Podcast appearances and mentions of ben consoli

Disney's live-action adaptation of THE LITTLE MERMAID is a beautiful retelling of the beloved animated film. It's filled with the characters and songs you love while keeping it fresh and modern. Director of photography Deon Beebe ACS ASC shares how they used incredible rigs to pull off the spectaular underwater scenes. Deon and Go Creative Show host, Ben Consoli, discuss the inspriation from BBC's BLUE PLANET series, using different lens types above and below the water, cinematography tricks used when Ariel can't speak, why the Italian coast was perfect to portray the Caribbean, and so much more. Subscribe Now! What you will learn in this episode   Bringing the animated film to life (03:26) Being inspired by BBC's BLUE PLANET (08:15) Filming the underwater world (11:30) Putting actors in rigs to simulate swimming (18:18) Using different lenses for above and below water (25:57) Why THE LITTLE MERMAID is so dark (28:11) Turning an Italian beach into the Caribbean (32:26) Why the underwater scenes were so difficult (40:33) Filming the shipwreck scenes (42:37) Cinematography tricks used when Ariel can't speak (46:01) Filming Under The Sea musical number (52:36) Dion's thoughts on the visual effects (54:27) And more!   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links THE LITTLE MERMAID (2023) trailer THE LITTLE MERMAID on IMDb Follow Our Guest Dion Beebe's Instagram Dion Beebe's IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website

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. Subscribe Now! What you will learn in this episode Paying homage to italian films (01:20) Challenges of filming in a real hotel (04:08) Visually approaching season 2 (09:17) Lighting and lensing for filming exteriors in Sicily (11:43) Lighting the environment for maximum camera co... (17:02) Xavier's Camera and Lens Choices (19:11) What makes filming sex scenes so difficult (23:33) Building suspense with cinematography (31:26) Tanya and the yacht massacre (35:58) Why DPs are ultimately probelm solvers (40:18) Shooting night for night (42:56) And more!   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links THE WHITE LOTUS IMDb THE WHITE LOTUS on HBO Max Follow Our Guest Xavier Grobet, ASC, AMC IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website

AVATAR: THE WAY OF WATER director of photographer 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.  Subscribe Now! What you will learn in this episode Russell's thoughts on critics (02:40) Filming the incredible underwater scenes with motion capture (07:37) Why Russell decided to film with the Sony Venice (15:28) Deep dive into the lighting of AVATAR: THE WAY OF WATER (26:09) Was the Sony Venice Rialto born from AVATAR: THE WAY OF WATER? (33:10) Filming at 48 frames per second (37:44) The cinematographer's role in a VFX-heavy film (43:10) AVATAR's production workflow explained (52:16) Why it's important for filmmakers to embrace new technology (01:01:07) And more! Go Creative Show is supported by: Sony Venice   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links AVATAR: THE WAY OF WATER IMDb Follow Our Guest Russell Carpenter ASC's IMDb Russell Carpenter ASC's Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

BLACK PANTHER: WAKANDA FOREVER director of photographer 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. Subscribe Now! What you will learn in this episode Lighting philosophy of Wakanda Forever (02:04) A cinematographer's role in visual effects (06:33) Filming Talokan and underwater cinematography (13:57) The cameras and lenses used on Wakanda Forever (24:13) Why Autumn chose the Sony Venice (27:03) Filming night exteriors (30:56) Filming the Namor flashback sequence (40:11) Why Autumn loves the Okoye firing scene (43:58) Filming in Boston (47:35) Autumn's early days in filmmaking (50:25) And more! Go Creative Show is supported by: Sony VENICE   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links Black Panther: Wakanda Forever IMDb Black Panther: Wakanda Forever trailer Follow Our Guest Autumn Durald Arkapaw IMDb Autumn Durald Arkapaw Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

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. Subscribe Now! What you will learn in this episode Creating chaos with Cinematography (05:01) The benefits of efficiency in filmmaking (09:06) Advice on filming food (15:23) Comparing the cinematography inside and outside the kitchen (18:50) Filming on the Alexa Mini LF (20:23) The lighting design of THE BEAR (21:55) Andrew's use of camera movement on THE BEAR (27:53) Breaking down the 20-minute oner shot in episode 7 (30:46) Andrew's favorite scenes, and why (48:28) And more!   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links THE BEAR IMDb THE BEAR trailer THE BEAR on Hulu Follow Our Guest Andrew Wehde's IMDb Andrew Wehde's Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

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. Subscribe Now! What you will learn in this episode Controversy of DAHMER (01:21) Storytelling techniques of DAHMER (07:13) Are locked off shots boring for cinematographers? (16:21) Shooting on the Sony Venice (23:46) Warm approach to lighting (32:27) Tribe Blackwing 7 lenses (40:21) How to deal with reflections in glasses (42:44) And more!   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links DAHMER trailer DAHMER on Netflix DAHMER IMDb TRIBE BLACKWING 7 Lenses Follow Our Guest Jason McCormick's IMDb Jason McCormick's Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

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! Subscribe Now! What you will learn in this episode How Robert and Jarin's careers have progressed since THE WITCH (01:14) Why there's lots of camera movement (05:31) Can historical accuracy hinder a project? (12:01) Challenges of the firey raid sequence (16:41) How to expose for low light scenes (20:53) Working through complex setups on set (23:06) Why larger crews can be more frustrating (31:25) How a "clean" look was achieved (34:06) Different ways of approaching night scenes (39:54) Working with actors in the raw elements outdoors (47:03) Filming with smoke and fire on set (51:18) Different ways of incorporating visual effects (52:50) Biggest lessons learned filming THE NORTHMAN (55:52) And more! Go Creative Show is supported by: Shot Lister - The Best Shot List App Email gocreativeshow@shotlister.com to claim your free gift   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links THE NORTHMAN IMDb THE NORTHMAN on Apple TV Follow Our Guest Robert Eggers' Instagram Robert Eggers' IMDb Jarin Blaschke's IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

