Go Creative Show

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

THE SOCIAL DILEMMA shined a light on our addiction to social media and its effects on society. Cinematographer John Behrens explains the documentary's distinct looks and the challenges of filming with 6 cameras for each interview. John and Go Creative Show host, Ben Consoli, discuss why and how they filmed the interviews in a huge vacant home, how John dealt with ever-changing exterior light, why some interviews took over a day to film, and much more! Subscribe Now! What you will learn in this episode The effects of The Social Dilemma (01:02) Creating the visual looks of The Social Dilemma (03:51) Filming interviews with over 6 different angles (09:19) Making interview subjects comfortable on camera (23:53) Approach to lighting interviews (31:56) Shooting interviews in a vacant home (34:15) Filming interviews with changing exterior light (45:36) Most challenging setup (52:50) 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 Social Dilemma IMDb The Social Dilemma on Netflix The Social Dilemma trailer Follow Our Guest John Behrens’ IMDb John Behren’s website John Behren’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 QUEEN’S GAMBIT production designer Uli Hanisch shares how he designed the show by recreating the 1960's with meticulously-constructed and stunningly-beautiful sets, wardrobe, props and more.  Uli and Go Creative Show host, Ben Consoli, discuss the fundamentals for prepping as a production designer, how Uli made chess visually interesting, creating the most iconic sets of the series, the important role of color, and more! Subscribe Now! What you will learn in this episode Why 1960s design is so influential (00:54) Basics of prepping for production design (03:23) Critical role of a production designer (11:03) Being tasked with making chess visually interesting (19:07) Designing Alma Wheatley's home (24:54) How Beth transforms Alma's house (35:45) Designing unique looks for each hotel (39:22) Uli's favorite set he designed (44:28) How color plays an important role in production design (46:17) 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 Queen’s Gambit IMDb The Queen’s Gambit on Netflix Follow Our Guest Uli Hanisch’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

PIECES OF A WOMAN cinematographer Benjamin Loeb discusses how he shot the films most controversial scene - a 20-minute single take of a mother's home birth. Plus capturing the stunning performances by Vanessa Kirby and Shia LaBeouf. Benjamin and Go Creative Show host, Ben Consoli, discuss his unique camera movement, nontraditional coverage, having the camera "react" to characters, his first experience with shooting on a gimbal, and more! Subscribe Now! What you will learn in this episode Unique approach to camera movement (01:03) Filming the birth scene on a gimbal (08:54) Character blocking and camera reacting (14:12) Challenges of filming in a real house (19:00) Small camera crew for birth scene (22:17) Lighting a 20 minute scene (27:44) Not having Boston feel stereotypical (32:12) Having nontraditional coverage (36:50) Lighting and filming the pre-dinner scene (42:35) Color grading based off painters (45:24) Filming the ending apple tree scene (49:40) 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 Pieces of a Woman IMDb Pieces of a Woman trailer Pieces of a Woman on Netflix Follow Our Guest Benjamin Loeb’s IMDb Benjamin Loeb’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

Learn how Chadwick Boseman, Viola Davis, and cinematographer Tobias Schliessler ASC brought MA RAINEY'S BLACK BOTTOM to life despite very few sets and many lighting obstacles. Tobias and Go Creative Show host, Ben Consoli, discuss his portfolio of uniquely styled films, his approach to camera tests, shooting exteriors in the wrong sunlight, making a one-window basement beautiful, working with Chadwick Boseman, and more! Subscribe Now! What you will learn in this episode Working on very unique styles of films (01:01) Making a basement visually interesting (06:53) Lighting and filming a 360 degree set (15:40) How Tobias approaches camera testing (24:09) Collaborating and evolving a visual approach (34:29) Why exterior lighting conditions were not ideal (37:10) Lighting and filming musical numbers (43:43) Working with Chadwick Boseman on his last film (52:02) Working on films with varying budgets (56:01) Cinematography of Palmer (59:07) How Tobias lights his home (01:04:06) 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 Ma Rainey’s Black Bottom trailer Ma Rainey’s Black Bottom on Netflix Ma Rainey’s Black Bottom IMDb Palmer trailer Palmer on Apple TV+ Palmer IMDb Follow Our Guest Tobias Schliessler ASC’s website Tobias Schliessler 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