Explorez tous les épisodes du podcast Go Creative Show

Cinematographer Jason McCormick returns to Go Creative Show to discuss his work on the FX series Love Story, beginning with the story of John F. Kennedy Jr. and Carolyn Bessette. Jason breaks down how he approached the visual language of a romantic story after working on darker projects like Dahmer and Menendez, and how the show's look evolved through instinct, collaboration, and trust.

Jason shares how the project came together quickly when he stepped in just weeks before shooting the pilot, and how working with director Max Winkler allowed the show's style to develop organically on set. From choosing the 1.85 aspect ratio and developing a custom LUT inspired by 90s film photography, to navigating the challenges of shooting in New York City, Jason explains how cinematography can support emotion, character, and story.

The conversation also explores the realities of working in today's film industry, the importance of pacing yourself during long production runs, and why great cinematography often comes from staying flexible and responding to the moment.

• How Jason McCormick developed the visual style of Love Story

• Why aspect ratio and color pipeline are the first decisions he makes on a project

• Creating a custom LUT inspired by film photography

• The challenge of stepping into a project late and making it your own

• Shooting romance versus darker subject matter like Dahmer

• Navigating paparazzi and location challenges while filming in New York

• Why flexibility and instinct are key tools for cinematographers

• Entering the project shortly before shooting the pilot

• Working with director Max Winkler

• Developing the show's color palette and LUT

• Choosing lenses and aspect ratio for the series

• Building visual language for a romantic story

• The influence of paparazzi photography from the 1990s

• Filming in Manhattan and dealing with paparazzi on location

• Balancing creative instincts with production realities

• The current state of the film industry in Los Angeles

• Cinematography starts with the shape of the frame and color pipeline, not the lighting.

• The best visual ideas often come from reacting to actors and locations in the moment.

• Trust between departments allows filmmakers to work faster and more creatively.

• Great cinematography isn't always about complexity — sometimes the right shot is simply putting the camera in the perfect place.

LINKS

'Love Story' Series on Hulu
Jason McCormick's Instagram
Go Creative Show Instagram

In this episode of the Go Creative Show, cinematographer James Whitaker discusses his work on the film 'Good Luck, Have Fun, Don't Die,' directed by Gore Verbinski. The conversation covers the film's unique genre-bending narrative, the challenges of cinematography within a limited budget and timeframe, and the creative decisions that shaped its visual style. Whitaker shares insights on lighting techniques, camera choices, and the importance of collaboration in filmmaking. He also expresses concerns about the impact of AI on the creative industry, reflecting on the balance between technology and human artistry.

Takeaways

The film's title reflects a parental warning about technology.
AI poses real challenges that society must address.
Working with Gore Verbinski is both fun and creatively fulfilling.
Genre-bending films allow for unique storytelling opportunities.
Realism in cinematography enhances audience engagement.
Budget constraints require innovative solutions in filmmaking.
Lighting plays a crucial role in conveying emotional depth.
Collaboration with the crew is essential for success.
Imperfection in filmmaking can serve the story.
AI's impact on creative jobs is a growing concern.

Follow our Guest

https://www.instagram.com/jameswhitaker_dop/

Follow our Host

https://www.instagram.com/benconsoli/

What can puppetry teach filmmakers about acting, storytelling, and cinematography?

In this episode of The Go Creative Show, host Ben Consoli sits down with puppeteer and filmmaker Andrew G. Cooper (Fraggle Rock) to break down the filmmaking discipline behind puppetry—and why it might be one of the most underrated tools for learning visual storytelling.

Andrew shares how puppets demand clarity in performance, intentional framing, and disciplined direction, offering lessons that translate directly to working with actors and cameras. They explore in-camera effects, the resurgence of practical filmmaking, and how creative constraints often lead to stronger storytelling. Andrew also dives into his experience working on large-scale productions and how puppetry informs his work as a writer and director, including a feature film currently in development.

Whether you're a cinematographer, director, or storyteller, this conversation will change how you think about performance on screen.