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 photographer 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. Subscribe Now! What you will learn in this episode Making sense of EVERYTHING EVERYWHERE as filmmakers (01:29) How to avoid overwhelming your audience (08:44) Visual approach to each universe (10:42) Why the Wong Kar Wai flashbacks were so challenging (13:46) Driving 4 hours to film the rock scene (19:32) Why so many lenses were used (22:12) Filming EVERYTHING EVERYWHERE in only 36 days (32:45) Choreographing all the fight scenes (38:09) How filming music videos translated to EVERYTHING EVERYWHERE (45:53) Shooting the multi-verse transitions (50:21) And more! Go Creative Show is supported by: Shot Lister - The Best Shot List App Email gocreativeshow@shotlister.com to claim your free gift   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links EVERYTHING EVERYWHERE trailer EVERYTHING EVERYWHERE IMDb Todd-AO Anamorphic — Camtec Follow Our Guest Larkin Seiple's IMDb Larkin Seiple's Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

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. Subscribe Now! What you will learn in this episode Learning from other cinematographers on a series (01:03) Avoiding excessive close ups (07:00) How shooting handheld can motivate editing (08:54) Why cinematographers should rehearse with actors (12:56) Setting yourself up for success filming 360° on set (18:11) What no one thinks about when filming in the desert (22:23) How to light scenes with only flashlights (27:32) Working with practical references for CGI elements (32:49) Why filming reflections is so challenging (35:15) Making someone look crazy with cinematography (39:58) Tricks to film duplicates of actors in camera (43:37) Cinematography of THE GREEN KNIGHT (46:27) Framing composition inspired by paintings (50:10) Why Arri DNA lenses were the clear choice (54:42) And more! Go Creative Show is supported by: Shot Lister - The Best Shot List App Email gocreativeshow@shotlister.com to claim your free gift   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links MOON KNIGHT IMDb MOON KNIGHT trailer MOON KNIGHT on Disney+ THE GREEN KNIGHT IMDb THE GREEN KNIGHT trailer THE GREEN KNIGHT on Hulu THE GREEN KNIGHT on ShowTime Follow Our Guest Andrew Droz Palermo's IMDb Andrew Droz Palermo's Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

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. Subscribe Now! What you will learn in this episode Filming JURASSIC WORLD DOMINION during COVID (01:29) Why DOMINION was shot on both film and digital (09:15) Benefits of filming animatronics vs CGI (18:37) Working with the original cast from JURASSIC PARK (21:07) The hustle of being a cinematographer (24:05) Creating dinosaur "witness cam" footage with iPhones (30:08) Filming Claire hiding underwater from the dinosaura (36:32) Avoiding looking at a monitor while filming (41:33) Shooting the interior of Biosyn (45:06) Filming the Biosyn Locust scene (51:38) Using custom tuned lenses (58:16) And more! Go Creative Show is supported by: Shot Lister - The Best Shot List App Email gocreativeshow@shotlister.com to claim your free gift   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links JURASSIC WORLD DOMINION trailer JURASSIC WORLD DOMINION IMDb The Beaumonte mini vistavision camera N-Cam Technology Artemis Pro Pinewood Studios What is Vista Vision The Architecture of Raymond Loewy Follow Our Guest John Schwartzman's IMDb John Schwartzman's website Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

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. Subscribe Now! What you will learn in this episode How OUTER RANGE is unconventionally science fiction (01:32) Collaborating with the other cinematographers (04:19) How to leave your cinematography mark (06:04) Why filming less gives cinematographers more control (09:48) Having a sense of humor with cinematography (15:20) Regretting the chosen aspect ratio (20:21) "Stealing" from Roger Deakins' lighting approach (24:32) Using practical lighting in cinematography (29:18) OUTER RANGE visual references (31:33) How camera movement perfected the rodeo scenes (34:51) And more!   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links OUTER RANGE trailer OUTER RANGE on Amazon Prime Video OUTER RANGE IMDb Robert Muller Ernst Hass Follow Our Guest Drew Daniels' IMDb Drew Daniels' Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

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! Subscribe Now! What you will learn in this episode The emotional impact of filming the end of a show (02:07) Why the opening of season 6 was shot with dance actors (04:30) How to prep and film a oner continuous shot (08:16) Embracing new filmmaking technology (13:52) Creatively using smaller camera packages (17:28) Why the Alexa mini LF is the best choice (21:02) Complexities of filming an ant (24:22) Visual evolution of Better Call Saul (29:34) Capturing the breath-taking sweeping desert vistas (35:33) Visually communicating the journey of Saul (40:39) How BETTER CALL SAUL pays homage to filmmaking industry (43:36) How filming in the desert impacts film production (47:07) And more!   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links BETTER CALL SAUL IMDb BETTER CALL SAUL season 6 trailer DJI RS2 Xeen Prime Lenses Laowa Lenses Follow Our Guest Marshall Adams IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

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! Subscribe Now! What you will learn in this episode How color and saturation represents plot (03:35) Being influenced by Nepolioan Dynamite (09:15) Recreating the 1980s through cinematoraphy (13:18) Shooting with limited daylight hours (17:14) Why the 1.66 aspect ratio is important (20:10) Simion's approach to shooting wideshots (24:09) Creating a "vinyl" look with detuned lenses (30:31) Approach to lighting CANDY (36:25) Working with actor Justin Timberlake (40:32) Deconstructing the court room scenes (50:02) And more! Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links CANDY IMDb CANDY trailer CANDY on Hulu William Eggleston - unseen Kodachrome dye transfer process photos Napoleon Dynamite The Magic Of The 1.66:1 Aspect Ratio Follow Our Guest Simon Dennis' IMDb Simon Dennis' Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

PACHINKO cinematographer Florian Hoffmeister BSC shares how he created one cohesive look to represent multiple decades in Japan and Korea. What cameras and lenses did he choose and why? We discuss it all.  Florian and Go Creative Show host, Ben Consoli, talk about the challenges of filming in a language and culture he didn't understand, why episode 7 has a completely different look, his approach to the earthquake scene, lessons learned, and more! Subscribe Now! What you will learn in this episode What PACHINKO accomplishes as a story (01:46) Portraying the changing time periods (03:09) How to use space effectively in cinematography (06:05) Challenges of not knowing the language or culture (10:32) When to say no to a project (17:38) The visual approach to PACHINKO (24:57) Florian's approach to filming exteriors (30:05) The crazy logistics of using a camera crane on the water (35:42) Shooting episode 7 with a different aspect ratio (42:22) Breaking down the earthquake scenes (47:45) Lessons learned filming PACHINKO (51:54) And more! Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links PACHINKO trailer PACHINKO on Apple TV+ PACHINKO IMDb Panaspeed | Panavision Gordon Parks's Long-Forgotten Color Photographs of Everyday Segregation Gordon Parks's Intimate Color Photographs of Life in Segregated Alabama - Artsy Follow Our Guest Florian Hoffmeister's Instagram Florian Hoffmeister's IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

