Go Creative Show

Award-winning series DOPESICK is a masterclass in breathtaking cinematography and storytelling. Director of photography Checco Varese ASC shares how he evolved the show's visual approach throughout the series. Checco and Go Creative Show host, Ben Consoli, discuss the importance of dailies looking as close to final as possible, making office spaces visually-appealing, lighting an entire house for a oner, and much more! Subscribe Now! What you will learn in this episode Evolving color palette of DOPESICK (04:31) Pairing the Sony Venice and FX3 with Zeiss lenses (16:57) Importance of having dailies represent a final look (26:39) Cinematography of people under the influence (34:00) Making office spaces visually appealing (40:05) Lighting an entire house for one continuous shot (46:49) How COVID impacted the production of DOPESICK (50:04) Importance of historical accuracy (55:36) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links Amazon’s Them Cinematography (with Checco Varese ASC) The Cinematic Violence of IT Chapter 2 (with Checco Varese) DOPESICK IMDb DOPESICK on Hulu DOPESICK trailer Tiffen 4 x 5.65" Solid Color Chocolate 1/2 Filter - 45650CH12 Follow Our Guest Checco Varese ASC’s website Checco Varese ASC’s Instagram Checco Varese ASC’s IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Connor Crosby's website Follow Dave Siegel (sound mixer) Dave Siegel's website

SEVERANCE is a mind-bending and visually stunning thriller and one of this year's best series. Cinematographer Jessica Lee Gagné shares why she was hesitant to take on the show, and her incredible work throughout the season. Jessica and Go Creative Show host, Ben Consoli, discuss her visual approach to the “innie” and “outie” worlds, making a bland stark-white office space visually interesting, psychological tricks with cinematography, working with Ben Stiller and Christopher Walken, and more! Subscribe Now! What you will learn in this episode Why Jessica did not want to film SEVERANCE (01:43) Approach to filming Lumon (04:15) Visual approach to the outside world (09:50) Pairing the Sony Venice with vintage lenses (15:23) Challenges of soft lighting in Lumon (22:15) Developing lighting plans with the gaffer (31:43) Achieving the severed transition look (35:13) Filming the maze of hallways (37:44) Dividing characters in the framing (40:14) Working with Ben Stiller and Christopher Walken (42:39) Importance of self-reflection at work (45:39) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links SEVERANCE IMDb SEVERANCE on Apple TV+ SEVERANCE trailer Follow Our Guest Jessica Lee Gagné’s Instagram Jessica Lee Gagné’s IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

THE POWER OF THE DOG director of photographer, Ari Wegner ACS, shares how her cinematography communicates loneliness in the Oscar-nominated Netflix film. Ari and Go Creative Show host, Ben Consoli, discuss techniques for realistic eyelights, why the amount of prep time can be a red flag, filming wide landscapes with long lenses, and much more! Subscribe Now! What you will learn in this episode The importance of prep time (01:08) Value of a good director and DP relationship (05:12) Visually-communicating loneliness (10:13) Creating eyelight in dark environments (13:42) Pairing the Alexa Mini LF with Ultra Panatar lenses (20:46) Shooting wide vistas with long lenses (27:33) Lighting contrast ratio for THE POWER OF THE DOG (32:43) Creating tension visually (35:42) The locations of THE POWER OF THE DOG (52:57) Crafting a "rewatchable" film (57:38) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links THE POWER OF THE DOG on Netflix THE POWER OF THE DOG trailer THE POWER OF THE DOG IMDb Follow Our Guest Ari Wegner’s IMDb Ari Wegner’s Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

TEXAS CHAINSAW MASSACRE production designer Michael Perry created an entire Texas town from scratch.  Learn all about the challenges he faced and the scenes and sets he’s most proud of.  Michael and Go Creative Show host, Ben Consoli, discuss filming with blood, creating an authentic gas station, when to ignore logic in filmmaking, techniques for aging props, challenges of horror movie production design, and that INSANE decapitation scene! Subscribe Now! What you will learn in this episode Balancing practical and VFX blood effects (01:32) Honoring the original film through easter eggs (09:22) Creating a whole town from sets (12:22) Working on a low-budget film schedule (22:17) Creating a gas station from scratch (23:54) Some of the most challenging sets (28:44) When to ignore logic for set design (33:32) Developing story and character through production design (36:28) Techniques for aging props and sets (42:03) Executing the final death scene (46:46) Challenges of horror movie production design (49:10) Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links TEXAS CHAINSAW MASSACRE on Netflix TEXAS CHAINSAW MASSACRE IMDb TEXAS CHAINSAW MASSACRE trailer Follow Our Guest Michael Perry’s website Michael Perry’s IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

DEATH ON THE NILE and BELFAST cinematographer Haris Zambarloukos takes us behind the scenes of both films and shares his filmmaking secrets. Haris and Go Creative Show host, Ben Consoli, discuss DEATH ON THE NILE’S enormous 1000 lights boat set, tips for creating the perfect black and white, why every shot is important, and of course his brilliant work on the film BELFAST. Subscribe Now! What you will learn in this episode Timeless black and white opening of DEATH ON THE NILE (05:34) Hyperreality of the opening scene (10:31) Using nearly 1000 lights for the boat set (18:09) Ensuring continuous shots serve the story (35:35) Wide framing in BELFAST (49:28) Camera package for Belfast (58:39) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links DEATH ON THE NILE IMDb DEATH ON THE NILE trailer BELFAST IMDb BELFAST trailer Follow Our Guest Haris Zambarloukos’ IMDb Haris Zambarloukos’ Instagram Haris Zambarloukos’ website Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

