BLACK PANTHER: WAKANDA FOREVER director of photography Autumn Durald Arkapaw ASC joins Go Creative Show host Ben Consoli to discuss her camera, lighting and lens choices. We also discuss her early career, filming Underwater “dry for wet,” night exterior and Autumn’s experience with the Sony Venice.
THE BEAR is a masterclass in creating visual chaos and its director of photography Andrew Wehde shares his camera and lighting techniques and philosophies.
Andrew and Go Creative Show host, Ben Consoli, discuss tips of filming food, how his approach to cinematography is different in and out of the kitchen, use of camera movement, approach to lighting, and so much more.
Cinematographer Jason McCormick breaks down his cinematography for the Netflix hit series, DAHMER – MONSTER: THE JEFFREY DAHMER STORY.
Jason and Go Creative Show host, Ben Consoli, discuss the gritty cinematography, challenges of working with episodic directors, shooting with the Sony Venice, and we break down some of the series’ most brutal scenes.
Director Robert Eggers and cinematographer Jarin Blaschke return to the Go Creative Show to discuss THE NORTHMAN. Listen as Robert and Jarin boldly and honestly share their struggles and victories while making the film.
Robert, Jarin, and Go Creative Show host, Ben Consoli, break down the film’s fluid camera movement, how to expose for low light scenes, pros vs cons of large film crews, challenging actors with the raw elements of nature, multiple approaches to filming night exterior scenes, and more!
EVERYTHING EVERYWHERE ALL AT ONCE is a gloriously, messy, genre-bending film directed by The Daniels and shot in only 36 days by director of photography Larkin Seiple.
Larkin and Go Creative Show host, Ben Consoli, break down his visual approach to the different universes. Plus, we discuss how the multi-verse transitions were achieved, the inspiration for hot dog fingers, the many types of lenses used, working with tight budgets, driving 4 hours for a 1 minute rock scene, and much more.
Marvel’s MOON KNIGHT and A24’s THE GREEN KNIGHT are filled with original and compelling cinematography thanks to director of photography Andrew Droz Palermo. We do a deep dive into Andrew’s visual approach for both projects.
Andrew and Go Creative Show host, Ben Consoli, discuss why he avoided excessive close up angles, how filming handheld can motivate editing, what no one thinks about when filming in the desert, cinematography tricks to make someone look crazy, and so much more.
JURASSIC WORLD DOMINION brings the dinosaurs to the rest of the world in a terrifying way. Director of photography John Schwartzman ASC shares how the scare factor was pushed thanks in part to his amazing cinematography.
John and Go Creative Show host, Ben Consoli, discuss shooting both on film and digitally, working with animatronic dinosaurs, the hustle of being a cinematographer, filming with iPhones, plus we break down some of the biggest scenes in the movie.
OUTER RANGE keeps you on the edge of your seat with its dramatic, sci-fi focused storytelling and incredible visuals. Cinematographer Drew Daniels shares how he “steals” the great DP Roger Deakins’ lighting techniques as we deconstruct the show’s visual approach.
Drew and Go Creative Show host, Ben Consoli, discuss collaborating with other cinematographers on a series, having a sense of humor with cinematography, the effects of camera movement on a scene, relying on practical lighting, and so much more.
BETTER CALL SAUL cinematographer Marshall Adams shares how the show’s visual approach has evolved over its six seasons, plus we break down some of the final seasons biggest moments.
Marshall and Go Creative Show host, Ben Consoli, discuss using choreographed dance actors in the season 6 opening scene, why the “ant macro shot” was so challenging, filming the beautiful desert vistas, how crew is affected by filming in the desert, and so much more!
Learn how cinematographer Simon Dennis BSC created an authentic and super saturated early 1980’s world for CANDY on Hulu.
Simon and Go Creative Show host, Ben Consoli, discuss why he chose the Sony Venice and custom tuned lenses to create CANDY and how the look was inspired by William Eggleston and Napoleon Dynamite. We also dive deep into the 1:66 aspect ratio, the challenges of working with child actors, how to make multi-camera look like single camera, and much more!