Learn the masterful way that cinematographer Shawn Peters visually portrayed dementia in THE LAST DAYS OF PTOLEMY GREY on Apple TV+. Shawn and Go Creative Show host, Ben Consoli, discuss how to use different lenses and camera tricks to evolve a show's look over time, using broken glass to create stunning in-camera effects, how to create the perfect day for night, and more! Subscribe Now! What you will learn in this episode Working on an Oscar-winning project (00:55) Incorporating archive footage into a project (03:41) Did Will Smith's slap take away from winning an Oscar? (11:10) Establishing an evolving look to the series (12:54) Using broken glass to create unique in-camera effects (18:48) Portraying character development through different lenses (29:22) How to do a perfect day for night (41:15) Creating realistic moonlight (49:23) Lighting and filming realistic fire scenes (55:54) And more! Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links THE LAST DAYS OF PTOLEMY GREY IMDb THE LAST DAYS OF PTOLEMY GREY trailer THE LAST DAYS OF PTOLEMY GREY on Apple TV+ Angenieux 50mm .95 Camtec Falcon Lenses Days of Heaven The Plot Against America Interview on Go Creative Show Follow Our Guest Shawn Peters' IMDb Shawn Peters' website Shawn Peters' Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

THE DROPOUT cinematographer, Michelle Lawler, shares her unique opportunities and challenges while filming on location for the hit Hulu series about Elizabeth Holmes and Theranos. Michelle and Go Creative Show host, Ben Consoli, discuss how character development affects cinematography, using 200 astera tubes to light an office, tips for creating eyelights, and so much more. Subscribe Now! What you will learn in this episode Cinematography appeal to THE DROPOUT (01:57) How reality can affect cinematography (06:00) The role of a pilot cinematographer (09:14) Using 200 astera tubes to light an office (11:43) How character development motivates cinematography (20:20) Why Cooke lenses are so good (26:30) Using Leica lenses to create a modern look (30:18) Shooting on stage vs. shooting on location (37:19) Using very intentional camera movement (40:30) Limited lighting options for office interiors (46:50) Using a pizza box bounce for eyelights (48:53) Cramming 5 weeks of prep for 4 episodes (54:19) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links THE DROPOUT IMDb THE DROPOUT trailer THE DROPOUT on Hulu Leica Summilux-C Lenses Follow Our Guest Michelle Lawler's IMDb Michelle Lawler's Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

Even if you're not a basketball fan, you will fall in love with the 1980s visual style of HBO's WINNING TIME. Cinematographers Todd Banhazl and Mihai Malaimare Jr. discuss how they used several different camera types and formats to perfectly capture the look of the series. Todd, Mihai, and Go Creative Show host, Ben Consoli, discuss filming with the Ikegami camera, post-processing techniques to help age the look, creating a visual rule book, how hard light affects character development, breaking down the biggest scenes, and more! Subscribe Now! What you will learn in this episode Why WINNING TIME was shot multi-format (01:34) The 1980s visual look with the Ikegami camera (04:35) Techniques to help age the footage even more in post (11:55) Why having a visual rule book was so crucial (15:29) "Aggressive" cinematography style approach (21:55) Building light structures in ceilings (25:34) Referencing 1980s advertising (29:50) How hard light affects character development (34:07) Approach to night exteriors (41:25) Techniques for filming authentic basketball games (44:28) Lighting the White Party scene (52:57) Shooting the Lodge scene (56:35) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links WINNING TIME trailer WINNING TIME on HBO WINNING TIME IMDb ReFlex - R15 - Cineo Lighting Ikegami ITC-730A Ikegami HL-79E 3 Tube Camera Follow Our Guest Todd Banhazl's Instagram Todd Banhazl's IMDb Mihai Malaimare Jr's Instagram Mihai Malaimare Jr's IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

As Director and Creative Director of BC Media Productions, Ben Consoli has produced award-winning commercials and videos for Amazon, Nestle, Panera and Honda, to name a few. As host of the Go Creative Show podcast, Ben has interviewed over 200 of the top filmmakers in the world. With the Go Creative Show podcast, Ben entertains and educates an audience of fellow filmmakers across the globe. Each week…

As Director and Creative Director of BC Media Productions, Ben Consoli has produced award-winning commercials and videos for Amazon, Nestle, Panera and Honda, to name a few. As host of the Go Creative Show podcast, Ben has interviewed over 200 of the top filmmakers in the world. With the Go Creative Show podcast, Ben entertains and educates an audience of fellow filmmakers across the globe. Each week Ben interviews A-list cinematographers, production designers, directors and producers to share their experiences and enrich the production community. With nearly 2 million downloads in 180 countries, the Go Creative Show has become one of the top podcasts of its kind. Past guests include Lawrence Sher (Joker), Robert Eggers (The Lighthouse), Baz Idoine (The Mandalorian), Barbera Ling (Once Upon A Time in Hollywood), Newton Thomas Sigel (Bohemian Rhapsody), Rick Carter (Star Wars, Avatar) and more. Check out Ben's work by clicking his name.    Tuesday, April 19th at 4pm Pacific join me on Instagram Live for a Parents Forum with Eve Sullivan. It's free, just talking parenting.    My first annual Filmmaker Retreat Joshua Tree is September 30th through October 2nd, 2022. Out theme is “Define Your Voice” and more can be found here at the Commercial Directing Film School site. DM for more. Limit 20 #filmmakers. Bootcamp Alumni save $300.  My online Commercial Directing Masterclass has received 100% 5 star reviews. Plus we do a free filmmaker consultation call, you and me. Check out the new Commercial Director Mega Bundle for serious one-on-one mentoring and career growth.    Thanks, Jordan    This episode is 78 minutes and is sponsored by Oso Delicious Hot Sauce, the hot sauce made by bears. Flavorseeker Fun Pak‘s ship Friday's at 3pm. My cult classic mockumentary, “Dill Scallion” is online so I'm giving 100% of the money to St. Jude Children's Hospital. I've decided to donate the LIFETIME earnings every December, so the the donation will grow and grow. Thank you!

