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AMERICAN HORROR STORY DOUBLE FEATURE cinematographer Andrew Mitchell had a massive challenge to overcome: how to film two unique stories with distinct looks in a cohesive way. Learn his visual approach for each half of the season and how he transitioned from camera operator to DP.

Andrew and Go Creative Show host, Ben Consoli, discuss the essential skills every DP should have, using visual effects and clever editing to fake Sarah Paulson being on set, converting color to black and white, and so much more!

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What you will learn in this episode

• Working with Ryan Murphy (01:04)
• Transitioning from camera operator to DP (02:57)
• Skills a DP should have (15:03)
• Muted cold visual approach to Part 1 (18:27)
• LUTs affecting skin tones (24:43)
• Filming Sarah Paulson scenes without her (30:03)
• Using Helios tubes for fire scenes (32:14)
• Shooting Belle's massacre at 96 fps (35:48)
• Shooting on the Sony Venice with diopters (39:03)
• Converting color to black and white (41:57)
• Referencing CLOSE ENCOUNTERS for Part 2 (47:06)
• Blooming effect using filtration (50:48)
• And more!

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Show Links

• AMERICAN HORROR STORY IMDb
• DOUBLE FEATURE Part 1 trailer
• DOUBLE FEATURE Part 2 trailer

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• Andrew Mitchell’s IMDb

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• BC Media Productions
• BenConsoli.com
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• Ignition Visuals' website
• Ignition Visuals' Instagram

Discover how FINCH cinematographer Jo Willems ASC SBC overcame the challenges of filming the relationship between Tom Hanks, a dog, and a motion capture robot.

Jo and Go Creative Show host, Ben Consoli, discuss the film's unique look and creating intimacy with the camera. Learn how Jo filmed the desert scenes practically, the decision to shoot handheld, embracing lens artifacts, and so much more.

Jo and Go Creative Show host, Ben Consoli, discuss

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What you will learn in this episode

• Intimacy through cinematography (00:53)
• Warm inviting approach to lighting the bunker (10:47)
• Ignoring negative reviews (14:04)
• Finch visual approach and references (17:03)
• Filming desert scenes practically (19:38)
• Heavily artifacting the lenses (25:21)
• Challenges with filming an actual RV (30:56)
• Filming a motion capture suit while handheld (34:02)
• VFX approach of the robotChallenges of filming dogs (40:58)
• Why night exteriors are so difficult (45:21)
• And more!

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Show Links

• FINCH IMDb
• FINCH on Apple TV+
• FINCH trailer
• Jamie XX Video Reference
• Arri S360C

Follow Our Guest

• Jo Willems’ IMDb
• Jo Willem’s website
• Jo Willem on Instagram

Follow Ben Consoli

• BC Media Productions
• BenConsoli.com
• Twitter
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Follow Connor Crosby (producer)

• Ignition Visuals' website
• Ignition Visuals' Instagram

Cinematographer Simon Dennis BSC of IMPEACHMENT: American Crime Story masterfully depicted one of the most iconic moments in American history while capturing portrayals of Monica Lewinsky, Linda Tripp, and of course Bill & Hillary Clinton.

Simon and Go Creative Show host, Ben Consoli, discuss the show's desaturated look, claustrophobic feeling, why he chose the Sony Venice, working with split diopters, and inventing a new visual genre… “Gloom Glam”.

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What you will learn in this episode

• Balance of filming non-fictional projects (00:59)
• "Glamorous gloom" visual approach (10:08)
• Simon's stylistic lighting approach (12:58)
• Warm visual approach to the White House (17:53)
• Dreary look of the Pentagon (20:40)
• Not having characters motivate cinematography (27:46)
• Using a split diopter (30:37)
• Why Simon chose the Sony Venice (36:15)
• Feeling of claustrophobia (42:02)
• Why the jury trial scene was so challenging (46:37)
• Making the mundane exciting through cinematography (49:24)
• Monica Lewinsky's involvement with the show (53:05)
• And more!

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Show Links

• AMERICAN CRIME STORY IMDb
• AMERICAN CRIME STORY on FX Networks

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• Simon Dennis IMDb
• Simon Dennis on Instagram

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• BC Media Productions
• BenConsoli.com
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Follow Connor Crosby (producer)

• Ignition Visuals' website
• Ignition Visuals' Instagram

DUNE, with its stunning cinematography and epic sets, was packed with unique challenges for director of photography Greig Fraser ACS ASC -- including filming in whipping sands and lighting football field sized sets.

Greig and Go Creative Show host, Ben Consoli, discuss discuss how he balances epic and intimate, his techniques for large night exteriors, embracing the shadows and Greig’s unique film transfer process that jumps from digital to film and back again.

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What you will learn in this episode

• Treating every movie like an indie (01:48)
• Taking on projects you fear (05:27)
• Soft lighting for interiors (11:09)
• Lighting sandy exteriors (16:18)
• Visual approach to DUNE (18:26)
• Film to digital transfer process (21:36)
• Balancing epicness with intimacy (29:04)
• Sand worm collaboration with VFX (33:27)
• Having actors' faces in shadow (38:10)
• Viewing DUNE in theaters vs HBO Max (43:32)
• Most challenging scene (46:56)
• How the floating lights were filmed (51:15)
• Lighting for night exteriors (54:09)
• And more!

