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links NOBODY website NOBODY IMDb Follow Our Guest Pawel Pogorzelski's IMDb Pawel Pogorzelski's website 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

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! Subscribe Now! 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! Go Creative Show is supported by: MZed - Education for Creatives Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube 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

The Russo Brothers' new film CHERRY is really six films in one. Each chapter has its own unique style, lens package, and lighting technique. Learn how cinematographer Newton Thomas Sigel ASC created six distinctive looks for this visually-stunning film. Tom and Go Creative Show host, Ben Consoli, discuss creating the feeling of romance with vintage anamorphic lenses, using wide angel lenses so Tom Holland's character felt trapped, showing drug addiction through tilt shift lenses, using a special infrared 3D camera rig, and more! Subscribe Now! What you will learn in this episode Creating distinct looks for each chapter (00:56) Using vintage anamorphic lenses for a romantic feel (05:56) Using wide angle lenses for the "Basic" army training chapter (13:42) How wide angle lenses make characters feel trapped (17:40) Filming the war chapter with a wide aspect ratio (23:02) Lighting exterior desert shots (27:49) Tilt shift lenses and composition for drug addiction (31:24) "Dope Life" chapter visual approach (37:06) "Epilogue" dolly tracking shot (50:24) How an infrared camera was used on a 3D rig (54:12) Working with the Russo Brothers (01:01:19) Maintaining consistency throughout various looks (01:05:43) And more! Go Creative Show is supported by: MZed - Education for Creatives Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links Follow Our Guest 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

THE UNITED STATES VS BILLIE HOLIDAY is a visually raw biopic combining stunning imagery of Billie Holiday's life and her musical performances. Cinematographer Andrew Dunn BSC explains how he crafted these visuals by shooting on film, using filtration and haze, and a variety of camera movement. Andrew and Go Creative Show host, Ben Consoli, discuss why cinematographers are chameleons, why Andrew loves filtration, his philosophy behind camera motivation and movement, and much more! Subscribe Now! What you will learn in this episode Why cinematographers are chameleons (01:23) Visual approach for US vs Billie Holiday (07:33) Shooting on film and anamorphic lenses (15:54) Using filtration and haze to enhance the look (18:20) Filming musical performances in unique ways (35:42) Using a variety of camera movement (40:28) Filming different genres on set (51:22) And more! Go Creative Show is supported by: MZed - Education for Creatives Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links The United States vs Billie Holiday IMDb The United States vs Billie Holiday trailer The United States vs Billie Holiday on Hulu Black frost filter Follow Our Guest Andrew Dunn 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

Aaron Sorkin's Golden Globe-nominated film THE TRIAL OF THE CHICAGO 7 perfectly balances incredible visuals with stunning performances. Cinematographer Phedon Papamichael ASC comes on to discuss working with Sorkin and the importance daylight plays when filming the courtroom scenes. Phedon and Go Creative Show host, Ben Consoli, discuss how the visual approach contrasts between the courtroom and riots, his obsession with motivated camera movement, filming with up to 3 cameras at once on a tight schedule, and more! Subscribe Now! What you will learn in this episode Working with Aaron Sorkin and overview on visual approach (02:24) Why windows played a pivotal role in the courtroom (13:09) The film's fast-paced shooting schedule (20:55) Is a film like this important to be accurate? (25:01) Using natural sunlight to your advantage for exterior scenes (29:56) Shooting multiple cameras at once and getting coverage (34:59) Keeping camera movement motivated (49:11) How virtual production can be valuable (53:29) And more! Go Creative Show is supported by: MZed - Education for Creatives Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links THE TRIAL OF THE CHICAGO 7 trailer THE TRIAL OF THE CHICAGO 7 IMDb THE TRIAL OF THE CHICAGO 7 on Netflix Follow Our Guest Phedon Papamichael ASC's IMDb Phedon Papamichael ASC's Instagram 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