CODA cinematographer, Paula Huidobro, discusses the Oscar-winning film and unique challenges of filming actors using sign language. Plus, her thoughts on the Will Smith slap incident. Paula and Go Creative Show host, Ben Consoli, share techniques for lighting natural looking interiors, letting the camera take a back seat, embracing harsh sunlight and the cinematic beauty of New England. We also talk about how she captured the 1980s with her work on the show PHYSICAL. Subscribe Now! What you will learn in this episode CODA's Oscar win and reaction to Will Smith slap (01:23) How sign language affects cinematography (06:27) Realistic approach to lighting interiors (13:14) How the Sony Venice allowed for low light cinematography (20:38) Capturing the Look of New England (24:45) Why all boat scenes were shot in the ocean (28:45) Embracing harsh sunlight for exteriors (32:15) Go-to lighting fixtures and filtration (37:26) Shooting the 1980s period comedy drama PHYSICAL (40:37) Taking a backseat approach to shooting CODA (45:53) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links CODA IMDb CODA trailer CODA on Apple TV+ PHYSICAL IMDb PHYSICAL trailer PHYSICAL on Apple TV+ Follow Our Guest Paula Huidobro's IMDb Paula Huidobro's Instagram Paula Huidobro's website Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

Award-winning series DOPESICK is a masterclass in breathtaking cinematography and storytelling. Director of photography Checco Varese ASC shares how he evolved the show's visual approach throughout the series. Checco and Go Creative Show host, Ben Consoli, discuss the importance of dailies looking as close to final as possible, making office spaces visually-appealing, lighting an entire house for a oner, and much more! Subscribe Now! What you will learn in this episode Evolving color palette of DOPESICK (04:31) Pairing the Sony Venice and FX3 with Zeiss lenses (16:57) Importance of having dailies represent a final look (26:39) Cinematography of people under the influence (34:00) Making office spaces visually appealing (40:05) Lighting an entire house for one continuous shot (46:49) How COVID impacted the production of DOPESICK (50:04) Importance of historical accuracy (55:36) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links Amazon's Them Cinematography (with Checco Varese ASC) The Cinematic Violence of IT Chapter 2 (with Checco Varese) DOPESICK IMDb DOPESICK on Hulu DOPESICK trailer Tiffen 4 x 5.65" Solid Color Chocolate 1/2 Filter - 45650CH12 Follow Our Guest Checco Varese ASC's website Checco Varese ASC's Instagram Checco Varese ASC's IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Connor Crosby's website Follow Dave Siegel (sound mixer) Dave Siegel's website

SEVERANCE is a mind-bending and visually stunning thriller and one of this year's best series. Cinematographer Jessica Lee Gagné shares why she was hesitant to take on the show, and her incredible work throughout the season. Jessica and Go Creative Show host, Ben Consoli, discuss her visual approach to the “innie” and “outie” worlds, making a bland stark-white office space visually interesting, psychological tricks with cinematography, working with Ben Stiller and Christopher Walken, and more! Subscribe Now! What you will learn in this episode Why Jessica did not want to film SEVERANCE (01:43) Approach to filming Lumon (04:15) Visual approach to the outside world (09:50) Pairing the Sony Venice with vintage lenses (15:23) Challenges of soft lighting in Lumon (22:15) Developing lighting plans with the gaffer (31:43) Achieving the severed transition look (35:13) Filming the maze of hallways (37:44) Dividing characters in the framing (40:14) Working with Ben Stiller and Christopher Walken (42:39) Importance of self-reflection at work (45:39) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links SEVERANCE IMDb SEVERANCE on Apple TV+ SEVERANCE trailer Follow Our Guest Jessica Lee Gagné's Instagram Jessica Lee Gagné's IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

THE POWER OF THE DOG director of photographer, Ari Wegner ACS, shares how her cinematography communicates loneliness in the Oscar-nominated Netflix film. Ari and Go Creative Show host, Ben Consoli, discuss techniques for realistic eyelights, why the amount of prep time can be a red flag, filming wide landscapes with long lenses, and much more! Subscribe Now! What you will learn in this episode The importance of prep time (01:08) Value of a good director and DP relationship (05:12) Visually-communicating loneliness (10:13) Creating eyelight in dark environments (13:42) Pairing the Alexa Mini LF with Ultra Panatar lenses (20:46) Shooting wide vistas with long lenses (27:33) Lighting contrast ratio for THE POWER OF THE DOG (32:43) Creating tension visually (35:42) The locations of THE POWER OF THE DOG (52:57) Crafting a "rewatchable" film (57:38) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links THE POWER OF THE DOG on Netflix THE POWER OF THE DOG trailer THE POWER OF THE DOG IMDb Follow Our Guest Ari Wegner's IMDb Ari Wegner's Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

TEXAS CHAINSAW MASSACRE production designer Michael Perry created an entire Texas town from scratch.  Learn all about the challenges he faced and the scenes and sets he's most proud of.  Michael and Go Creative Show host, Ben Consoli, discuss filming with blood, creating an authentic gas station, when to ignore logic in filmmaking, techniques for aging props, challenges of horror movie production design, and that INSANE decapitation scene! Subscribe Now! What you will learn in this episode Balancing practical and VFX blood effects (01:32) Honoring the original film through easter eggs (09:22) Creating a whole town from sets (12:22) Working on a low-budget film schedule (22:17) Creating a gas station from scratch (23:54) Some of the most challenging sets (28:44) When to ignore logic for set design (33:32) Developing story and character through production design (36:28) Techniques for aging props and sets (42:03) Executing the final death scene (46:46) Challenges of horror movie production design (49:10) Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links TEXAS CHAINSAW MASSACRE on Netflix TEXAS CHAINSAW MASSACRE IMDb TEXAS CHAINSAW MASSACRE trailer Follow Our Guest Michael Perry's website Michael Perry's IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

DEATH ON THE NILE and BELFAST cinematographer Haris Zambarloukos takes us behind the scenes of both films and shares his filmmaking secrets. Haris and Go Creative Show host, Ben Consoli, discuss DEATH ON THE NILE'S enormous 1000 lights boat set, tips for creating the perfect black and white, why every shot is important, and of course his brilliant work on the film BELFAST. Subscribe Now! What you will learn in this episode Timeless black and white opening of DEATH ON THE NILE (05:34) Hyperreality of the opening scene (10:31) Using nearly 1000 lights for the boat set (18:09) Ensuring continuous shots serve the story (35:35) Wide framing in BELFAST (49:28) Camera package for Belfast (58:39) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links DEATH ON THE NILE IMDb DEATH ON THE NILE trailer BELFAST IMDb BELFAST trailer Follow Our Guest Haris Zambarloukos' IMDb Haris Zambarloukos' Instagram Haris Zambarloukos' website Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

