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THE WHITE LOTUS season 2 director of photography Xavier Grobet, ASC, AMC joins us to discuss the pro’s and con’s of filming in a real hotel in Sicily, creating realistic sex scenes, shooting day for night, and more.  Xavier tells Go Creative Show host Ben Consoli all about his camera and lens choices and how he paid homage to Monica Vitti’s classic Italian films.

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AVATAR: THE WAY OF WATER director of photography Russell Carpenter ASC talks with Go Creative Show host Ben Consoli about the making of the film and using the custom-made 3D Sony Venice. Russell also dives deep into the underwater motion capture system, the process of virtual filmmaking, lighting in a virtual world and so much more. 

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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.

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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.

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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.

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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.

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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.