The debate of whether “The Bear” is truly a comedy (as far as the Emmys are concerned) rages on. But there’s no denying Christopher Storer’s kitchen-set series is one of the best on TV right now regardless of genre. Not only does it deftly mix hilarious moments with genuine pathos, but it’s also one of the most cinematic-looking shows in recent memory. The cinematography of “The Bear” stands head and shoulders above most of its contemporaries.
There’s so much for budding filmmakers and cinematographers to learn by spending time at the Original Beef. Let’s take a look at the various components that make up the distinctive visual style of “The Bear.”
The long take that defined the show’s vibe
“The Bear” primarily takes place in Chicago, and while we get glimpses of characters’ homes, much of the action occurs within the main restaurant—The Original Beef of Chicagoland, eventually renamed the Bear. This is where much of the show’s signature stress and anxiety occur, as Carmy (Jeremy Allen White) wants everyone to be at the top of their game. And there’s arguably no stretch as chaotic as Season 1, Episode 7—“Review,” directed by Storer, which primarily takes place over one unbroken shot.
White himself spoke about the process of adjusting to the episode. “I think in our case, [the shot] really lends itself to the story and where the characters are at because the tension is building so quickly we don’t give the audience a break from it,” he said. “There’s no reprieve—it’s consistent.”
The 18-minute long take showcases how claustrophobic the kitchen feels, both literally and in terms of the crew’s mental state. The camera doesn’t take a break because they can’t take a break. To cut even once would allow them (and the viewer) a chance to breathe. Cinematographer Andrew Wehde’s camera maneuvers around tight corners, the structure of the restaurant—which, in Carmy’s ideal world, would be a well-oiled machine—becoming another obstacle. It’s symbolic, too, of how there’s no space for these clashing personalities to fit together.
Close-ups and quick cuts
When “The Bear” isn’t opting for one, long take, it uses its editing pace to create a specific mood. Inside the kitchen, the audience is bombarded with rapid-fire cuts, not only to different actors but to elements of the room: food being plated, clocks ticking, receipts flying in. Outside the kitchen, the world (via the editing style) seems to slow down. This is an intentional choice.
“The slow, paced-out, more deliberate scenes are a reflection of the fact that [the characters are] coming out of the chaos. Of course they’re going to be feeling this release,” explained editor Adam Epstein. “When we’re going back in [to the kitchen], we’re going to go back to the craziness, not because it looks cool, but because we want to get to the emotional center of what these people are going through.”
Watch this scene from the Season 2 finale. Pay attention not only to the frenetic nature of the cuts, but also how close we are to everything.
Extreme close-ups are a hallmark of “The Bear.” If the editing is like a heartbeat—rising and falling with the stress level—the show’s close-ups are what allows the audience to feel it. The characters’ emotions are racing a mile a minute, and there’s no hiding it. “So much of our show [is shot] so close to all of us,” White told the AP. “And what that allows you to do as an actor is really try to discover an inner life, and trust that the camera is a very sensitive instrument. The camera will pick up something if you’re feeling it.”
Is “The Bear” shot on film?
Aspiring cinematographers may be curious as to whether “The Bear” shoots on film, given the quality of the footage (and an occasional grain). But the series is actually shot on the digital Alexa Mini LF. The texture you see onscreen comes from the crew pushing the ISO—the amount of light coming into the camera—to the limit.
Wehde explained, “We shot it full format. We shot it two stops overexposed, so 3200 ISO, which is the highest it can go in camera, purposefully to add as much grain and dancing kind of texture to the highlights and shadows.”
Wehde also discussed using Panavision H series lenses, which can help create softer skin tones. “The skin looks dreamy and creamy, but the eyes have a pin sharpness, and you can see the eye light really well,” the cinematographer noted. This is especially important on a show that so often utilizes extended close-ups.
The show’s lighting keeps it all grounded
Stressed people yelling at each other in restaurant kitchens isn’t an outlandish concept. It probably happens every day at hundreds of establishments around the country. As such, “The Bear” opts for grounded, realistic lighting, which is all the more impressive knowing that it’s often achieved on a soundstage.
Wehde spoke with Reel Chicago about getting the lights just right. “We did an entire interactive lighting setup on the stage so that every single light in the restaurant—whether it was back of the kitchen, front of the kitchen, or the dining room—was a full RGB LED, controlled by our dimmer-board operator,” he said. The entire setup was done to be as efficient as possible so that lighting stands wouldn’t get in the way of moving cameras.
Let’s take a closer look at the lighting from a sequence in Season 1, Episode 8—“Braciole”—that plays with that sense of reality.
The scene opens in a dream sequence in which Carmy hosts a glitzy cooking show. He’s under bright, fluorescent lights; everything feels artificial until we’re brought back to reality. In Carmy’s waking world, the lighting is harsh and the shadows are deeper. It’s only in his dreams that things are bright enough to keep the memories of his brother and how he treated his staff at bay.