OZARK returns for its final season with a new cinematographer - Shawn Kim. Learn how Shawn evolved the show's iconic cool-blue look while getting darker with each episode.  Shawn and Go Creative Show host, Ben Consoli, discuss the psychological effects of lens focal lengths, the complexity of lighting day exteriors, how to keep cinematography fresh and interesting, plus so much more! Subscribe Now! What you will learn in this episode Finding work during COVID (01:08) Evolving visual approach to OZARK (05:44) How focal length affects audience perception (13:12) How OZARK is a filmmaker's dream (18:31) Lighting daytime exteriors completely artificially (22:19) Fresh filming approach to the Byrde's home (29:44) Why the Sony Venice was the best choice (35:07) Psychological approach to cinematography (40:20) Creating OZARK's signature blue look (45:01) Memorable scenes in season 4 (50:40) Challenges of shooting in rainstorms (56:26) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links OZARK IMDb OZARK on Netflix Leica Noctilux-M 50mm f/0.95 ASPH., black anodized Building Rialto - 3 VENICE Extension System Sample Builds | Sony Cine Follow Our Guest Shawn Kim's IMDb Shawn Kim's Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

THE WITCHER season 2 cinematographers Jean Philippe Gossart and Romain Lacourbas share details about how they collaborated on bringing more color and dimension to the series. JP, Romain, and Go Creative Show host, Ben Consoli, discuss switching to spherical lenses, the challenges of creating natural light sources, attention to detail for dialogue scenes, and so much more. Subscribe Now! What you will learn in this episode Collaborating as cinematographers (01:21) Visual approach to The Witcher season 2 (03:12) Spherical vs anamorphic lenses (09:38) Working with the Arri DNA LF lenses (11:28) Challenge of lighting for all natural sources (18:33) Color theory for recreating moonlight (25:56) Challenges of snowy exteriors (31:50) Continuity with weather and locations (38:54) Deconstructing the Eskel Leshy fight scene (40:29) Collaboration with VFX (51:52) Attention to detail for dialogue scenes (54:47) The future of filmmaking with LED walls (58:28) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Arri Rental   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links The Witcher season 2 trailer The Witcher IMDb The Witcher on Netflix Follow Our Guest Jean Philippe Gossart's Instagram Romain Lacourbas' Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

SCREAM is back! Cinematographer Brett Jutkiewicz breaks down the biggest kill scenes and how he brought his unique visual style to the film franchise. Brett and Go Creative Show host, Ben Consoli, discuss cinematography tricks to create tension in horror, lighting for horror movies, making day-time exteriors scary, the necessary skill sets for camera operators, learning from your mistakes on set, and more! Subscribe Now! What you will learn in this episode SCREAM franchise visual approach (01:14) Camera tricks to create tension in horror (06:08) Making daylit scenes scary (10:37) Using Panavision anamorphic lenses (20:24) Importance of LUTs on set (25:45) Communicating with camera operators on set (30:38) What makes a good B camera operator (33:41) Approach to lighting hospital scenes (36:51) Approach to shooting Dewey's death (46:03) Favorite shots from the film (48:39) Filming a movie that's self-aware (50:00) Living with mistakes made in movies (51:54) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links SCREAM IMDb SCREAM trailer LA Rag House - QUARTER SILK BLACK Fabrics G Series Anamorphic Prime Lenses | Panavision Follow Our Guest Brett Jutkiewicz's IMDb Brett Jutkiewicz's Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

TICK, TICK... BOOM! follows Jonathan Larson on his path to being the successful musical composer we know of him today. Cinematographer Alice Brooks ASC breaks down her cinematic approach and biggest challenges of the film. Alice and Go Creative Show host, Ben Consoli, discuss the film's biggest scenes, challenges of musicals, having to use filtration in place of haze, and much more! Subscribe Now! What you will learn in this episode Transitioning from IN THE HEIGHTS to TICK, TICK... BOOM! (01:05) Recreating Jonathan Larson's apartment (05:06) Referencing source material from the real-life protagonist (08:46) Claustrophobia through cinematography (14:06) Creating juxtaposition through lighting and color theory (17:38) Panavision cameras and anamorphic lenses (23:56) Using filtration instead of haze (27:19) Creating distinct looks for the workshop scenes (33:41) Achieving seamless transitions for scenes (40:48) Challenges of the pool scene (44:00) Advice for aspiring cinematographers (47:13) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links TICK, TICK… BOOM! IMDb TICK, TICK… BOOM! on Netflix TICK, TICK… BOOM! trailer Follow Our Guest Alice Brooks ASC's IMDb Alice Brooks ASC's Instagram   Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

YELLOWJACKETS follows the wild journey of a high school soccer team after they become the (un)lucky survivors of a plane crash. Cinematographer C Kim Miles ASC CSC breaks down each of the series' spectacular visual looks. Kim and Go Creative Show host, Ben Consoli, discuss making creative changes after filming the pilot, choosing lenses based on storyline, the incredible value of a DIT, deconstructing your favorite scenes, and more! Subscribe Now! What you will learn in this episode Making creative changes after filming the pilot (03:24) Production of television vs feature films (08:20) Deconstructing the woods visual approach (14:16) Visual tricks to play on the subconscious (20:34) Approach to lighting exteriors (24:26) Adjusting lenses to affect visual approach (27:54) Visual approach to the 90s scenes (33:55) Lighting and shooting interior scenes (43:49) Choosing a lens based on plot (47:45) Deconstructing the episode 8 walk and talk scene (52:28) Value of having a DIT on set (58:14) Advice for aspiring cinematographers (01:07:37) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links YELLOWJACKETS IMDb YELLOWJACKETS trailer Follow Our Guest C Kim Miles' Instagram C Kim Miles' IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