OZARK returns for its final season with a new cinematographer - Shawn Kim. Learn how Shawn evolved the show’s iconic cool-blue look while getting darker with each episode.  Shawn and Go Creative Show host, Ben Consoli, discuss the psychological effects of lens focal lengths, the complexity of lighting day exteriors, how to keep cinematography fresh and interesting, plus so much more! Subscribe Now! What you will learn in this episode Finding work during COVID (01:08) Evolving visual approach to OZARK (05:44) How focal length affects audience perception (13:12) How OZARK is a filmmaker's dream (18:31) Lighting daytime exteriors completely artificially (22:19) Fresh filming approach to the Byrde's home (29:44) Why the Sony Venice was the best choice (35:07) Psychological approach to cinematography (40:20) Creating OZARK's signature blue look (45:01) Memorable scenes in season 4 (50:40) Challenges of shooting in rainstorms (56:26) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links OZARK IMDb OZARK on Netflix Leica Noctilux-M 50mm f/0.95 ASPH., black anodized Building Rialto - 3 VENICE Extension System Sample Builds | Sony Cine Follow Our Guest Shawn Kim’s IMDb Shawn Kim’s Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

THE WITCHER season 2 cinematographers Jean Philippe Gossart and Romain Lacourbas share details about how they collaborated on bringing more color and dimension to the series. JP, Romain, and Go Creative Show host, Ben Consoli, discuss switching to spherical lenses, the challenges of creating natural light sources, attention to detail for dialogue scenes, and so much more. Subscribe Now! What you will learn in this episode Collaborating as cinematographers (01:21) Visual approach to The Witcher season 2 (03:12) Spherical vs anamorphic lenses (09:38) Working with the Arri DNA LF lenses (11:28) Challenge of lighting for all natural sources (18:33) Color theory for recreating moonlight (25:56) Challenges of snowy exteriors (31:50) Continuity with weather and locations (38:54) Deconstructing the Eskel Leshy fight scene (40:29) Collaboration with VFX (51:52) Attention to detail for dialogue scenes (54:47) The future of filmmaking with LED walls (58:28) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Arri Rental   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links The Witcher season 2 trailer The Witcher IMDb The Witcher on Netflix Follow Our Guest Jean Philippe Gossart's Instagram Romain Lacourbas' Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

SCREAM is back! Cinematographer Brett Jutkiewicz breaks down the biggest kill scenes and how he brought his unique visual style to the film franchise. Brett and Go Creative Show host, Ben Consoli, discuss cinematography tricks to create tension in horror, lighting for horror movies, making day-time exteriors scary, the necessary skill sets for camera operators, learning from your mistakes on set, and more! Subscribe Now! What you will learn in this episode SCREAM franchise visual approach (01:14) Camera tricks to create tension in horror (06:08) Making daylit scenes scary (10:37) Using Panavision anamorphic lenses (20:24) Importance of LUTs on set (25:45) Communicating with camera operators on set (30:38) What makes a good B camera operator (33:41) Approach to lighting hospital scenes (36:51) Approach to shooting Dewey's death (46:03) Favorite shots from the film (48:39) Filming a movie that's self-aware (50:00) Living with mistakes made in movies (51:54) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links SCREAM IMDb SCREAM trailer LA Rag House - QUARTER SILK BLACK Fabrics G Series Anamorphic Prime Lenses | Panavision Follow Our Guest Brett Jutkiewicz’s IMDb Brett Jutkiewicz’s Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

TICK, TICK... BOOM! follows Jonathan Larson on his path to being the successful musical composer we know of him today. Cinematographer Alice Brooks ASC breaks down her cinematic approach and biggest challenges of the film. Alice and Go Creative Show host, Ben Consoli, discuss the film's biggest scenes, challenges of musicals, having to use filtration in place of haze, and much more! Subscribe Now! What you will learn in this episode Transitioning from IN THE HEIGHTS to TICK, TICK... BOOM! (01:05) Recreating Jonathan Larson's apartment (05:06) Referencing source material from the real-life protagonist (08:46) Claustrophobia through cinematography (14:06) Creating juxtaposition through lighting and color theory (17:38) Panavision cameras and anamorphic lenses (23:56) Using filtration instead of haze (27:19) Creating distinct looks for the workshop scenes (33:41) Achieving seamless transitions for scenes (40:48) Challenges of the pool scene (44:00) Advice for aspiring cinematographers (47:13) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links TICK, TICK… BOOM! IMDb TICK, TICK… BOOM! on Netflix TICK, TICK… BOOM! trailer Follow Our Guest Alice Brooks ASC’s IMDb Alice Brooks ASC’s Instagram   Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

YELLOWJACKETS follows the wild journey of a high school soccer team after they become the (un)lucky survivors of a plane crash. Cinematographer C Kim Miles ASC CSC breaks down each of the series' spectacular visual looks. Kim and Go Creative Show host, Ben Consoli, discuss making creative changes after filming the pilot, choosing lenses based on storyline, the incredible value of a DIT, deconstructing your favorite scenes, and more! Subscribe Now! What you will learn in this episode Making creative changes after filming the pilot (03:24) Production of television vs feature films (08:20) Deconstructing the woods visual approach (14:16) Visual tricks to play on the subconscious (20:34) Approach to lighting exteriors (24:26) Adjusting lenses to affect visual approach (27:54) Visual approach to the 90s scenes (33:55) Lighting and shooting interior scenes (43:49) Choosing a lens based on plot (47:45) Deconstructing the episode 8 walk and talk scene (52:28) Value of having a DIT on set (58:14) Advice for aspiring cinematographers (01:07:37) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links YELLOWJACKETS IMDb YELLOWJACKETS trailer Follow Our Guest C Kim Miles’ Instagram C Kim Miles’ IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website