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The Cinematography of The People V. OJ Simpson American Crime Story (with Nelson Cragg) GCS087

Nelson Cragg, Cinematographer of The People V OJ Simpson

IN THIS EPISODE:

Nelson Cragg, cinematographer of American Crime Story:The People Vs. OJ Simpson is my guest. We discuss all the behind the scenes secrets to one of the most talked about TV series of our time plus his experience shooting Homeland

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Spotlight: Nelson Cragg

Nelson Cragg is the cinematographer behind some of the most successful and celebrated television shows including CSI: Crime Scene Investigation, Homeland, and the recent hit American Crime Story: The People Vs. OJ Simpson. We discuss all the behind the scenes lighting and shooting secrets, working with John Travolta and Ryan Murphy, and the strategy behind the sweeping single-shot scenes that have become synonymous with the series. We also discuss Homeland and how he created its’ iconic look.

  • The hit TV shows of Ryan Murphy
  • What inspired the look of the show
  • Shooting in the real Kardashian house
  • Building replica locations
  • The secrets behind the infamous Bronco chase
  • Nelsons luxury “video village”
  • Shooting on Arri Alexa
  • Single shot scenes are a bold decision
  • Balancing ego’s and working with A-list talent
  • Why John Travolta was nervous about doing a TV show
  • Shooting Homeland and working with Claire Danes/span>
  • Directing for American Horror Story/span>
  • and much more!

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The Cinematography of The Witch (with Jarin Blaschke) GCS083

Jarin Blaschke Cinematographer of The Witch

IN THIS EPISODE:

Today we invite cinematographer Jarin Blaschke on the show to talk about his brilliantly haunting film The Witch. Recently named one of the 10 Cinematographers To Watch by Variety, Jarin shares his techniques, camera choices, and more.

The Go Creative Show is supported by
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Spotlight: Jarin Blaschke

Named as one of the 10 Cinematographers to Watch by Variety, Jarin Blaschke is on his way to cinema greatness. His latest film The Witch is a visual masterpiece and enjoyed critical success, winning Best Director at Sundance. The Witch was so compelling to me, I had to have Jarin on the show to discuss it. His use of symmetry and static shots create an unnerving claustrophobia that, in Jarin’s own words, come simply from his instincts. Join us as we dive deep into all the lighting and shooting techniques that give The Witch its unique and haunting look.

  • Why gore is boring
  • When violence is grounded, it has more impact
  • Creating a claustrophobic feel
  • Why The Witch was shot almost entirely on 1 lens
  • The benefits of shooting 1:66 and 4:3 aspect ratio
  • The religious symbolism in The Witch
  • The Sundance experience
  • Lighting night scenes
  • Motivated cuts
  • and much more!

SOME LINKS MENTIONED IN THE EPISODE:

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Fargo Season 2 (with Dana Gonzales) GCS076

Dana Gonzales Director of Photography for FX Fargo on Go Creative Show

IN THIS EPISODE:

Today we discuss Fargo season 2 with Director of Photography Dana Gonzales and we learn how he achieves the drastically different, yet familiar look of this new season.

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Spotlight: Dana Gonzales

Dana Gonzales is the brilliant cinematographer and Director of Photography for the hit FX television series FARGO. After an award winning season 1, Dana shares his techniques for creating this seasons 1979 period look. We also discuss Dana’s process for creating his looks and what inspired the visual language of Fargo season 2. You’ll be surprised how the small details make a big difference.

  • Shooting a 1979 Fargo
  • The differences between shooting for a film vs. a TV series
  • How the photography of William Eggleston inspired season 2
  • Dana’s process in creating a visual language for his projects
  • Why the Cooke Speed Panchro lenses were the secret to this seasons dynamic look
  • The artistry of Noah Hawley
  • Shooting with only a flashlight
  • Why Dana chose the Ronin over the Steadicam
  • and more…

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Kids, Animals and Tim Burton (with Stefan Czapsky) GCS070

Cinematographer Stefan Czapsky on Go Creative Show

IN THIS EPISODE:

Today i’m joined by cinematographer Stefan Czapsky to discuss his latest film Max and the strategies he employs to light and shoot animals and kids. Plus Stefan’s work with Tim Burton, shooting Edward Scissorhands, Batman Returns, Ed Wood and so much more.

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Spotlight: Stefan Czapsky

Renowned director of photography Stefan Czapsky, ASC has captured visually iconic films such as Edward Scissorhands, Batman Returns and Ed Wood for director Tim Burton. After years of feature films and commercials, Stefan is here today to discuss his latest feature “Max”. Max’s main character is a dog, and we discuss the challenges of shooting children and animals and how he overcame them with innovating camera and lighting techniques. We also discuss Stefan’s latest television project, “Shades of Blue” starring Jennifer Lopez.

Why does Stefan love the digital format and the evolution of LED lighting? What was it like working with Tim Burton and Johnny Depp? All of these questions will be answered.

  • Being a “process oriented” cinematographer what what that means.
  • What really happens when a film wraps
  • Working with animals and children in front of the camera.
  • Lighting and framing for the animal star in “Max”
  • Embracing technology and the evolution of LED lighting
  • The challenges with Stedicam
  • Working with Tim Burton and Johnny Depp
  • “Shades of Blue” starring Jennifer Lopez
  • From Hollywood to the farmlands of upstate New York
  • How Steven Soderbergh and David Fincher ushered the digital revolution and changed cinema for the better
  • and more…

SOME LINKS MENTIONED IN THE EPISODE:

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Kessler – Innovative Tools for Filmmaking
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Mad Max Fury Road (with David Burr) GCS065

Today we discuss the brilliant cinematography of Mad Max: Fury Road with second unit Director of Photography David Burr. We get a behind the scenes look into all of the incredible challenges and innovations that made this film an instant classic.

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Spotlight: David Burr, ACS

David Burr’s cinematography career spans over 30 years with countless feature and short films, but today he’s here to discuss his recent mega-blockbuster hit Mad Max: Fury Road. As the second unit Director of Photography, David was responsible for many of the stunning action sequences and we discuss all the behind the scenes secrets that made this film an instant classic. Then we discuss the role of a second unit Director of Photography. What are their responsibilities, how do they interact with the director and cast, and how you can break into this field.

  • The switch from 3D to 2D
  • Using Alexa cameras
  • The challenges of shooting in the desert
  • Using Canon 5DII and Olypus OM-D for crash cams
  • How a leaf blower became their essential tool
  • A crane dug into the sand was the key to one of the most iconic shots
  • The strategy behind center framing and super fast cuts
  • Shooting day for night
  • The responsibilities of a second unit on a film production
  • and more…

These photos correspond with Episode 065Provided by David Burr, ACS Director of Photography (action unit)

Posted by Go Creative Show on Tuesday, June 30, 2015

SOME LINKS MENTIONED IN THE EPISODE:

SUBSCRIBE:

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SHOW SUPPORTERS:

Kessler – Innovative Tools for Filmmaking
www.kesslercrane.com

Rule Boston Camera – Buy. Rent. Create.
www.rule.com

PremiumBeat – Premium Royalty-Free Music and Sound
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