SPIDER-MAN: NO WAY HOME cinematographer Mauro Fiore and production designer Darren Gilford discuss their collaboration on the blockbuster Marvel movie. Mauro, Darren, and Go Creative Show host, Ben Consoli, discuss the dramatic last-minute changes at the start of production, the benefits of filming on location, and breakdowns of some of the biggest scenes in the movie. Subscribe Now! What you will learn in this episode DP and Production Designer collaboration (01:07) Working on such a big franchise (04:59) Drastic production changes due to the pandemic (07:51) On-location vs in a studio (14:32) Breaking down the Sanctum Sanctorum set (17:11) Tricks to lighting a dark set (23:33) Using LED Walls for cinematography and production design (27:01) Light motivation on sets (29:27) Deconstructing the Peter Parker rooftop scene (32:19) Approach to filming green screen sets (36:25) Pairing the Alexa Mini LF with Panaspeed lenses (42:14) Having story dictate focal depth of field (47:09) Filming the tracking shot of Spider-Man in Aunt May's apartment (49:46) High-energy camera movement (53:01) Making the bridge scene realistic on green screen (54:43) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Get 10% off the all access membership using code GOCREATIVE10   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links SPIDER-MAN: NO WAY HOME IMDb SPIDER-MAN: NO WAY HOME trailer Follow Our Guest Darren Gilford's Instagram Darren Gilford's IMDb Mauro Fiore's IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

Aaron Sorkin's BEING THE RICARDOS is a masterful retelling of Lucille Ball and Desi Arnaz's life on and off camera. Cinematographer Jeff Cronenweth ASC shares the camera, lighting and lenses he used to recreate vintage Hollywood and the iconic I Love Lucy stage. Jeff and Go Creative Show host, Ben Consoli, discuss bringing energy to dialogue scenes through blocking and camera movement, breaking down some of the scenes in the film, the lenses and filtration used, and more! Subscribe Now! What you will learn in this episode Working with director Aaron Sorkin  (02:41) Establishing several visual looks (10:09) Lighting the I Love Lucy set (22:19) Capturing the essence of I Love Lucy (35:22) Shooting on the RED Ranger with Arri DNA lenses (39:35) Energetic dialogue scenes through camera movement (44:56) Filming the opening in a unique way (54:21) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links BEING THE RICARDOS trailer BEING THE RICARDOS IMDb BEING THE RICARDOS on Amazon Prime Follow Our Guest Jeff Cronenweth ASC's IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

Steven Spielberg's WEST SIDE STORY is a fresh remake of the classic film packed with stunning cinematography. Camera operators Mitch Dubin SOC AOC and John "Buzz" Moyer SOC share what it's like working with Spielberg and the challenges of filming movie musicals. Mitch, Buzz, and Go Creative Show host, Ben Consoli, discuss the the camera operators' creative freedom, tips for operating steadicams, accepting their mistakes, and more! Subscribe Now! What you will learn in this episode Different camera operator roles (01:04) Filming musicals vs narratives (04:09) Adaptive camera framing for musicals (09:34) Exterior lighting and lens flares (15:20) Achieving a handheld look on a crane (20:26) Relationship between director and cam operators (28:51) Challenging scenes in WEST SIDE STORY (35:55) What makes a great steadicam operator (39:53) Creative freedom for camera operators (46:10) Living with mistakes in films (49:41) Advice for aspiring camera operators (54:01) And more! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links WEST SIDE STORY IMDb WEST SIDE STORY Trailer Follow Our Guest John S. Moyer's IMDb Mitch Dubin's IMDb Mitch Dubin's Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

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! Subscribe Now! What you will learn in this episode In-the-moment handheld visual approach (01:10) Deciding what to shoot handheld (08:38) Perfectly timing lens zooms (10:32) Having such a variety in takes (14:50) Choosing to shoot close ups first (21:21) Why SUCCESSION is shot on film (28:04) 360º approach to lighting (30:41) Vulnerability through cinematography (38:25) Filming Kendall differently in season 3 (42:34) Working together as cinematographers (45:01) Challenging scenes in SUCCESSION (47:58) And more! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links SUCCESSION IMDb Follow Our Guest Christopher Noor's IMDb Christopher Noor's Instagram Patrick Capone's IMDb Patrick Capone's Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

GHOSTBUSTERS AFTERLIFE -- with its incredible sets, props, and the infamous Ecto-1 car -- have given movie lovers the nostalgic and entertaining blockbuster they have been waiting for. Production designer Francois Audouy explains his approach to designing films, and how attention to detail and practical sets made GHOSTBUSTERS AFTERLIFE a massive success. Francois and Go Creative Show host, Ben Consoli, discuss how the original film inspired him, Francois' love for practical locations vs sets, recreating the Ecto-1 car, filming car chase scenes, and more! Subscribe Now! What you will learn in this episode Achieving high audience expectations (02:04) Benefits of shooting on location (05:47) Building the farmhouse set from a dilapidated barn (10:01) Backstory through production design (20:49) Inspiration from the original film (25:15) Designing practical Ecto-1 cars (28:53) Filming the car chase on location (37:46) Filming the Walmart scene (39:09) Designing the Mountain Tomb (40:47) Building a set from scratch (44:13) Tips for aspiring production designers (49:14) And more! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links GHOSTBUSTERS AFTERLIFE IMDb GHOSTBUSTERS AFTERLIFE trailer Follow Our Guest Francois Audouy's IMDb Francois Audouy's website Francois Audouy's Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

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! Subscribe Now! What you will learn in this episode Working with Ryan Murphy (01:04) Transitioning from camera operator to DP (02:57) Skills a DP should have (15:03) Muted cold visual approach to Part 1 (18:27) LUTs affecting skin tones (24:43) Filming Sarah Paulson scenes without her (30:03) Using Helios tubes for fire scenes (32:14) Shooting Belle's massacre at 96 fps (35:48) Shooting on the Sony Venice with diopters (39:03) Converting color to black and white (41:57) Referencing CLOSE ENCOUNTERS for Part 2 (47:06) Blooming effect using filtration (50:48) And more! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links AMERICAN HORROR STORY IMDb DOUBLE FEATURE Part 1 trailer DOUBLE FEATURE Part 2 trailer Follow Our Guest Andrew Mitchell's IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