TAKEAWAYS

• Andrew G. Cooper's journey into puppeteering began with his mother's local puppet TV show.
• The transition from theater to film puppetry involves understanding the frame and camera techniques.
• Bringing life to puppets involves weight, breath, and focus.
• Puppeteers are often actors and directors, integrating their skills into performances.
• The resurgence of practical effects is driven by a desire for tangible, real experiences in media.
• Constraints in puppetry can lead to creative solutions and improvisation on set.
• Andrew's experience on Fraggle Rock was a significant leap from theater to television production.
• Training and passion are essential for aspiring puppeteers and filmmakers.
• The collaborative nature of film production allows for puppeteers to contribute creatively.
• Andrew is developing a feature film that explores cosmic horror with puppetry.

LINKS

www.andrewgcooper.com

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Join host Ben Consoli as he welcomes back Drew Wehde, the brilliant cinematographer behind The Bear Season 4. Drew dives deep into the chaos and beauty of shooting one of the most creatively daring shows on TV. From the philosophy of forgetting your work to designing lighting systems with 18Ks and Infinimats, Drew breaks down how The Bear achieves its raw, immersive style—and why sometimes, there's no storyboard at all. Whether you're a seasoned DP, an indie filmmaker, or a Bear superfan, this is a must-listen.

• How to be present — stay focused on the moment while filming
• Why filmakers should forget past work to unlock fresh creativity
• Balance between filmmaking and family matters
• Drew's crew shares his "live in the now" mindset
• The Bear uses bold, evolving visual techniques
• Lighting and color are core to the show's style
• He built a custom lighting system for fast adjustments
• The Season 4 finale is driven by character, not chaos
• No storyboards or shot lists — pure flexibility on set
• Filmmaking is a true collaboration with his team

🎥 Watch The Bear Season 4 Trailer
🎧 Subscribe to the Go Creative Show wherever you get your podcasts
📸 Follow Drew Wehde on Instagram @andrewwehde 

In this episode of the Go Creative Show, cinematographer Stephan Pehrsson returns to discuss his visual approach to the latest Black Mirror episodes, including 'USS Callister: Into Infinity' and 'Bête Noire'. We dive into lighting technology, camera choices, in-camera effects, and the psychological tension behind every frame.

• How Black Mirror's Visual Style Has Evolved Since Season 4

• The LED Lighting Revolution: What's Changed Behind the Scenes

• Green Screen vs LED Wall: The Battle for Better Sci-Fi

• Keeping a Consistent Look Across Alien Worlds and Realities

• Realism vs Stylization: How Stephan Shapes Each Scene

• What It Took to Bring USS Callister Back to Life

• Inside the Camera Kit: Breaking Down the USS Callister Package

• Vintage Anamorphics Up Close: Getting That Cinematic Look

• How They Pulled Off Those Seamless "Double" Shots

• The Techno Dolly Trick: Making Handheld Magic Repeatable

• How Stefan Handles the Pressure When the Clock's Ticking

• Breaking Into the Industry: Stephan's Cinematography Journey

• Stephan's Big Break: From Soap Operas to Sci-Fi Giants

• Designing the Look of Bête Noire: Pastels, Paranoia, and Precision

• Creating Psychological Tension Through Cinematography

• Why Passion Still Powers the Best Film Work

• AI in Filmmaking: Helpful Assistant or Creative Threat?

🎥 Watch the BTS for USS Callister
🎧 Subscribe to the Go Creative Show wherever you get your podcasts
📸 Follow Stephan Pehrsson on Instagram @stephan.pehrsson 

The Art of the Oner: In this episode of the Go Creative Show, acclaimed cinematographer Adam Newport-Berra joins us to discuss his work on the hit series 'The Studio'. Adam opens up about his process, the pressure and passion behind one-take sequences, lighting approaches, camera builds, and the philosophy that drives his visual choices. If you're into cinematography, collaboration, or breaking into the industry, this conversation offers both inspiration and tactical insight.

• The storytelling power of long takes and why The Studio committed to the oner format

• Prepping like a maniac: location scouting, movement planning, and lookbooks

• Filming in a live Las Vegas casino

• The benefits (and madness) of shooting with one lens, one camera, no coverage

• Which celebrity cameo was Adam most nervous about... Spoiler...Martin Scorsese!

