Celebrating The Cinematography of Adam Newport-Berra

From 'Euphoria' and 'The Bear' to Adele music videos and beyond!
The Last Black Man In Sf Grass

Welcome to The Queue — your daily distraction of curated video content sourced from across the web. Today, we’re watching a video essay that looks at the cinematography of Adam Newport-Berra.

What do HBO’s Euphoria and Paris, Texas DP Robby Müller have in common? That’s right: cinematographer Adam Newport-Berra!

A jack of all trades — Newport-Berra’s résumé includes music videos, narrative features, TV, and commercial work — which has distinguished the DP as a modern cinematographer whose name is well-worth knowing.

If you’re wondering where you’ve seen Newport-Berra’s work before, you may have caught his gorgeous frames in The Last Black Man in San Francisco, which boasts a natural glow and tactile vibrancy that gives Joe Talbot’s 2019 film a narratively-relevant warmth and nostalgia. This year, you might have spied Newport-Berra’s credit in the first episode of The Bear, which set the visual precedent of long takes and push-zooms for the rest of the series.

To dive deeper into Newport-Berra’s filmography — his aesthetic philosophy and his gear set-up — push on to the video essay below:

Watch “Cinematography Style: Adam Newport-Berra”

Who made this?

This video essay on the cinematography of Adam Newport-Berra by In Depth Cine, a YouTube account dedicated to providing its audience with practical rundowns and explainers on some of the more technical aspects of movie-making. Gray Kotzé, a documentary DP based in South Africa, is the man behind the channel. You can check out Kotzé’s portfolio on their website here. And you can check out In Depth Cine on YouTube here.

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Meg Shields: Based in the Pacific North West, Meg enjoys long scrambles on cliff faces and cozying up with a good piece of 1960s eurotrash. As a senior contributor at FSR, Meg's objective is to spread the good word about the best of sleaze, genre, and practical effects.