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. Jo and Go Creative Show host, Ben Consoli, discuss  Subscribe Now! What you will learn in this episode Intimacy through cinematography (00:53) Warm inviting approach to lighting the bunker (10:47) Ignoring negative reviews (14:04) Finch visual approach and references (17:03) Filming desert scenes practically (19:38) Heavily artifacting the lenses (25:21) Challenges with filming an actual RV (30:56) Filming a motion capture suit while handheld (34:02) VFX approach of the robotChallenges of filming dogs (40:58) Why night exteriors are so difficult (45:21) And more! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links FINCH IMDb FINCH on Apple TV+ FINCH trailer Jamie XX Video Reference Arri S360C Follow Our Guest Jo Willems' IMDb Jo Willem's website Jo Willem on Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

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”. Subscribe Now! What you will learn in this episode Balance of filming non-fictional projects (00:59) "Glamorous gloom" visual approach (10:08) Simon's stylistic lighting approach (12:58) Warm visual approach to the White House (17:53) Dreary look of the Pentagon (20:40) Not having characters motivate cinematography (27:46) Using a split diopter (30:37) Why Simon chose the Sony Venice (36:15) Feeling of claustrophobia (42:02) Why the jury trial scene was so challenging (46:37) Making the mundane exciting through cinematography (49:24) Monica Lewinsky's involvement with the show (53:05) And more! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links AMERICAN CRIME STORY IMDb AMERICAN CRIME STORY on FX Networks Follow Our Guest Simon Dennis IMDb Simon Dennis on Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

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. Subscribe Now! What you will learn in this episode Treating every movie like an indie (01:48) Taking on projects you fear (05:27) Soft lighting for interiors (11:09) Lighting sandy exteriors (16:18) Visual approach to DUNE (18:26) Film to digital transfer process (21:36) Balancing epicness with intimacy (29:04) Sand worm collaboration with VFX (33:27) Having actors' faces in shadow (38:10) Viewing DUNE in theaters vs HBO Max (43:32) Most challenging scene (46:56) How the floating lights were filmed (51:15) Lighting for night exteriors (54:09) And more! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links DUNE IMDb DUNE trailer DUNE on HBO Max Follow Our Guest Greig Fraser's IMDb Greig Fraser's Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

The tragic death of Cinematogarpher Halyna Hutchins has ignited a worldwide conversation about gun safety on film sets. Armorer Bryan W Carpenter joins us to discuss current safety standards and what protocols were missed leading up to the tragic shooting. Bryan and Go Creative Show host, Ben Consoli, discuss pros and cons of practical firearms vs visual effects, the difference between “blanks” and “dummy” ammunition, and what a “prop gun” actual is. Subscribe Now! What you will learn in this episode Role of an armorer  (01:21) Types of prop guns (05:27) What happened on the set of RUST (08:39) Round types and safety distances (12:27) Steps to ensure safety on set (23:28) Certification for armorers (36:26) Replacing prop guns with vfx (39:26) America's gun obsession (47:14) Preventing this tragedy from happening again (48:51) And more Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links Halyna Hutchins Scholarship Fund Follow Our Guest Dark Thirty Film's website Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

HALLOWEEN KILLS is packed with gory murders and cinematography that elevates the horror genre. Cinematographer Michael Simmonds returns to discuss the film's camera choices, lighting techniques and visual approach while breaking down the most challenging kill scenes. Michael and Go Creative Show host, Ben Consoli, discuss filming the 1978 flashbacks, Michael's use of zoom lenses, how the house fire scene was shot, telling micro stories within scenes, and more! Subscribe Now! What you will learn in this episode What Michael enjoys about cinematography (01:07) Transitioning from comedy to horror (08:12) Filming the 1978 flashback sequences (11:40) Why horror movies are perfect for zoom lenses (15:27) Micro stories within scenes (21:03) Breaking down how the house fire scene was shot (25:22) Filming night time scenes (33:21) Filming the hospital scenes (37:48) Working with hundreds of extras on set (41:26) Breaking down some of the kill scenes (44:30) And more! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links Halloween Kills' IMDb Halloween Kills trailer Halloween Kills on Peacock The Cinematography of Halloween 2018 (with Michael Simmonds) Follow Our Guest Michael Simmonds' IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

NO TIME TO DIE not only elevates the 007 universe, but it is filled with stunningly beautiful and logistically challenging cinematography. Director of Photographer Linus Sandgren FSF ASC talks lighting, lensing, locations and of course STUNTS! Linus and Go Creative Show host, Ben Consoli, discuss finding the spirit of James Bond and using hand-held IMAX cameras to blend classic 007 storytelling with new filmmaking technologies. Subscribe Now! What you will learn in this episode Visual approach to James Bond movies (00:51) Pre-lighting sets using miniatures (07:58) Shooting on IMAX handheld (13:41) Grounding stunts in reality (21:31) Filming in various locations around the world (24:59) Challenges and logistics of NO TIME TO DIE (33:38) And more! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links NO TIME TO DIE IMDb NO TIME TO DIE trailer Follow Our Guest Linus Sandgren's IMDb Linus Sandgren's website Linus Sandgren's Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

Rather than releasing a series of music videos, Halsey has released a short film featuring her latest album IF I CAN'T LOVE, I WANT POWER. Music video producer Jamee Ranta gives us a behind the scenes look at making the film and music videos for other iconic artists. Jamee and Go Creative Show host, Ben Consoli, discuss the decision to create this short film, how a producer is involved in the creative process, breaking into the music video industry, and more! Subscribe Now! What you will learn in this episode Shooting and releasing the film on IMAX (01:09) Producer's involvement in the creative process (09:33) The role of a producer (12:53) Why it's important to have technical knowledge (22:28) Ensuring your crew remains happy (26:31) Music videos vs films (31:12) Examining the music video industry (40:17) How to break into the music video industry (46:06) And more! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links IF I CAN'T LOVE I WANT POWER trailer IF I CAN'T LOVE I WANT POWER IMDb Follow Our Guest Jamee Ranta's IMDb Jamee Ranta's website Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

By a nearly unanimous margin, IATSE members in TV and film production vote to authorize a nationwide strike. Cinematographer Jim Denault ASC explains the proposed changes union workers are looking for and why they matter. Jim and Go Creative Show host, Ben Consoli, discuss the existing working conditions, what has changed over the decades in the industry, the opposition to the new terms, worldwide support, and more! Subscribe Now! What you will learn in this episode Changing the film working conditions (01:19) Length of average film production days (05:30) Fighting for longer turnaround times (11:10) Varying rates depending on project (15:38) Opposition to these new terms (20:21) Improvements for meal breaks (24:35) Unions supporting each other worldwide (30:38) The importance of having a union (33:21) And more! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links IATSE website Follow Our Guest Jim Denault ASC's website Jim Denault ASC's IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