• Why embracing chaos creates more grounded and exciting performances

• Lighting for realism vs. stylization in high-glass, high-energy environments

• The artistic beauty of maximalism and intentional visual anxiety

• Balancing technical precision with raw human performance

• Why strong leadership and a positive set culture are essential for creativity

• Lessons on collaboration, adaptability, and protecting your inspiration outside of work

• A relatable script is the heart of great cinematography—it gives every shot purpose.

• Extensive prep is vital, especially when choreography, camera, and cast all move as one.

• The show's one-shot format pushed every department to be smarter, faster, and more creative.

• Working with a supportive crew makes bold risks possible—and fun.

• Technical constraints (like using a 21mm lens and the Alexa 35) unlocked visual freedom.

• Collaboration is everything: lighting, production design, and performance must all dance together.

• Performance always trumps perfection. Capture the moment—then make it beautiful.

• Spontaneity thrives when you're fully prepared.

• Your life outside film matters. Inspiration isn't just on set—it's everywhere.

🎥 Watch the trailer for The Studio
🎧 Subscribe to the Go Creative Show wherever you get your podcasts
📸 Follow Adam Newport-Berra on Instagram @adamnberra

Are filmmakers right to fear AI? Not exactly. In this episode, Ben Consoli sits down with Caleb Ward, co-founder of Curious Refuge, the leading platform for AI storytelling, to break down the real impact of AI on the filmmaking industry. They dive into how AI can enhance—not replace—human creativity, streamline production, and even open the door to entirely new job roles.

From ethical concerns to wild possibilities like generating full films from a single prompt, this conversation explores the exciting (and sometimes misunderstood) intersection of technology and storytelling. Whether you're AI-curious or AI-cautious, this episode is a must-listen for any modern filmmaker.

• Curiosity beats fear — filmmakers shouldn't be afraid of AI, but explore its potential.

• AI enhances, not replaces — it's a tool to support storytelling, not steal jobs.

• History repeats — every new tech in filmmaking faced initial skepticism.

• AI in action — it's already helping with pre-vis, post-production, VFX, and animation.

• Creativity still rules — AI lacks original storytelling ability; the human touch is essential.

• New visuals, new possibilities — AI enables visuals once too costly or impossible to achieve.

• The Sphere example — AI was used to enhance The Wizard of Oz experience in Las Vegas.

• Inspiration & iteration — AI can speed up creative brainstorming and refine ideas.

• Ethics & ownership matter — creators must consider legal and moral implications.

• Jobs are evolving — AI is creating new roles in the industry, not just replacing old ones.

• The future is hybrid — expect AI-assisted films, but human storytelling remains irreplaceable.

Links:

https://curiousrefuge.com
AI Film News
GoCreativeShow
BC Media Productions

In this episode of the Go Creative Show, Jessica Lee Gagné returns to discuss her experience filming Severance Season two, plus her Episode 7 directorial debut. She shares insights into her creative process, the challenges of shooting in unique environments, and the evolution of cinematography from Season One to Season Two. Jessica emphasizes the importance of collaboration, the emotional journey of directing, and the innovative techniques used in the series, including transitions and lighting choices. The conversation highlights her growth as a filmmaker and her aspirations for future projects

Takeaways

• Jessica's directorial debut was a significant milestone in her career.
• The opening shot of Episode 1 was a complex and collaborative effort.
• Cinematography choices were crucial in maintaining the show's visual language.
• Lighting evolved significantly from Season One to Season Two.
• Collaboration with colorists was essential for achieving the desired aesthetic.
• Directing Episode 7 allowed Jessica to explore new themes and storytelling techniques.
• The emotional journey of directing was both challenging and rewarding for Jessica.
• Trust and communication among the crew were vital for the success of the episode.
• Flashbacks were a unique storytelling device that added depth to the narrative.
• Innovative transitions in Episode 7 showcased the show's creative evolution.

LINKS

Jessica Lee Gagné
GoCreativeShow
BC Media Productions

In this episode of the Go Creative Show, cinematographer Drew Daniels discusses his work on the film Anora, exploring the choices made in shooting on film, the challenges of balancing family life with a demanding career, and the unique lighting techniques that evoke a 70s aesthetic. He shares insights into the language of film, the importance of capturing authenticity, and how chaos can enhance the storytelling process. Drew reflects on his evolving collaboration with director Sean Baker and the milestones in his career that have shaped his approach to cinematography.

