Go Creative Show – Détails, épisodes et analyse

Cinematographer Krzysztof Trojnar discusses his work on the Netflix show Baby Reindeer, sharing insights into the visual approach, using the Alexa LF Mini camera package, lens choices, and creating a sense of claustrophobia in cinematography. He also delves into the challenges of depicting drug use and the impact of AI tools on the industry.

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WINNING TIME season 2 director and cinematographer Todd Banhazl joins cinematographers John Matysiak and Ricardo Diaz to discuss their use of mixed formats to create an authentic '80s aesthetic. They shed light on their collaboration in bringing the Celtics vs. Lakers rivalry to life on screen, their seamless blend of drama and humor, collaboration as cinematographers, and Todd's story of going from cinematographer to director.

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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. 

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• 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!

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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.

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• 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!

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• Black Panther: Wakanda Forever IMDb
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THE BEAR is a masterclass in creating visual chaos and its director of photography Andrew Wehde shares his camera and lighting techniques and philosophies.

Andrew and Go Creative Show host, Ben Consoli, discuss tips of filming food, how his approach to cinematography is different in and out of the kitchen, use of camera movement, approach to lighting, and so much more.

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• 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!

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Cinematographer Jason McCormick breaks down his cinematography for the Netflix hit series, DAHMER - MONSTER: THE JEFFREY DAHMER STORY.

Jason and Go Creative Show host, Ben Consoli, discuss the gritty cinematography, challenges of working with episodic directors, shooting with the Sony Venice, and we break down some of the series’ most brutal scenes.

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• 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!

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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!

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• 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!

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• THE NORTHMAN IMDb
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EVERYTHING EVERYWHERE ALL AT ONCE is a gloriously, messy, genre-bending film directed by The Daniels and shot in only 36 days by Director of 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.

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• 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!

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• EVERYTHING EVERYWHERE trailer
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• Todd-AO Anamorphic — Camtec

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Marvel’s MOON KNIGHT and A24’s THE GREEN KNIGHT are filled with original and compelling cinematography thanks to director of photography Andrew Droz Palermo. We do a deep dive into Andrew’s visual approach for both projects.

Andrew and Go Creative Show host, Ben Consoli, discuss why he avoided excessive close up angles, how filming handheld can motivate editing, what no one thinks about when filming in the desert, cinematography tricks to make someone look crazy, and so much more.

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• 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!

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• 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

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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.

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• 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!

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• JURASSIC WORLD DOMINION trailer
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• The Beaumonte mini vistavision camera
• N-Cam Technology
• Artemis Pro
• Pinewood Studios
• What is Vista Vision
• The Architecture of Raymond Loewy

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