Toby Oliver is the award winning cinematographer behind the lens of Jordan Peel's debut film Get Out. Get Out has received high praise from critics (99% Fresh rating at Rotten Tomatoes) and moviegoers around the world for its story, acting, and cinematography. Toby shares all his lighting and lensing techniques that gave Get Out its uniquely horrifying look. We discuss the blending of horror and comedy, why he choose to shoot with zoom lenses, the challenges of a limited budget, and so much more.
About The Go Creative Show
The Go Creative Show has become one of the most listened-to podcasts of its kind. It continues to grow filled with shared experiences and gear talk, as it informs, entertains, and inspires its audience. Shows have included interesting guests like Jeff Cronenweth (Director of Photography : Gone Girl, Social Network, Fight Club), Stefan Czapsky (Director of Photography : Max, Edward Scissorhands, Ed Wood), Michael Slovis (Director of Photography: Breaking Bad, CSI), Igor Martinovic (Director of Photography: House of Cards), Tim Webber (Visual Effects Supervisor: Gravity, Avatar), David Burr (DP Second Unit: Mad Max: Fury Road), David Franco (Director of Photography: Boardwalk Empire), Tim Ives (Director of Photography: Stranger Things), Salvatore Totino (Director of Photography: Everest), Zach Zamboni (Cinematographer: Anthony Bourdain’s Parts Unknown).
As if this wasn't already the hottest summer on record, Blackmagic Design's Grant Petty rolled out some blazing news across a wide range of the company's product lines in cameras, production hardware, and software.
Here's a great new Adobe After Effects tutorial series from Creative COW leader Graham Quince that takes advantage of the free Orb plug-in from our friend Andrew Kramer at Video Copilot. Graham supplies project files, tips and tricks, and good humor on this tour through building every planet in the solar system, with customization options galore!
Blackmagic once again delivers a jaw-dropping lineup of advanced hardware -- ATEM Constellation 8K with built-in Fairlight mixing in the industry's largest live production audio mixer, plus 16 hardware keyers, 24 8K outputs, and more; the New Teranex Mini SDI to HDMI 8K with dual on screen scope overlays, HDR, 33 point 3D LUTs and monitor calibration; HyperDeck Extreme 8K broadcast deck with advanced H.265 recording, touch screen interface, internal cache, built in scopes, HDR, and traditional deck control; and the URSA Mini Pro G2 camera featuring new electronics, Super 35 4.6K HDR image sensor, 15 stops of dynamic range, 300 fps high frame rate shooting, and Blackmagic RAW -- for prices even lower than how low your jaw just dropped reading them.
"The Seven Worlds" is the latest advertising epic short directed by Ridley Scott, a marvelous odyssey spanning surreal scenes inspired by the seven tasting notes of Hennessy premium X.O. cognacac. Realizing Scott's unparalleled vision required a masterful team and state-of-the-art technology to assist, that's where London's The Mocap Studio team came in. The mobile motion capture specialists lent their expertise to the project, using Xsens MVN inertial technology to help capture a human performer on-location in the heart of a Czech forest.
The city of Nottingham perpetually exists in two states: the metropolitan center that it is today, and the fictional home of one of the world’s most famous outlaws. So when the filmmakers behind 2018’s Robin Hood looked to recreate the fictional Nottingham, it needed to build it from scratch with help from London’s Cinesite Studio.
There's huge development going on for professional audio on iPad, whether for recording, hardware control for digital audio workstations, or music creation. Longtime audio engineer Keith Alexander looks at some specific options that audio pros will find indispensible.
Pav recently won a VES award for his groundbreaking VFX work on the film. He talks about his process, the amazing VFX and animation teams he worked with and the innovative new tool he invented that may change the future of animation.
If you hope to distribute your work via Netflix, you NEED to know this, but even if you're only interested in the best thinking currently available about how to preserve your own work for an unknown digital future, this is a must-read. Kylee Peña, Coordinator of Creative Technologies & Infrastructure at Netflix, and co-authors Christopher Clark and Mike Whipple share insights on the origin of Netflix archival elements, the importance of color management, and how all this comes together to preserve creative intent -- insights you can start using yourself, today.
New York-based editor Phyllis Housen first fell in love with movies at a young age and had that love reinforced by a high school teacher who taught film history instead of English class. Her editing career includes both chapters in Tarantino's Kill Bill saga, and most recently, the drama Clemency, winner of the Grand Jury Prize at Sundance. She tells Kylee Peña about the connection between her skills as a drummer and storytelling, the evolution she's seen in the craft of editing, editing films shot in a language she doesn't speak, her use of Adobe Premiere Pro, and how she explains all the blood and violence in the films she edits to her parents.
Editor/Director Courtney Ware got her start in the industry as a PA, quickly working her way up to producer before her 21st birthday. After her directorial debut on Sunny in the Dark, she realized a pivot away from producing and into storytelling was in her future, and she got started on being an editor in between directing jobs. The first film to bring her to Sundance was Never Goin’ Back, and she’s back at the festival this year with Light From Light. Creative COW Manager Editor Kylee Peña speaks to Courtney about how her work in each role informs the other, and making her way in the film community from her base in Dallas.