Takeaways

• Shooting on film was a given for Anora.
• The process of filmmaking can be challenging for family life.
• Anamorphic lenses add a layer of magic to the film.
• Lighting techniques were inspired by 70s aesthetics.
• Capturing authenticity is key to engaging storytelling.
• Chaos in filmmaking can lead to unexpected creativity.
• Collaboration with directors shapes the cinematographer's work.
• Career milestones can redefine a cinematographer's path.
• The importance of a supportive crew in filmmaking.
• Innovative techniques can elevate the visual storytelling.

Links

Drew Daniels

IMDB

In this episode of the Go Creative Show, cinematographer Phedon Papamichael discusses his work on the film A Complete Unknown, exploring the visual style, character development, and innovative techniques used throughout the production. He shares insights into the evolution of cinematography as it relates to Bob Dylan's journey, the importance of texture and authenticity in the film's aesthetic, and the collaborative process with director James Mangold.

We also discuss his innovative techniques for shooting night exteriors, the importance of location filming, and the dynamic control of lighting on set. He reflects on the musicality of filmmaking and the collaborative process with actors and directors. Additionally, he shares his thoughts on the impact of AI on the future of cinematography and the importance of maintaining creative integrity in filmmaking.

Takeaways

This film is about capturing the protagonist's interior doings.
The visual style evolved to reflect Bob Dylan's transformation.
Using period photography as inspiration helped shape the film's look.
The cinematography aimed for a more intimate character study.
The film's texture was intentionally rough and less polished.
Cinematography evolved with the character's journey and energy.
Innovative low light techniques were explored for authenticity.
Collaboration with the director was key to achieving the film's vision.
The use of multiple cameras allowed for a dynamic shooting style.
The final look was carefully calibrated to match the intended aesthetic. Shooting at high ISO allows for creative night exteriors.
Controlling light is more about subtraction than addition.
Location filming enhances the authenticity of a film.
Dynamic lighting can create a more organic feel on set.
Collaboration with actors can lead to unexpected creative choices.
The use of technology can streamline the filmmaking process.
AI poses challenges but also opportunities for filmmakers.
Maintaining communication on set is crucial for success.
Filmmaking should remain a human-centered process.
Finding the right collaborators is key to creative filmmaking.

In this episode of the Go Creative Show, cinematographer Jarin Blaschke discusses his work on the new film Nosferatu, reflecting on his journey in cinematography and the collaborative process with director Robert Eggers. He delves into the unique visual style of Nosferatu, including the use of moonlight and lighting techniques, as well as the challenges faced during production. Jarin shares insights on camera movement, framing choices, and the emotional impact of the film on viewers. He also hints at future projects and his aspirations in the film industry.

Takeaways

• The journey to becoming a cinematographer can be long and challenging.
• Collaboration with Robert Eggers has been pivotal in Jarin's career.
• Lighting techniques in Nosferatu were carefully developed over time.
• The film's unique look was influenced by historical context and artistic choices.
• Camera movement in Nosferatu aims to create an eerie viewer experience.
• Jarin emphasizes the importance of framing and composition in storytelling.
• The emotional impact of the film is enhanced by its visual style.
• Future projects may explore new techniques and styles in filmmaking.
• Jarin is open to directing in the future, exploring new creative avenues.

• Go Creative Show
• BC Media Productions

In this episode of the Go Creative Show, cinematographer Alice Brooks discusses her work on the film Wicked, exploring its visual aesthetic, the return of practical effects in cinema, and the challenges of lighting large sets. She emphasizes the importance of collaboration and trust within her crew, the role of nature in storytelling, and the innovative use of Unreal Engine for pre-visualization. The conversation also touches on female representation in the film industry and the personal journeys of women in cinematography.

Takeaways

• Wicked is a friendship love story 
• Classic Hollywood inspired visuals
• Practical effects are making a comeback in cinema.
• How nature inspired the lighting choices.
• Collaboration and trust are crucial in filmmaking.
• Intimacy in cinematography enhances emotional connection.
• Pre-visualization with Unreal Engine was essential for planning.
• Alice Brooks emphasizes the importance of details in filmmaking.
• Female representation in cinematography is growing and inspiring.

