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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!
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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!
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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.
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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”.
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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.
