Cinematography of Love Story with Jason McCormick
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....
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Good Luck, Have Fun, Don't Die Cinematography with James Whitaker
Go Creative Show
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...
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What Puppetry Teaches Filmmakers with Andrew G Cooper
Go Creative Show
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...
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The Bear's Filmmaking Secrets with Cinematographer Drew Wehde
Go Creative Show
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. 🎬 Topics Covered How to be present — stay focused on the moment while...
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Filming Black Mirror’s Craziest In-Camera Shots with Stephan Pehrsson (USS Callister & Bête Noire)
Go Creative Show
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. 🎬 Topics Covered 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 ...
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Filming Incredible Oners with Adam Newport-Berra of The Studio
Go Creative Show
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. 🎬 Topics Covered The storytelling power of long takes and why The Studio committed to the oner format Prepping...
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AI in Filmmaking: The Good, The Bad, and What You Really Need to Know with Caleb Ward
Go Creative Show
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...
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Directing & Shooting Severance Season 2 with Jessica Lee Gagné
Go Creative Show
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...
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Anora Cinematographer Drew Daniels on Embracing Imperfection and Shooting on Film
Go Creative Show
In this episode of the , 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...
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The Cinematography of A Complete Unknown: Shooting 12,800 iso Sony Venice 2 to create a 1960’s era film
Go Creative Show
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...
info_outlineCinematographer 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.
What You'll Learn
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How Jason McCormick developed the visual style of Love Story
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Why aspect ratio and color pipeline are the first decisions he makes on a project
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Creating a custom LUT inspired by film photography
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The challenge of stepping into a project late and making it your own
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Shooting romance versus darker subject matter like Dahmer
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Navigating paparazzi and location challenges while filming in New York
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Why flexibility and instinct are key tools for cinematographers
Topics Covered
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Entering the project shortly before shooting the pilot
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Working with director Max Winkler
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Developing the show’s color palette and LUT
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Choosing lenses and aspect ratio for the series
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Building visual language for a romantic story
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The influence of paparazzi photography from the 1990s
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Filming in Manhattan and dealing with paparazzi on location
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Balancing creative instincts with production realities
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The current state of the film industry in Los Angeles
Key Takeaways
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Cinematography starts with the shape of the frame and color pipeline, not the lighting.
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The best visual ideas often come from reacting to actors and locations in the moment.
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Trust between departments allows filmmakers to work faster and more creatively.
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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