The Cinematography Podcast Episode 316: Adam Newport-Berra

The Studio creators Seth Rogen and Evan Goldberg exploited every part of their knowledge and experience in the film industry to find the show's humor. Cinematographer Adam Newport-Berra worked closely with Rogen and Goldberg to achieve the show's signature style. They found the most dynamic ways to shoot scenes, with camera movements that immerse the audience in the characters' anxiety and panic. “It meant moving with the characters, moving through spaces, and finding ways to just keep the momentum of a scene going,” Adam explains. “We made very strong decisions early in the process. We're only gonna shoot with one camera, we're gonna shoot every scene in one shot, we're gonna shoot with one lens. It funnels down your choices and your options on set in a way that I think is really special. I think we make the most creative decisions when we're limited.”

The Studio relies on nimble, handheld camera work on gimbals and magnetic rigs for its many one-shot takes. The crew avoided over-intellectualizing each scene, prioritizing a dynamic feel and incorporating homages to numerous films. “I think a lot of it really came down to the writing and the material,” says Adam. “Seth and Evan are very smart. They've been doing this for a long time. They know what they like and they leaned into that in the writing.”

While a script provided the foundation, many scenes were reworked on set. Rogen and Goldberg would collaborate with the actors to refine the rhythm and enhance the material. Actors frequently contributed lines and ideas, leading to on-the-spot script revisions. However, improvisation had to fit into the impeccable timing for both the acting and camera work, leaving little room for error. Some shots required 20 takes, with the initial few serving as warmups. “It was a very non-traditional way to make a show,” Adam notes, “but everyone's firing on all cylinders, everyone's bringing 100 percent.”

Rather than creating traditional shot lists, Rogen and Goldberg would work out complex camera moves with the crew directly on location. Often, they'd envision a desired shot and then structure the scene to organically lead to it. The crew and actors would block and rehearse scenes together and separately, allowing the story to unfold naturally.

For a show as dynamic as The Studio, Adam learned to keep the lighting as simple as possible. The lighting had to take a backseat to the camera movement, so typically, every episode relied on natural light. Adam trusted in modern camera sensor technology and the colorist to ensure the actors looked their best. But he did have opportunities to experiment with light and shadow in specific episodes, such as “The Missing Reel,” which embraced a film noir look, and “The Golden Globes,” which used stage lighting and uplighting on the tables.

“I think what works about this show was the fact that it does skewer itself, it is self-deprecating, it does show how absurd our life is and it was kind of refreshing to be able to talk about that publicly,” says Adam. “A lot of the people in my life don't understand what I do, so it's been fun to tell these stories and to show how absurd our profession is, the conflict between art and commerce,