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 

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No Time To Die Cinematography (with Linus Sandgren FSF ASC) GCS284

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 

Producing Halsey’s If I Can’t Love, I Want Power (with Jamee Ranta) GCS283

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 

Film Strike (with Jim Denault ASC) GCS282

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 

Fear Street Cinematography (with Caleb Heymann) GCS281

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 

The White Lotus Cinematography (with Ben Kutchins) GCS280

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 

Hacks Cinematography (with Adam Bricker) GCS279

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 

Jungle Cruise Cinematography (with Flavio Labiano) GCS278

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 

Raya and the Last Dragon Cinematography (with Adolph Lusinsky & Rob Dressel) GCS277

BLACK WIDOW marks the return of the Marvel Cinematic Universe. Cinematographer Gabriel Beristain ASC BSC comes on to explain his filmmaking philosophy of treating the camera like a character. Gabriel and Go Creative Show host, Ben Consoli, discuss the visual references of the film, why Gabriel always used 3 cameras on set, not being ashamed of relying on filmmaking fundamentals, and more! Subscribe Now! What you will learn in this episode Responding to movie critiques (01:12) Visual references for BLACK WIDOW (04:36) The camera being a character (10:57) 3 camera setup on set (18:35) Not be ashamed to use filmmaking fundamentals (26:44) Shooting on the Sony Venice (33:32) Filming car chase scenes (38:23) Challenges on set of BLACK WIDOW (43:39) Lessons learned as a cinematographer (53:01) 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 BLACK WIDOW IMDb BLACK WIDOW trailer BLACK WIDOW on Disney+ Follow Our Guest Gabriel Beristain’s IMDb Gabriel Beristain’s Instagram Gabriel Beristain’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 

Black Widow Cinematography (with Gabriel Beristain) GCS276

 THE MOSQUITO COAST on Apple TV+ is a gripping drama with a spectacular, colorful yet gritty cinematic approach. Director of photographer Alex Disenhof gives us a behind the scenes look and why the series has such active camera movement. Alex and Go Creative Show host, Ben Consoli, break down one of the most dramatic sequences in the series, approaching daylight exteriors, color grading and theory, extensive location scouting, and much more. Subscribe Now! What you will learn in this episode Gritty and colorful cinematic approach (01:17) Engaging and active camera movement (06:52) Filming on location vs in studio (15:10) Shooting on the Alexa Mini LF and DNA lenses (17:19) Breaking down the opening sequence in episode 2 (23:06) Avoiding lights for daylight exteriors (36:34) 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 MOSQUITO COAST IMDb THE MOSQUITO COAST on Apple TV+ ARRI Signature Prime Lenses ARRI Rental DNA LF T-REX Superscope Lens demo Follow Our Guest Alex Disenhof’s IMDb Alex Disenhof’s website Alex Disenhof on 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 Mosquito Coast Cinematography (with Alex Disenhof) GCS275

IN THE HEIGHTS is the masterful musical movie of the summer! Cinematographer Alice Brooks shares her cinematic approach adapting Lin-Manuel Miranda's hit broadway show to the big screen. Alice and Go Creative Show host, Ben Consoli, break down how they filmed the big musical numbers, filming most of the movie on location, being inspired by local photographers, advice for aspiring cinematographers, and more! Subscribe Now! What you will learn in this episode Filming musical numbers on location (02:04) Obstacles filming Abuela's apartment on location (03:30) Visuals inspired by local photographers (10:17) Panavision DXL2 camera and NYC lighting (16:28) "96,000" breakdown (19:57) "When the Sun Goes Down" breakdown (30:08) "Champagne" breakdown (37:45) "Paciencia y Fe" subway breakdown (41:01) Advice for young and female DPs (48:39) 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 IN THE HEIGHTS IMDb IN THE HEIGHTS on HBO Max IN THE HEIGHTS trailer Follow Our Guest Alice Brooks’ website Alice Brooks’ IMDb Alice Brooks’ 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 

In The Heights Cinematography (with Alice Brooks) GCS274

With terrifying and haunted scenes, jump scares, exorcisms, and more, THE CONJURING: THE DEVIL MADE ME DO IT does an excellent job standing up against the previous films. Cinematographer Michael Burgess shares his cinematic and lighting approach for the top horrific scenes in the film. Michael and Go Creative Show host, Ben Consoli, discuss his camera and lens package, why he avoids operating cameras now, the opening exorcism scene breakdown, cinematography tricks, and more! Subscribe Now! What you will learn in this episode Scary cinematography in THE CONJURING movies (01:08) Shooting on the Alexa SXT camera and Primo lenses (05:15) Why Michael no longer operates cameras (10:03) Having Don Burgess ASC as a dad and role model (13:13) Why THE CONJURING 3 was not shot anamorphic (15:17) Lighting for horror movies (17:03) Filming David's scary waterbed scene (20:58) Breaking down the opening exorcism scene (26:55) Controlling all lights on set from an iPad (32:38) How the day to night transition in woods was shot (34:34) Representing the 1980s through sets and costumes (38:14) Will there be more CONJURING movies? (40:22) 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 CONJURING 3 trailer CONJURING 3 on HBO Max CONJURING 3 IMDb Follow Our Guest Mike Burgess’ 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 

