Go Creative Show

SPIDER-MAN: NO WAY HOME cinematographer Mauro Fiore and production designer Darren Gilford discuss their collaboration on the blockbuster Marvel movie. Mauro, Darren, and Go Creative Show host, Ben Consoli, discuss the dramatic last-minute changes at the start of production, the benefits of filming on location, and breakdowns of some of the biggest scenes in the movie. Subscribe Now! What you will learn in this episode DP and Production Designer collaboration (01:07) Working on such a big franchise (04:59) Drastic production changes due to the pandemic (07:51) On-location vs in a studio (14:32) Breaking down the Sanctum Sanctorum set (17:11) Tricks to lighting a dark set (23:33) Using LED Walls for cinematography and production design (27:01) Light motivation on sets (29:27) Deconstructing the Peter Parker rooftop scene (32:19) Approach to filming green screen sets (36:25) Pairing the Alexa Mini LF with Panaspeed lenses (42:14) Having story dictate focal depth of field (47:09) Filming the tracking shot of Spider-Man in Aunt May's apartment (49:46) High-energy camera movement (53:01) Making the bridge scene realistic on green screen (54:43) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Get 10% off the all access membership using code GOCREATIVE10   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links SPIDER-MAN: NO WAY HOME IMDb SPIDER-MAN: NO WAY HOME trailer Follow Our Guest Darren Gilford’s Instagram Darren Gilford's IMDb Mauro Fiore'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

Aaron Sorkin’s BEING THE RICARDOS is a masterful retelling of Lucille Ball and Desi Arnaz’s life on and off camera. Cinematographer Jeff Cronenweth ASC shares the camera, lighting and lenses he used to recreate vintage Hollywood and the iconic I Love Lucy stage. Jeff and Go Creative Show host, Ben Consoli, discuss bringing energy to dialogue scenes through blocking and camera movement, breaking down some of the scenes in the film, the lenses and filtration used, and more! Subscribe Now! What you will learn in this episode Working with director Aaron Sorkin  (02:41) Establishing several visual looks (10:09) Lighting the I Love Lucy set (22:19) Capturing the essence of I Love Lucy (35:22) Shooting on the RED Ranger with Arri DNA lenses (39:35) Energetic dialogue scenes through camera movement (44:56) Filming the opening in a unique way (54:21) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links BEING THE RICARDOS trailer BEING THE RICARDOS IMDb BEING THE RICARDOS on Amazon Prime Follow Our Guest Jeff Cronenweth ASC’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

Steven Spielberg’s WEST SIDE STORY is a fresh remake of the classic film packed with stunning cinematography. Camera operators Mitch Dubin SOC AOC and John "Buzz" Moyer SOC share what it’s like working with Spielberg and the challenges of filming movie musicals. Mitch, Buzz, and Go Creative Show host, Ben Consoli, discuss the the camera operators' creative freedom, tips for operating steadicams, accepting their mistakes, and more! Subscribe Now! What you will learn in this episode Different camera operator roles (01:04) Filming musicals vs narratives (04:09) Adaptive camera framing for musicals (09:34) Exterior lighting and lens flares (15:20) Achieving a handheld look on a crane (20:26) Relationship between director and cam operators (28:51) Challenging scenes in WEST SIDE STORY (35:55) What makes a great steadicam operator (39:53) Creative freedom for camera operators (46:10) Living with mistakes in films (49:41) Advice for aspiring camera operators (54:01) 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 WEST SIDE STORY IMDb WEST SIDE STORY Trailer Follow Our Guest John S. Moyer’s IMDb Mitch Dubin’s IMDb Mitch Dubin's Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

SUCCESSION season 3 cinematographers Christopher Norr and Patrick Capone join us to discuss the show's multi-camera handheld-style and natural lighting. Christopher, Patrick, and Go Creative Show host, Ben Consoli, share why they film close up shots first, showing vulnerability through cinematography, working as co-cinematographers, and more! Subscribe Now! What you will learn in this episode In-the-moment handheld visual approach (01:10) Deciding what to shoot handheld (08:38) Perfectly timing lens zooms (10:32) Having such a variety in takes (14:50) Choosing to shoot close ups first (21:21) Why SUCCESSION is shot on film (28:04) 360º approach to lighting (30:41) Vulnerability through cinematography (38:25) Filming Kendall differently in season 3 (42:34) Working together as cinematographers (45:01) Challenging scenes in SUCCESSION (47:58) 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 SUCCESSION IMDb Follow Our Guest Christopher Noor’s IMDb Christopher Noor’s Instagram Patrick Capone’s IMDb Patrick Capone’s Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

GHOSTBUSTERS AFTERLIFE -- with its incredible sets, props, and the infamous Ecto-1 car -- have given movie lovers the nostalgic and entertaining blockbuster they have been waiting for. Production designer Francois Audouy explains his approach to designing films, and how attention to detail and practical sets made GHOSTBUSTERS AFTERLIFE a massive success. Francois and Go Creative Show host, Ben Consoli, discuss how the original film inspired him, Francois' love for practical locations vs sets, recreating the Ecto-1 car, filming car chase scenes, and more! Subscribe Now! What you will learn in this episode Achieving high audience expectations (02:04) Benefits of shooting on location (05:47) Building the farmhouse set from a dilapidated barn (10:01) Backstory through production design (20:49) Inspiration from the original film (25:15) Designing practical Ecto-1 cars (28:53) Filming the car chase on location (37:46) Filming the Walmart scene (39:09) Designing the Mountain Tomb (40:47) Building a set from scratch (44:13) Tips for aspiring production designers (49:14) 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 GHOSTBUSTERS AFTERLIFE IMDb GHOSTBUSTERS AFTERLIFE trailer Follow Our Guest Francois Audouy's IMDb Francois Audouy's website Francois Audouy's Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

