Go Creative Show

THE MOSQUITO COAST on Apple TV+ is a gripping drama with a spectacular, colorful yet gritty cinematic approach. Director of photographer Alex Disenhof gives us a behind the scenes look and why the series has such active camera movement. Alex and Go Creative Show host, Ben Consoli, break down one of the most dramatic sequences in the series, approaching daylight exteriors, color grading and theory, extensive location scouting, and much more. Subscribe Now! What you will learn in this episode Gritty and colorful cinematic approach (01:17) Engaging and active camera movement (06:52) Filming on location vs in studio (15:10) Shooting on the Alexa Mini LF and DNA lenses (17:19) Breaking down the opening sequence in episode 2 (23:06) Avoiding lights for daylight exteriors (36:34) 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 MOSQUITO COAST IMDb THE MOSQUITO COAST on Apple TV+ ARRI Signature Prime Lenses ARRI Rental DNA LF T-REX Superscope Lens demo Follow Our Guest Alex Disenhof’s IMDb Alex Disenhof’s website Alex Disenhof 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

IN THE HEIGHTS is the masterful musical movie of the summer! Cinematographer Alice Brooks shares her cinematic approach adapting Lin-Manuel Miranda's hit broadway show to the big screen. Alice and Go Creative Show host, Ben Consoli, break down how they filmed the big musical numbers, filming most of the movie on location, being inspired by local photographers, advice for aspiring cinematographers, and more! Subscribe Now! What you will learn in this episode Filming musical numbers on location (02:04) Obstacles filming Abuela's apartment on location (03:30) Visuals inspired by local photographers (10:17) Panavision DXL2 camera and NYC lighting (16:28) "96,000" breakdown (19:57) "When the Sun Goes Down" breakdown (30:08) "Champagne" breakdown (37:45) "Paciencia y Fe" subway breakdown (41:01) Advice for young and female DPs (48:39) 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 IN THE HEIGHTS IMDb IN THE HEIGHTS on HBO Max IN THE HEIGHTS trailer Follow Our Guest Alice Brooks’ website Alice Brooks’ IMDb Alice Brooks’ 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

With terrifying and haunted scenes, jump scares, exorcisms, and more, THE CONJURING: THE DEVIL MADE ME DO IT does an excellent job standing up against the previous films. Cinematographer Michael Burgess shares his cinematic and lighting approach for the top horrific scenes in the film. Michael and Go Creative Show host, Ben Consoli, discuss his camera and lens package, why he avoids operating cameras now, the opening exorcism scene breakdown, cinematography tricks, and more! Subscribe Now! What you will learn in this episode Scary cinematography in THE CONJURING movies (01:08) Shooting on the Alexa SXT camera and Primo lenses (05:15) Why Michael no longer operates cameras (10:03) Having Don Burgess ASC as a dad and role model (13:13) Why THE CONJURING 3 was not shot anamorphic (15:17) Lighting for horror movies (17:03) Filming David's scary waterbed scene (20:58) Breaking down the opening exorcism scene (26:55) Controlling all lights on set from an iPad (32:38) How the day to night transition in woods was shot (34:34) Representing the 1980s through sets and costumes (38:14) Will there be more CONJURING movies? (40:22) 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 CONJURING 3 trailer CONJURING 3 on HBO Max CONJURING 3 IMDb Follow Our Guest Mike Burgess’ 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

BRIDGERTON is Netflix's most-watched series ever. Cinematographer Jeffrey Jur ASC explains how he used the Sony Venice camera and lighting using candles to bring us back in time to 17th century London. Jeffrey and Go Creative Show host, Ben Consoli, discuss his contemporary cinematic approach, his career switch from film to TV, using 2-6 cameras on set, breaking down the most challenging scene in the series, and more! Subscribe Now! What you will learn in this episode Contemporary cinematic approach of BRIDGERTON (02:00) Best uses for intentional camera movement (05:46) Planning a shot list based off rehearsals (09:08) How Jeffrey preps for film shoots (10:49) Low light cinematography with Sony Venice (15:51) Creating a clean lifted look in post (21:01) Shooting with 2 cameras on set (29:25) Approach to lighting candle lit scenes (34:21) Using sparklers to light a scene practically (48:36) Jeffrey’s most challenging scene on BRIDGERTON (51:39) Switching from a film career to TV (55:23) Reflecting back on DIRTY DANCING (59:02) 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 BRIDGERTON IMDb BRIDGERTON trailer BRIDGERTON on Netflix SHOTDECK :: Fully Searchable High-Res Movie Images Camera Systems Lenses ARRI Signature Prime Lenses Tiffen 4 x 5.65" Soft FX Filter Wendy Light Follow Our Guest Jeffrey Jur ASC’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

Disney's film CRUELLA combines handheld, high energy cinematography with elegant traditional camera movement. Cinematographer Nicolas Karakatsanis explains his masterful cinematic approach. Nicolas and Go Creative Show host, Ben Consoli, discuss working with Emma Stone and Emma Thompson, shooting both on film and digitally, having to pre-light sets before they were built, camera and lens package, and more! Subscribe Now! What you will learn in this episode Lessons learned shooting I, TONYA (01:02) High energy cinematography of CRUELLA (03:54) Pre-lighting before sets are built (15:04) Having to build the Baroness workshop set twice (20:30) Cruella concert scene breakdown (24:29) Cinematography differences between Cruella and Baroness (31:42) Shooting on film vs digital (36:16) Why Nicolas hates lens filtration (52:28) Not being reliant on VFX (57:43) Not being inspired by the 101 Dalmations animation (01:01:09) Collaborating with costume design dept (01:02:29) Working with Emma Stone and Emma Thompson (01:04:52) 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 Cruella trailer Cruella on Disney+ Cruella IMDb Follow Our Guest Nicolas Karakatsanis’ IMDb Nicolas Karakatsanis’ 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

A QUIET PLACE PART II cinematographer Polly Morgan ASC BSC takes us behind-the-scenes of this highly anticipated sequel. Polly and Go Creative Show host, Ben Consoli, discuss the challenges of shooting on film, why one sequence was shot digitally, why practical stunts are better, working with John Krasinski and Emily Blunt, mentorship advice, and more! Subscribe Now! What you will learn in this episode Coming back to movie theaters (00:59) Risks of shooting on film (04:07) Exposing properly when shooting on film (09:04) Shooting the Volvo Bus scene practically (13:41) Working with John Krasinski (21:43) Creating scary scenes in daylight (24:33) Filming A QUIET PLACE like a western (29:01) Challenges of the steel mill furnace (30:41) Why the Marina sequence was shot digitally (37:34) Lighting for dark interiors (42:56) Working with Emily Blunt (46:54) Collaborating with a colorist (47:28) Mentorship in filmmaking (49:16) Advice for aspiring female DPs (53:16) 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 A Quiet Place Part II IMDb Follow Our Guest Polly Morgan ASC BSC on Instagram Polly Morgan ASC 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

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