The Conjuring 3 Cinematography (with Michael Burgess) GCS273

BRIDGERTON is Netflix's most-watched series ever. Cinematographer Jeffrey Jur ASC explains how he used the Sony Venice camera and lighting using candles to bring us back in time to 17th century London. Jeffrey and Go Creative Show host, Ben Consoli, discuss his contemporary cinematic approach, his career switch from film to TV, using 2-6 cameras on set, breaking down the most challenging scene in the series, and more! Subscribe Now! What you will learn in this episode Contemporary cinematic approach of BRIDGERTON (02:00) Best uses for intentional camera movement (05:46) Planning a shot list based off rehearsals (09:08) How Jeffrey preps for film shoots (10:49) Low light cinematography with Sony Venice (15:51) Creating a clean lifted look in post (21:01) Shooting with 2 cameras on set (29:25) Approach to lighting candle lit scenes (34:21) Using sparklers to light a scene practically (48:36) Jeffrey’s most challenging scene on BRIDGERTON (51:39) Switching from a film career to TV (55:23) Reflecting back on DIRTY DANCING (59:02) 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 BRIDGERTON IMDb BRIDGERTON trailer BRIDGERTON on Netflix SHOTDECK :: Fully Searchable High-Res Movie Images Camera Systems Lenses ARRI Signature Prime Lenses Tiffen 4 x 5.65" Soft FX Filter Wendy Light Follow Our Guest Jeffrey Jur 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 

Bridgerton Cinematographer (with Jeffrey Jury ASC) GCS272

Disney's film CRUELLA combines handheld, high energy cinematography with elegant traditional camera movement. Cinematographer Nicolas Karakatsanis explains his masterful cinematic approach. Nicolas and Go Creative Show host, Ben Consoli, discuss working with Emma Stone and Emma Thompson, shooting both on film and digitally, having to pre-light sets before they were built, camera and lens package, and more! Subscribe Now! What you will learn in this episode Lessons learned shooting I, TONYA (01:02) High energy cinematography of CRUELLA (03:54) Pre-lighting before sets are built (15:04) Having to build the Baroness workshop set twice (20:30) Cruella concert scene breakdown (24:29) Cinematography differences between Cruella and Baroness (31:42) Shooting on film vs digital (36:16) Why Nicolas hates lens filtration (52:28) Not being reliant on VFX (57:43) Not being inspired by the 101 Dalmations animation (01:01:09) Collaborating with costume design dept (01:02:29) Working with Emma Stone and Emma Thompson (01:04:52) 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 Cruella trailer Cruella on Disney+ Cruella IMDb Follow Our Guest Nicolas Karakatsanis’ IMDb Nicolas Karakatsanis’ 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 

Cruella Cinematography (with Nicolas Karakatsanis) GCS271

A QUIET PLACE PART II cinematographer Polly Morgan ASC BSC takes us behind-the-scenes of this highly anticipated sequel. Polly and Go Creative Show host, Ben Consoli, discuss the challenges of shooting on film, why one sequence was shot digitally, why practical stunts are better, working with John Krasinski and Emily Blunt, mentorship advice, and more! Subscribe Now! What you will learn in this episode Coming back to movie theaters (00:59) Risks of shooting on film (04:07) Exposing properly when shooting on film (09:04) Shooting the Volvo Bus scene practically (13:41) Working with John Krasinski (21:43) Creating scary scenes in daylight (24:33) Filming A QUIET PLACE like a western (29:01) Challenges of the steel mill furnace (30:41) Why the Marina sequence was shot digitally (37:34) Lighting for dark interiors (42:56) Working with Emily Blunt (46:54) Collaborating with a colorist (47:28) Mentorship in filmmaking (49:16) Advice for aspiring female DPs (53:16) 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 A Quiet Place Part II IMDb Follow Our Guest Polly Morgan ASC BSC on Instagram Polly Morgan ASC BSC’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 

A Quiet Place Part II Cinematography (with Polly Morgan ASC BSC) GCS270

The Go Creative Show is dedicated to creative professionals in the video, film, tv and music industries. Hosted by Ben Consoli, Director and owner of BC Media Productions. Each week Ben takes on topics relevant to the film making, video, music and visual arts worlds, talking about tools, talent, challenges and successes. A wide range of topics are discussed, as well as various special guests involved in both mainstream and independent creative production are invited to join in.

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