Podcast: Play in new window | Download
Subscribe: RSS
Today we welcome the cinematographer of IT Chapter 2, Checco Varese. Checco shares his cinematography and lighting techniques that made Pennywise both horrifying and engaging, how he lights for the darkness, the digital de-aging process, how he brings authenticity to violent scenes and so much more.
Podcast: Play in new window | Download
Subscribe: RSS
Matt Aeberhard, wildlife cinematographer for Netflix’s Our Planet, shares his secrets to capturing the breath-taking shots as seen in the docu-series.
Matt and Go Creative Show host, Ben Consoli, discuss what life is like for a wildlife cinematographer, how he trudged through thick swampy jungle with expensive camera gear, ensuring you get the wildlife shots you want, why the Birds of Paradise sequence took 6 weeks to film, advice for aspiring wildlife filmmakers, and more!
Podcast: Play in new window | Download
Subscribe: RSS
Tim Ives, cinematographer for Netflix’s Stranger Things, returns to teach us how he filmed season 3.
Tim and Go Creative Show host, Ben Consoli, discuss Tim’s use of LED tubes, shooting season 3 with a full frame RED sensor, the programmable lighting design of the Starcourt Mall , Tim’s thoughts on the future of filmmaking, plus Tim answers audience questions, and more!
Podcast: Play in new window | Download
Subscribe: RSS
Caleb Deschanel, cinematographer for Disney’s live-action The Lion King, shares how they used traditional cinematography to create the life-like virtual film.
Caleb and Go Creative Show host, Ben Consoli, discuss modeling cameras and lenses for virtual filmmaking, how Caleb was able to move the sun around in virtual space to get the perfect lighting, using a real drone for the Circle of Life sequence, and more!
Podcast: Play in new window | Download
Subscribe: RSS
Jakob Ihre, cinematographer for HBO’s Chernobyl, gives an inside look at his approach to shooting and lighting the dramatic mini-series.
Jakob and Go Creative Show host, Ben Consoli, discuss how he worked with colorist to create Chernobyl’s distinctive look, their incredible interior/exterior sound stage, most challenging shots of the series and why a water bottle is a valuable cinematic tool.