• Go Creative Show
• BC Media Productions
• WICKED IMDb
• Alice Brooks IMDb

In this episode of the Go Creative Show, hosts Ben Consoli and Connor Crosby celebrate the recent rebranding of BC Media Productions and emphasizing the importance of organization in the filmmaking process. They share their top organizational tools, including Notion, for project management and staying organized amidst a busy production schedule. The conversation also touches on the significance of project codes for high-level organization.  They discuss early reactions to the Final Cut Pro 11 release, and their excitement for upcoming films like Nosferatu and Wicked. PLUS, Ben's reactions to his first viewing of Wizard of Oz. 

Takeaways

• BC Media Productions has undergone a significant rebranding.
• Staying organized is crucial in the filmmaking process.
• Notion is a valuable tool for project management.
• Using project codes can enhance organization.
• Final Cut Pro continues to evolve with new features.
• Practical effects are making a comeback in modern filmmaking.
• Early reactions to the new Nosferatu film
• Excitement for Wicked movie
• Ben's first time watching Wizard of Oz

Links:

https://bcmediaproductions.com
https://www.facebook.com/gocreativeshow
https://www.instagram.com/gocreativeshow

Have a show idea? Leave a comment!

In this episode of the Go Creative Show, host Ben Consoli interviews Elie Smolkin, the director of photography for the series 'American Sports Story: Aaron Hernandez.' They discuss the unique storytelling approach of the series, focusing on the complexities of Aaron Hernandez's life beyond sports. Elie shares insights into the visual style, including the use of color to represent trauma and the innovative techniques used to depict CTE. The conversation also covers the challenges faced during filming, the importance of collaboration in filmmaking, and Elie's personal goals in the industry.

The Go Creative Show is produced by Ben Consoli and Connor Crosby, Creative Director and Producer at BC Media Productions 

Takeaways

• The story of Aaron Hernandez is an anti-sports story.
• Visual storytelling is crucial for engaging narratives.
• Color plays a significant role in conveying themes.
• CTE representation required innovative cinematography techniques.
• Camera movement enhances the emotional connection to characters.
• Collaboration and communication are key in filmmaking.
• Preparation is essential for managing complex shoots.
• Flexibility in creative decisions leads to better outcomes.
• Finding a compelling story is a filmmaker's challenge.
• Building a strong crew is vital for a successful production.

Chapters

00:00 Introduction to the Story of Aaron Hernandez
02:57 Visual Storytelling and Cinematic Techniques
05:31 Representing CTE Through Cinematography
11:45 Choosing the Right Camera Package
12:48 Using Camera Motion to Tell Visual Stories
17:45 Challenges in Filming Dramatic Episodes
19:34 The Challenges of Filming Episode 6
27:37 Maintaining Visual Consistency While Working with Multiple Directors
33:27 Joining the Ryan Murphy Family of Filmakers
33:57 Filmmaking Mistakes and How to Learn From Them
38:14 Goals and Aspirations in Filmmaking

Links:

https://eliesmolkin.com
https://bcmediaproductions.com
https://www.facebook.com/gocreativeshow
https://www.instagram.com/gocreativeshow

Have a show idea? Leave a comment!

In this episode of the Go Creative Show, host Ben Consoli welcomes back Jason McCormick, the director of photography for 'Monsters: The Lyle and Eric Menendez Story.' They discuss the pressures and expectations of following a successful series, the approach to adapting controversial real-life stories, and the unique lighting and visual style of the show. Jason shares insights into preparing for the gruesome murder scene and the impact of the one-take format in episode five, highlighting the importance of storytelling in filmmaking.

In this conversation, Jason McCormick discusses:

• His experiences and insights as a cinematographer
• Focusing on the creative process behind the series
• How he humanizing characters
• Using scattered light in cinematography
• The Importance of having a background in film
• Reflection on the future of immersive filmmaking and the communal experience of cinema.