AMERICAN HORROR STORY DOUBLE FEATURE cinematographer Andrew Mitchell had a massive challenge to overcome: how to film two unique stories with distinct looks in a cohesive way. Learn his visual approach for each half of the season and how he transitioned from camera operator to DP. Andrew and Go Creative Show host, Ben Consoli, discuss the essential skills every DP should have, using visual effects and clever editing to fake Sarah Paulson being on set, converting color to black and white, and so much more! Subscribe Now! What you will learn in this episode Working with Ryan Murphy (01:04) Transitioning from camera operator to DP (02:57) Skills a DP should have (15:03) Muted cold visual approach to Part 1 (18:27) LUTs affecting skin tones (24:43) Filming Sarah Paulson scenes without her (30:03) Using Helios tubes for fire scenes (32:14) Shooting Belle's massacre at 96 fps (35:48) Shooting on the Sony Venice with diopters (39:03) Converting color to black and white (41:57) Referencing CLOSE ENCOUNTERS for Part 2 (47:06) Blooming effect using filtration (50:48) 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 AMERICAN HORROR STORY IMDb DOUBLE FEATURE Part 1 trailer DOUBLE FEATURE Part 2 trailer Follow Our Guest Andrew Mitchell’s IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

Discover how FINCH cinematographer Jo Willems ASC SBC overcame the challenges of filming the relationship between Tom Hanks, a dog, and a motion capture robot. Jo and Go Creative Show host, Ben Consoli, discuss the film's unique look and creating intimacy with the camera. Learn how Jo filmed the desert scenes practically, the decision to shoot handheld, embracing lens artifacts, and so much more. Jo and Go Creative Show host, Ben Consoli, discuss  Subscribe Now! What you will learn in this episode Intimacy through cinematography (00:53) Warm inviting approach to lighting the bunker (10:47) Ignoring negative reviews (14:04) Finch visual approach and references (17:03) Filming desert scenes practically (19:38) Heavily artifacting the lenses (25:21) Challenges with filming an actual RV (30:56) Filming a motion capture suit while handheld (34:02) VFX approach of the robotChallenges of filming dogs (40:58) Why night exteriors are so difficult (45:21) 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 FINCH IMDb FINCH on Apple TV+ FINCH trailer Jamie XX Video Reference Arri S360C Follow Our Guest Jo Willems’ IMDb Jo Willem’s website Jo Willem on Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

Cinematographer Simon Dennis BSC of IMPEACHMENT: American Crime Story masterfully depicted one of the most iconic moments in American history while capturing portrayals of Monica Lewinsky, Linda Tripp, and of course Bill & Hillary Clinton. Simon and Go Creative Show host, Ben Consoli, discuss the show's desaturated look, claustrophobic feeling, why he chose the Sony Venice, working with split diopters, and inventing a new visual genre… “Gloom Glam”. Subscribe Now! What you will learn in this episode Balance of filming non-fictional projects (00:59) "Glamorous gloom" visual approach (10:08) Simon's stylistic lighting approach (12:58) Warm visual approach to the White House (17:53) Dreary look of the Pentagon (20:40) Not having characters motivate cinematography (27:46) Using a split diopter (30:37) Why Simon chose the Sony Venice (36:15) Feeling of claustrophobia (42:02) Why the jury trial scene was so challenging (46:37) Making the mundane exciting through cinematography (49:24) Monica Lewinsky's involvement with the show (53:05) 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 AMERICAN CRIME STORY IMDb AMERICAN CRIME STORY on FX Networks Follow Our Guest Simon Dennis IMDb Simon Dennis on Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

DUNE, with its stunning cinematography and epic sets, was packed with unique challenges for director of photography Greig Fraser ACS ASC -- including filming in whipping sands and lighting football field sized sets.  Greig and Go Creative Show host, Ben Consoli, discuss discuss how he balances epic and intimate, his techniques for large night exteriors, embracing the shadows and Greig’s unique film transfer process that jumps from digital to film and back again. Subscribe Now! What you will learn in this episode Treating every movie like an indie (01:48) Taking on projects you fear (05:27) Soft lighting for interiors (11:09) Lighting sandy exteriors (16:18) Visual approach to DUNE (18:26) Film to digital transfer process (21:36) Balancing epicness with intimacy (29:04) Sand worm collaboration with VFX (33:27) Having actors' faces in shadow (38:10) Viewing DUNE in theaters vs HBO Max (43:32) Most challenging scene (46:56) How the floating lights were filmed (51:15) Lighting for night exteriors (54:09) 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 DUNE IMDb DUNE trailer DUNE on HBO Max Follow Our Guest Greig Fraser’s IMDb Greig Fraser’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

The tragic death of Cinematogarpher Halyna Hutchins has ignited a worldwide conversation about gun safety on film sets. Armorer Bryan W Carpenter joins us to discuss current safety standards and what protocols were missed leading up to the tragic shooting. Bryan and Go Creative Show host, Ben Consoli, discuss pros and cons of practical firearms vs visual effects, the difference between “blanks” and “dummy” ammunition, and what a “prop gun” actual is. Subscribe Now! What you will learn in this episode Role of an armorer  (01:21) Types of prop guns (05:27) What happened on the set of RUST (08:39) Round types and safety distances (12:27) Steps to ensure safety on set (23:28) Certification for armorers (36:26) Replacing prop guns with vfx (39:26) America's gun obsession (47:14) Preventing this tragedy from happening again (48:51) 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 Halyna Hutchins Scholarship Fund Follow Our Guest Dark Thirty Film'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