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Show Links

• DUNE IMDb
• DUNE trailer
• DUNE on HBO Max

Follow Our Guest

• Greig Fraser’s IMDb
• Greig Fraser’s Instagram

Follow Ben Consoli

• BC Media Productions
• BenConsoli.com
• Twitter
• Instagram

Follow Dave Siegel(sound mixer)

• Dave Siegel's website
• Dave Siegel's Instagram

Follow Connor Crosby (producer)

• Ignition Visuals' website
• Ignition Visuals' Instagram

The tragic death of Cinematogarpher Halyna Hutchins has ignited a worldwide conversation about gun safety on film sets. Armorer Bryan W Carpenter joins us to discuss current safety standards and what protocols were missed leading up to the tragic shooting.

Bryan and Go Creative Show host, Ben Consoli, discuss pros and cons of practical firearms vs visual effects, the difference between “blanks” and “dummy” ammunition, and what a “prop gun” actual is.

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What you will learn in this episode

• Role of an armorer (01:21)
• Types of prop guns (05:27)
• What happened on the set of RUST (08:39)
• Round types and safety distances (12:27)
• Steps to ensure safety on set (23:28)
• Certification for armorers (36:26)
• Replacing prop guns with vfx (39:26)
• America's gun obsession (47:14)
• Preventing this tragedy from happening again (48:51)
• And more

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Show Links

• Halyna Hutchins Scholarship Fund

Follow Our Guest

• Dark Thirty Film's website

Follow Ben Consoli

• BC Media Productions
• BenConsoli.com
• Twitter
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Follow Dave Siegel(sound mixer)

• Dave Siegel's website
• Dave Siegel's Instagram

Follow Connor Crosby (producer)

• Ignition Visuals' website
• Ignition Visuals' Instagram

HALLOWEEN KILLS is packed with gory murders and cinematography that elevates the horror genre. Cinematographer Michael Simmonds returns to discuss the film's camera choices, lighting techniques and visual approach while breaking down the most challenging kill scenes.

Michael and Go Creative Show host, Ben Consoli, discuss filming the 1978 flashbacks, Michael's use of zoom lenses, how the house fire scene was shot, telling micro stories within scenes, and more!

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What you will learn in this episode

• What Michael enjoys about cinematography (01:07)
• Transitioning from comedy to horror (08:12)
• Filming the 1978 flashback sequences (11:40)
• Why horror movies are perfect for zoom lenses (15:27)
• Micro stories within scenes (21:03)
• Breaking down how the house fire scene was shot (25:22)
• Filming night time scenes (33:21)
• Filming the hospital scenes (37:48)
• Working with hundreds of extras on set (41:26)
• Breaking down some of the kill scenes (44:30)
• And more!

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Show Links

• Halloween Kills’ IMDb
• Halloween Kills trailer
• Halloween Kills on Peacock
• The Cinematography of Halloween 2018 (with Michael Simmonds)

Follow Our Guest

• Michael Simmonds’ IMDb

Follow Ben Consoli

• BC Media Productions
• BenConsoli.com
• Twitter
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Follow Dave Siegel(sound mixer)

• Dave Siegel's website
• Dave Siegel's Instagram

Follow Connor Crosby (producer)

• Ignition Visuals' website
• Ignition Visuals' Instagram

NO TIME TO DIEnot 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.

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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:

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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
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Follow Dave Siegel(sound mixer)

• Dave Siegel's website
• Dave Siegel's Instagram

Follow Connor Crosby (producer)

• Ignition Visuals' website
• Ignition Visuals' Instagram

Rather than releasing a series of music videos, Halsey has released a short film featuring her latest album IF I CAN'T LOVE, I WANT POWER. Music video producer Jamee Ranta gives us a behind the scenes look at making the film and music videos for other iconic artists.

Jamee and Go Creative Show host, Ben Consoli, discuss the decision to create this short film, how a producer is involved in the creative process, breaking into the music video industry, and more!

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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:

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Show Links

• IF I CAN’T LOVE I WANT POWER trailer
• IF I CAN’T LOVE I WANT POWER IMDb

Follow Our Guest

• Jamee Ranta’s IMDb
• Jamee Ranta’s website

Follow Ben Consoli

• BC Media Productions
• BenConsoli.com
• Twitter
• Instagram

Follow Dave Siegel(sound mixer)

• Dave Siegel's website
• Dave Siegel's Instagram

Follow Connor Crosby (producer)

• Ignition Visuals' website
• Ignition Visuals' Instagram

By a nearly unanimous margin, IATSE members in TV and film production vote to authorize a nationwide strike. Cinematographer Jim Denault ASC explains the proposed changes union workers are looking for and why they matter.

Jim and Go Creative Show host, Ben Consoli, discuss the existing working conditions, what has changed over the decades in the industry, the opposition to the new terms, worldwide support, and more!

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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:

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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
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Follow Dave Siegel(sound mixer)

• Dave Siegel's website
• Dave Siegel's Instagram

Follow Connor Crosby (producer)

• Ignition Visuals' website
• Ignition Visuals' Instagram

Imagine having only six weeks to prep for an entire movie trilogy, each one having its own distinct look. That was exactly the reality for cinematographer Caleb Heymann with Netflix's Fear Street trilogy.

Caleb and Go Creative Show host, Ben Consoli, discuss relying on candles and sunlight for the 1666 movie, creating that incredible bread machine kill scene, how to deal with the challenges of neon colored lighting, and more!

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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:

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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