LINKS

• Go Creative Show
• BC Media Productions
• Jason McCormick Official Website
• Lightbridge

Summary

In this episode of the Go Creative Show, Ben Consoli and Connor Crosby discuss the latest happenings in the film industry, including their thoughts on Apple's new immersive film 'Submerge' and the controversial musical 'Joker 2'. They also delve into the impact of AI on filmmaking, highlighting the advancements in video generation technology and its implications for the future of cinematography.

Takeaways

• Apple's Vision Pro enhances immersive film experiences.
• 'Submerge' showcases innovative storytelling techniques.
• Joker 2's musical format raises questions about its execution.
• AI is revolutionizing video production and editing.
• The importance of prompts in AI-generated content.
• Filmmakers are exploring new creative avenues with technology.
• The balance between risk and audience reception in filmmaking.
• Meta Movie Gen jumps into the AI video space
• The evolution of cinematography through technological advancements.
• Community engagement is vital for filmmakers and production companies.

Links

• Go Creative Show
• BC Media Productions
• Ben's band Three Second Chances
• Behind the Scenes of Apple's Immersive Film "Submerge"
• Meta Movie Gen
• Firefly AI Video Generator

In this episode of The Go Creative Show, Ben and Connor dive into the art of building production crews across different locations. They share fun and practical tips, from using Facebook groups and Production Hub to find local talent, to creating eye-catching specialized reels for cinematographers. Plus, they highlight why being a jack-of-all-trades is a filmmaker's secret weapon. It's all about staying flexible and thinking on your feet in the ever-changing world of production. Tune in for some great stories, pro tips, and a chance to share your own experiences with the hosts!

Takeaways

• Assembling crews in unfamiliar locations is a common challenge.
• Facebook groups remain a valuable resource for finding crews.
• Specialized reels are crucial for cinematographers to showcase relevant work.
• Producers should be clear and concise in their requests to potential hires.
• Honing skills in various roles enhances a producer's effectiveness.
• Understanding local laws and conditions is vital for safety on set.
• Networking through established relationships can streamline crew assembly.
• Budget constraints often require producers to wear multiple hats.
• Engaging with the audience can lead to valuable insights and discussions.
• Continuous learning and adaptation are key to success in filmmaking.

Links

• Go Creative Show
• BC Media Productions
• Ben's band Three Second Chances

In this episode of The Go Creative Show, host Ben Consoli and producer Connor Crosby discuss the recent hiatus of the podcast, their busy schedules, and the future direction of the show. They explore the impact of new technology, particularly the iPhone 16 camera capabilities, on the filmmaking industry. The conversation delves into whether iPhones can replace professional cameras, real-world applications of iPhone filmmaking, and the accessibility of filmmaking tools. They also reflect on the evolution of filmmaking equipment and the importance of skill in the industry.

Links:

Go Creative Show Website

BC Media Productions Website

Three Second Chances (Ben's New Band)

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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• WINNING TIME season 2
• WINNING TIME IMDb
• Our Winning Time season 1 interview with Todd Banhazl and Mihai Malaimare Jr.

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• Ignition Visuals' website

GRAN TURISMO director of photography Jacques Jouffret shares his adrenaline-inducing visual approach to creating this gripping and authentic racing film. We discuss his meticulous approach to capturing the racing world's intensity, blending realism and authenticity without relying on heavy VFX. Also find out about his meticulous approach to recreating the pivotal Nürburgring crash and much more.

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THE RIGHTEOUS GEMSTONES director of photography Paul Daley breaks down his visual approach to season 3. We discuss the various camera movement, lighting, and lensing tricks he used to advance the latest season. Find out how the lotus scene was shot practically, how Paul makes studio sets look real, and so much more.

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•  
• Shooting the Locust scene practically (02:26)
• Visual approach to season 3 (07:45)
• Using both Signature and Supreme lenses (16:35)
• Camera movement and lighting (20:35)
• Approach to night exteriors (25:33)
• Practical locations vs sets (29:12)
• Filming the racecar and monster truck scenes (36:43)
• Paul's favorite scene in season 3 (41:14)
• And more!

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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.

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•  
• 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!