Imagine having only six weeks to prep for an entire movie trilogy, each one having its own distinct look. That was exactly the reality for cinematographer Caleb Heymann with Netflix's Fear Street trilogy. Caleb and Go Creative Show host, Ben Consoli, discuss relying on candles and sunlight for the 1666 movie, creating that incredible bread machine kill scene, how to deal with the challenges of neon colored lighting, and more! Subscribe Now! What you will learn in this episode Having only 6 weeks to prep 3 films (01:01) Adapting quickly as a cinematographer (08:43) Relying on candles and sunlight for 1666 (11:00) Using filtration with the Alexa Mini for 1666 (17:17) Filming 1666 without practical lights (22:35) 1994's horror movie inspiration (28:38) Creating the bread machine kill scene (35:20) Challenges of using neon lighting on set (42:24) Characteristics you get with vintage lenses (49:50) HALLOWEEN style visual approach for 1978 (53:45) And more! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links FEAR STREET PART 1: 1994 on Netflix FEAR STREET PART 2: 1978 on Netflix FEAR STREET PART 3: 1666 on Netflix FEAR STREET trilogy trailer Petzval lens Titan Tube | Film Lighting Tube, Softlight, Cinema Effect light | photo light Follow Our Guest Caleb Heymann's Instagram Caleb Heymann's IMDb Caleb Heymann's website Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

THE WHITE LOTUS features incredible voyeuristic-style cinematography that constantly keeps you on edge. Director of photography Ben Kutchins explains his unique visual approach and the difficulty of filming in an actual hotel. Ben and Go Creative Show host, Ben Consoli, discuss the juxtaposition between the warm color palette and plot, filming with as much natural light as possible, constantly rolling with the punches on set,  and much more! Subscribe Now! What you will learn in this episode The crazy writing of THE WHITE LOTUS (01:39) Not having firm rules in cinematography (01:42) Achieving voyeuristic cinematography (08:03) Embarrassment through cinematography tricks (13:19) Warm color palette of THE WHITE LOTUS (17:43) Masterclass in covering dialogue scenes (22:06) Shooting with Super Baltar and Cooke lenses (32:27) Primarily using natural lighting (35:13) Logistics of filming in an actual hotel (41:17) Filming the water and boat scenes (48:32) Not worrying about realism with sunlight (52:07) Having to roll with the punches on set (57:06) Filming Paul McCartney's latest music video (01:02:21) And more! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links THE WHITE LOTUS IMDb THE WHITE LOTUS on HBO Paul McCartney music video Follow Our Guest Ben Kutchins' IMDb Ben Kutchins' website Ben Kutchins' Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

Learn how to skillfully introduce characters through cinematography and the benefits of cross-shooting with the director of photography of the Emmy-nominated series HACKS, Adam Bricker. Adam and Go Creative Show host, Ben Consoli, discuss how and why the two lead characters were shot differently, blending cool and warm light sources, customizing lenses for projects, and much more! Subscribe Now! What you will learn in this episode How to skillfully introduce characters (01:25) Portraying isolation through cinematography (09:29) Introducing characters (continued) (15:52) Blending cool and warm light sources (21:41) Cross shooting the scene Deborah and Ava meet (27:50) Benefits of cross shooting (36:47) Customizing lenses for projects (42:51) Advice for aspiring filmmakers (56:29) Filming Chef's Table without any documentary experience (01:01:33) And more! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links HACKS trailer HACKS on HBO Max HACKS IMDb Follow Our Guest Adam Bricker's website Adam Bricker's Instagram Adam Bricker's IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

JUNGLE CRUISE is a modern adventure film with cinematography inspired by old-school classics! Cinematographer Flavio Labiano shares his experience working with Emily Blunt and The Rock and shooting most of the film in a giant water-tank in an Atlanta parking lot. Flavio and Go Creative Show host, Ben Consoli, discuss the challenges of filming the boat scenes, the role of 2nd unit cinematography, importance of color in cinematography, and more! Subscribe Now! What you will learn in this episode What it's like working with A-list actors (01:04) Why the boat scenes were so challenging (03:29) Importance of color in cinematography (07:02) Why the Jungle Cruise ride was not a big inspiration (11:06) The movie's inspiration from 1970s movies (13:47) The role of 2nd unit cinematography (16:08) Deconstructing the “coming out” scene (19:02) Challenges of shooting in an exterior water tank (22:57) Creating the vintage camera scenes (34:11) How to create engaging action sequences (35:57) Shooting with Alexa Mini and Panavision lenses (40:52) Flavio's early film career (44:10) Lack of passion in some filmmakers (49:14) And more! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links JUNGLE CRUISE IMDb JUNGLE CRUISE on Disney+ JUNGLE CRUISE trailer Follow Our Guest Flavio Martinez Labiano's IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

Disney has outdone themselves again with the incredible life-like and vivid animation of RAYA AND THE LAST DRAGON. Co-cinematographers Adolph Lusinsky and Rob Dressel come on to discuss how Disney tackles animated films and the biggest challenges of RAYA. Adolph, Rob, and Go Creative Show host, Ben Consoli, discuss each of their roles as cinematographers, striking the right balance of realistic lighting, designing Sisu the Dragon, and more! Subscribe Now! What you will learn in this episode Role of animation cinematographers (01:41) How shots are staged in animation (07:45) The flexibility of lighting animated films (12:36) Skills needed to become an animation cinematographer (19:49) Striking the right balance with realistic lighting (23:21) Creating a different look for each tribe in RAYA (27:23) Designing Sisu the Dragon (37:10) Most challenging scene to animate in RAYA (40:07) And more! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links RAYA AND THE LAST DRAGON IMDb RAYA AND THE LAST DRAGON trailer RAYA AND THE LAST DRAGON on Disney+ Follow Our Guests Rob Dressel IMDb Adolph Lusinsky IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

Ben Consoli, owner of BC Media, director and founder and presenter fo the Go Creative Show joins our Movidiam Podcast. Ben discusses creating a super bowl worthy advert, the importance of networking, his thoughts on macro changes in the industry, and his advice for new entrants.