Celebrating The Cinematography of Adam Newport-Berra
From ‘Euphoria’ and ‘The Bear’ to Adele music videos and beyond!
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.
More videos like this
- This video essay on Adam Newport-Berra’s cinematography is part of a larger series that highlights the creative style of different folks. You can click here to check out the series’ playlist, which includes a look at the work of the likes of Ellen Kuras, Gordon Willis, Ari Wegner, and Bradford Young.
- Here’s another sample of In Depth Cine’s work: how Quentin Tarantino shoots a film at three different price levels.
- And here’s another about how to tell the difference between anamorphic versus spherical camera lenses.
- And here’s In Depth Cine’s breakdown of a bunch of cinematography-related questions, including how they collaborate with colorists.
- And one more: In Depth Cine’s opinion on why certain modern filmmakers are opting to shoot their movies in black-and-white.
