Go Creative Show

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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• Ricardo Diaz’s IMDb
• Todd Banhazl’s IMDb
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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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Sony VENICE

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• Gran Turismo IMDb

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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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What you will learn in this episode

• 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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• The Righteous Gemstones on MAX

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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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What you will learn in this episode

• Bringing the animated film to life (03:26)
• Being inspired by BBC's BLUE PLANET (08:15)
• Filming the underwater world (11:30)
• Putting actors in rigs to simulate swimming (18:18)
• Using different lenses for above and below water (25:57)
• Why THE LITTLE MERMAID is so dark (28:11)
• Turning an Italian beach into the Caribbean (32:26)
• Why the underwater scenes were so difficult (40:33)
• Filming the shipwreck scenes (42:37)
• Cinematography tricks used when Ariel can't speak (46:01)
• Filming Under The Sea musical number (52:36)
• Dion's thoughts on the visual effects (54:27)
• And more!

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• THE LITTLE MERMAID (2023) trailer
• THE LITTLE MERMAID on IMDb

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• Dion Beebe’s Instagram
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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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What you will learn in this episode

• 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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• BEAU IS AFRAID IMDb

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• Pawel Pogorzelski's Instagram
• Pawel Pogorzelski's IMDb

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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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What you will learn in this episode

• 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)
• And more!

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• ELVIS trailer
• ELVIS IMDb

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• Mandy Walker ASC ACS IMDb
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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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What you will learn in this episode

• 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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Show Links

• DEVOTION IMDb
• DEVOTION trailer

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• Erik Messerschmidt, ASC on IMDb
• Erik Messerschmidt, ASC on Instagram

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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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What you will learn in this episode

• 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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Show Links

• GLASS ONION on Netflix
• GLASS ONION trailer
• GLASS ONION IMDb

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• Steve Yedlin’s Instagram
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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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What you will learn in this episode

• Paying homage to italian films (01:20)
• Challenges of filming in a real hotel (04:08)
• Visually approaching season 2 (09:17)
• Lighting and lensing for filming exteriors in Sicily (11:43)
• Lighting the environment for maximum camera co... (17:02)
• Xavier's Camera and Lens Choices (19:11)
• What makes filming sex scenes so difficult (23:33)
• Building suspense with cinematography (31:26)
• Tanya and the yacht massacre (35:58)
• Why DPs are ultimately probelm solvers (40:18)
• Shooting night for night (42:56)
• And more!

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Show Links

• THE WHITE LOTUS IMDb
• THE WHITE LOTUS on HBO Max

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• Xavier Grobet, ASC, AMC IMDb

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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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What you will learn in this episode

• Russell's thoughts on critics (02:40)
• Filming the incredible underwater scenes with motion capture (07:37)
• Why Russell decided to film with the Sony Venice (15:28)
• Deep dive into the lighting of AVATAR: THE WAY OF WATER (26:09)
• Was the Sony Venice Rialto born from AVATAR: THE WAY OF WATER? (33:10)
• Filming at 48 frames per second (37:44)
• The cinematographer's role in a VFX-heavy film (43:10)
• AVATAR's production workflow explained (52:16)
• Why it's important for filmmakers to embrace new technology (01:01:07)
• And more!

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Show Links

• AVATAR: THE WAY OF WATER IMDb

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• Russell Carpenter ASC's IMDb
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Follow Dave Siegel (sound mixer)

• Dave Siegel's website