Gero Weinreuter, acclaimed director of prime-time German television feature films and long-running popular serial programmes as well as several award-winning image films and advertisements:

Thomas Camera Weber

We have filmed together in Morocco, Austria, Hungary, Serbia, Bulgaria, Georgia, Azerbaijan, Turkmenistan, Uzbekistan, Afghanistan, Siberia, the United Arab Emirates, Indai, Indonesia, Spain, Italy and Germany.
We have filmed documentaries, promotional films, corporate image films, product marketing films, major events, TV-spots and TV programmes together.
We’ve filmed rather a lot together.
And why do I do this for the past 14 years with Thomas …?


Shooting SOKO Stuttgart with director Gero Weinreuter

Syrthos J Dreher, journalist, author and director specializing in films about music, particularly classical music, New Music, music festivals and child prodigies:

Camera Happy

With Thomas Ch. Weber filming means the whole package. If, for example, you think something worth filming could be about to happen, you’ll find he’s already standing there, camera at the ready: he has a power of anticipation, so important, but so rare. I’ve hardly ever experienced, even in complex situations, such an organic complication of shots, wonderfully (re)acted upon and including pertinent cut-away images. And time and again colleagues have enviously asked how we were able to afford a Steadycam. But there wasn’t any Steadycam, only the gently flowing pictures from the camera on Thomas’s shoulder. In addition, he is full of humour, intelligent, reliable, precise, sovereign, dedicated – in short, a total delight, and far beyond just the sphere of work.


Treasures of the World – Oman, with Horst Brandenburg

Horst Brandenburg, Producer and Director, whose working life has been devoted to filming the world’s culture heritage, art and architecture.   His work includes film portraits of influential artists, designers and architects as well as UNESCO “Treasures of the World” documentary films:

In focus.

He has disappeared from sight, enveloped in the crowds, along with the entire team, half a dozen worthy men. Only the short arm of the jib crane stretches above the pushing, shoving snarl of inquisitive people in the bazaar.  We have to defend ourselves with our hands and feet, the tumultuous brawl is deafening. Yet the pictures, which come much later from the film lab, the faces of those people, the movements of their bodies are peaceful, graceful images, so immediate, close and intense, as if time had been halted for ever.  How does he do it?

Nothing shakes the inner calmness of cameraman Thomas Ch. Weber very quickly.  The quintessential essence is always there, just exactly where he is.  Focused, concentrated and as keen as a hunter he seeks and awaits his quarry. Missed or superfluous shots are rare. He is the low physical energy type, the work takes place in his mind and with his eyes. Though if circumstances dictate, he can be completely different. In one Roman arena in the steppe country of Tunisia he bolted between the blazing torches of the catacombs like a Formula One bullet, fast and furious. With an Arri camera running in his hands he embodies a hungry pride of lions or the cavalry of the tartars in the High Tatra of Slovakia over hill and dale. How does he do it? Obsession. There’s no half measures with Thomas.

In many spectacular corners of the world we have sought out locations together important in the history of civilisation: the UNESCO World Heritage Sites.  Here Thomas has captured moments which become unforgettable and enduring images in his film camera: a sunrise 2500m high, at 5° minus in the desert of Sinai, at the top of Mount Moses; a sandstorm over the island of Bahrain, the coal-blackened work of child labourers in the mines of Wales, Friday prayers with thousands of worshippers in the Great Umayyad Mosque in Damascus.  We have ascended to the secret wells of Oman and descended to the lairs of the crusader knights in the Levant. Regardless of where Thomas is, he’s instantly at home, he scans, focuses, divines the perspective, smells the pictures. We’ll often work a whole day or night together and hardly exchange a word. Our discussions have happened long before, and lasted over a dozen years and two dozen documentary films.  When we’re filming a quick glance or gesture is all we need.  As mentioned, a low physical energy type. Only his eyes, they burn an exorbitance of energy.  You can see this in his pictures. They smoulder, glow and radiate warmth.

Profile on crew united