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Cinematographer Pawel Pogorzelski returns to Go Creative Show to discuss his latest film Beau Is Afraid and his collaboration with director Ari Aster. Pawel shares his experience filming with the Sony Venice and Rialto extension system, how he creates a cohesive palette for the film's many different looks, and the lens and lighting choices that gave Beau Is Afraid its many unique and surreal looks. We also answer audience questions and take a deep dive into how Pawel creates "vulnerability" in his cinematography.

Pawel does his best to explain what the film is about, but after watching the 3-hour odyssey and our interview with Pawel, we still aren't completely sure… maybe that's the point? Regardless of your understanding, or even opinion of the movie, this interview will inspire and educate film enthusiasts and movie fans alike.

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• How BEAU IS AFRAID was pitched to Pawel (01:31)
• Camera techniques to show anxiety (06:15)
• Using wide lenses (12:37)
• The different looks of BEAU IS AFRAID (16:27)
• Using an LED wall for the cruise ship scenes (22:35)
• Why the Sony Venice was the best choice (30:46)
• Relationship with camera operators (37:08)
• Not putting yourself in a genre box with cinematography (40:11)
• Pawel's philosophy as a cinematographer (42:14)
• And more!

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ELVIS director of photography Mandy Walker, ASC, ACS breaks down her incredible Oscar-nominated visual approach to the film. We discuss her great level of detail recreating iconic Elvis concerts, how different lenses were used for each of the decades, portraying Elvis' internal struggles through evolving lighting, and more.

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• Relationship with director Baz Luhrmann (03:17)
• How lens choice represented different time periods of ELVIS (06:10)
• Camera movement of ELVIS (13:20)
• The importance of meticulous prep (16:55)
• What to look for in a great camera operator (22:59)
• Lighting the Vegas hotel room (25:26)
• The evolving lighting in ELVIS (28:51)
• How historical accuracy can be a fun challenge (35:16)
• Detuning lenses for a custom look (36:33)
• Filming Elvis' last performance (41:13)
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DEVOTION director of photography Erik Messerschmidt, ASC shares the incredible way most of the fighter plane shots were captured practically. Plus, we discuss the visual approach to the film, the advantage of using custom lenses over filtration, the disadvantages to using an LED volume, and so much more.

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• Creating a muted look to DEVOTION (03:41)
• How the plane sequences were shot practically (09:31)
• Filming the oner aerial crash scene (20:38)
• Using custom lenses with the RED Komodo (26:12)
• Two different visual worlds - military and family life (29:33)
• How to decide on lens focal length (33:12)
• Visual approach to France scenes (40:52)
• Pressure for historical accuracy (43:21)
• Filming with the LED volume (46:43)
• Why it's important for theaters to have good projectors (50:21)
• And more!

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GLASS ONION: A KNIVES OUT MYSTERY director of photography Steve Yedlin, ASC gives a masterclass in murder mystery cinematography. Learn how the blackout scene was shot, techniques for filming ensemble casts, and how motivated camera movement was its own character in the film.

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• Steve's thoughts on streaming distribution (04:31)
• HDR problems and TV calibration (10:24)
• Camera package used on GLASS ONION (16:11)
• Lens filters and custom modifications (18:45)
• Lighting techniques and technologies for GLASS ONION (26:18)
• Lighting philosophies and embracing glass reflections (31:54)
• Creating the lighthouse lighting rig (38:23)
• Filming large ensamble scenes and understanding eyelines (46:50)
• How camera motion is used in GLASS ONION (53:56)
• And more!

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

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• 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!

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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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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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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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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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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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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.

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• 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!

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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!

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• 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!

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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!

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• 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!

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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!

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• 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!

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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!

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• 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!

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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.

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• 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!

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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!

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• 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!

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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.

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• 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!

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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!

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• 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!

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• Amazon's Them Cinematography (with Checco Varese ASC)
• The Cinematic Violence of IT Chapter 2 (with Checco Varese)
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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!

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• 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!

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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!

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• 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!

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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!

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• 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)

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• TEXAS CHAINSAW MASSACRE on Netflix
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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.

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• 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)
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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!

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• 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!

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• OZARK IMDb
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• Leica Noctilux-M 50mm f/0.95 ASPH., black anodized
• Building Rialto - 3 VENICE Extension System Sample Builds | Sony Cine

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