Episoder
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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 -
Manglende episoder?
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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)
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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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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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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! Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links The Righteous Gemstones on MAX Follow Ben Consoli BC Media Productions BenConsoli.com Twitter InstagramFollow Connor Crosby (producer)
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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! Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links THE LITTLE MERMAID (2023) trailer THE LITTLE MERMAID on IMDb Follow Our Guest Dion Beebe’s Instagram Dion Beebe’s IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter InstagramFollow Connor Crosby (producer)
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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!Go Creative Show is supported by:
Sony Cine For the month of May 2023, Sony is offering special financing on their entire cinema line, and extended financing on the VENICE and VENICE 2 cameras. Visit SonyCine.com for details. Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links BEAU IS AFRAID IMDb Follow Our Guest Pawel Pogorzelski's Instagram Pawel Pogorzelski's IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter InstagramFollow Connor Crosby (producer)
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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! Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links ELVIS trailer ELVIS IMDb Follow Our Guest Mandy Walker ASC ACS IMDb Mandy Walker ASC ACS’ Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter InstagramFollow Connor Crosby (producer)
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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! Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links DEVOTION IMDb DEVOTION trailer Follow Our Guest Erik Messerschmidt, ASC on IMDb Erik Messerschmidt, ASC on Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter InstagramFollow Connor Crosby (producer)
Ignition Visuals' website -
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! Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links GLASS ONION on Netflix GLASS ONION trailer GLASS ONION IMDb Follow Our Guest Steve Yedlin’s Instagram Steve Yedlin’s Twitter Steve Yedlin’s IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter InstagramFollow Connor Crosby (producer)
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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! Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links THE WHITE LOTUS IMDb THE WHITE LOTUS on HBO Max Follow Our Guest Xavier Grobet, ASC, AMC IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter InstagramFollow Connor Crosby (producer)
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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!Go Creative Show is supported by:
Sony Venice Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links AVATAR: THE WAY OF WATER IMDb Follow Our Guest Russell Carpenter ASC's IMDb Russell Carpenter ASC's Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter InstagramFollow Connor Crosby (producer)
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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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What you will learn in this episode 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!Go Creative Show is supported by:
Sony VENICE Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links Black Panther: Wakanda Forever IMDb Black Panther: Wakanda Forever trailer Follow Our Guest Autumn Durald Arkapaw IMDb Autumn Durald Arkapaw Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter InstagramFollow Connor Crosby (producer)
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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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What you will learn in this episode 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! Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links THE BEAR IMDb THE BEAR trailer THE BEAR on Hulu Follow Our Guest Andrew Wehde’s IMDb Andrew Wehde’s Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter InstagramFollow Connor Crosby (producer)
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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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What you will learn in this episode 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! Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links DAHMER trailer DAHMER on Netflix DAHMER IMDb TRIBE BLACKWING 7 Lenses Follow Our Guest Jason McCormick’s IMDb Jason McCormick’s Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter InstagramFollow Connor Crosby (producer)
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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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What you will learn in this episode 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!Go Creative Show is supported by:
Shot Lister - The Best Shot List App Email [email protected] to claim your free gift Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links THE NORTHMAN IMDb THE NORTHMAN on Apple TV Follow Our Guest Robert Eggers’ Instagram Robert Eggers’ IMDb Jarin Blaschke’s IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter InstagramFollow Connor Crosby (producer)
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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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What you will learn in this episode 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!Go Creative Show is supported by:
Shot Lister - The Best Shot List App Email [email protected] to claim your free gift Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links EVERYTHING EVERYWHERE trailer EVERYTHING EVERYWHERE IMDb Todd-AO Anamorphic — Camtec Follow Our Guest Larkin Seiple’s IMDb Larkin Seiple’s Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter InstagramFollow Connor Crosby (producer)
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