Tom Keller, SCS, BVK

🎬 THE EXPOSURE, directed by @thomas_imbach_ , with cinematography by @dptomkeller is an intense drama about how far one must go and what it costs to stay true to oneself. Shot by Tom Keller, SCS BVK, on 16mm Kodak film and crafted entirely with in-camera visual effects and virtual production, the film is now playing in Swiss cinemas. Dive deeper into the making of the film and Tom Keller’s cinematography in our full article 👉 link in bio Produced by: @thomas_imbach_ @stakaandrea @dan_wechsler Starring: @deleila_piasko @milanpeschel @katharina_schuettler janbülow DP: @dptomkeller 1AC: @christina.camera 2AC: Liv Welti Gaffer: @dominic_heim Key Grip: @stefanomosimann Lead 3D Artist: @mrtnmur Virtual Lighting: @giannimooo Mix: @saschaheiny Music: @ephremluechiger Film Lab: @cinegrell VP Studio: @filmstudiobasel Technical Director: Marlon Candeloro Unit Manager: @klemenstrenkle Have a good read and see you tomorrow for another cool filmmaking content 👋🫶🍿 #filmmakersworld #filmmaking #cinematography #film #shotonfilm

[STUDENTS ON SET] 🎬 BTS and movie scene, shot by film student @nikita_kassel under the guidance of @dptomkeller 🎥 Cinematographer and teacher Tom Keller, SCS, BVK, introduced cinematography students to working with LED walls during a one-week Virtual Production Workshop, held in collaboration with @hshammlippstadt and @filmuni Babelsberg. At the same time, the VFX/VP class, mentored by Rico Dober @ijustwanttomakevfx and Philipp Möde @cantstoppainting was working in parallel, with the support of Stefan Albertz at @the_vfxlab to get the content on the wall. We’re very proud of community members like Tom Keller, who continue to share their craft and shape the next generation of filmmakers through meaningful, hands-on teaching. Great job, Tom. See you on our channels, don't miss our latest magazine interviews (link in bio) and stay tuned for more fam @filmmakersworld 🫶 #FilmmakersWorld #Filmmaking #BehindTheScenes #VirtualProduction

🎬 Director & DP @dptomkeller Tom Keller has been working with virtual production since 2015 and demonstrates in the film “Embers” how it’s possible to connect the real world with the virtual world in Unreal Engine using real fire and airborne particles. No Postproduction needed, everything was In-Camera Visual Effects, more soon on our magazine, link in Bio ✌️ Actors: Christoph Keller, @kaijaledergerber , Nea Trachsel Director & DoP: @dptomkeller AC: @christina.camera , Sensa Stampa Gaffer: @dominic_heim SFX: @marcelstucki , @roland_siegenthaler Props: @klemenstrenkle Make up: May Häg TD, VP Supervisor: Marlon Candeloro 3D Artist: Marlon Candeloro, @giannimooo Camera Plates: @nico.nolan Edit: Tom Keller Producer: Alex Martin, Filmstudio Basel Sound: Jan Gubser Sounddesign: @claudiodemel Music: „Supernova“ by @gabriel_brosteanu cortesy of @positionmusic Making Of: Alex Martin, @tobias_sutter_photography @elaschaich How did you like it? Do you want to see more post like this? Let us know in the comments and have a great day on our channels @filmmakersworld #filmmakersworld #ICVFX #virtualproduction #unrealengine

«I’ve always been fascinated by 3D worlds; the ability to create something from scratch is just great. In filmmaking, we’re constantly trying to build worlds, and since 2022, with the Unreal Engine 5, it’s possible to render these worlds in real time at almost photorealistic levels.» Für 𝗧𝗼𝗺 𝗞𝗲𝗹𝗹𝗲𝗿 SCS BVK sind ICVFX und Virtual Production inzwischen fester Bestandteil seiner Arbeit als DOP. Im Interview mit @filmmakersworld hat der Kameramann über seine neusten Projekte gesprochen: The Exposure - Teil der «Goes to Cannes» Selektion am diesjährigen Filmfestival in Cannes - sowie Embers. Hier geht’s zum Interview: bit.ly/tom-keller-interview — «J’ai toujours été fasciné par les mondes en 3D ; la possibilité de créer quelque chose à partir de rien est tout simplement géniale. Dans le cinéma, nous essayons constamment de construire des mondes, et depuis 2022, avec l’Unreal Engine 5, il est possible de rendre ces mondes en temps réel à des niveaux presque photoréalistes.» Pour 𝗧𝗼𝗺 𝗞𝗲𝗹𝗹𝗲𝗿 SCS BVK, ICVFX et Virtual Production sont à la fois le meilleur élément de son travail en tant que directeur de la photographie. Lors d’une interview avec @filmmakersworld , il a parlé de ses nouveaux projets : The Exposure - qui fait partie de la sélection «Goes to Cannes» du festival du film de Cannes de cette année - et Embers. Pour accéder à l’interview : bit.ly/tom-keller-interview #scs #bvk #tomkeller #filmmakersworld #dop #icvfx #virtualproduction

[NEW🔥MAG] 🚀 Discover @dptomkeller journey and masterful use of in-camera visual effects in our latest magazine piece. Link in bio 🎥✨ This video is from 'Punch' 📝Slow motion in virtual production is still a challenge, as the performance of Unreal Engine currently doesn’t support it. In this example, DP Tom Keller demonstrates how it can be made to work. Credits 👇 Actor: Christoph Keller    Director & DoP: @dptomkeller AC: @christina.camera , Sensa Stampa Gaffer: @dominic_heim Props: @klemenstrenkle Make up: May Hälg TD, VP Supervisor: Marlon Candeloro 3D Artist: Marlon Candeloro Producer: Alex Martin, Filmstudio Basel Sound: Jan Gubser Sounddesign: Joachim Budweiser Music: „Supernova“ by Audio DesignDesk  Making Of: Alex Martin Enjoy it and have a great day on our @filmmakersworld channels! #filmmakersworld #cinematography #visualeffects #filmmaking #filmmaker #film #setlife #filming #filmmakers #filmproduction #cinematic #filmdirector #dop

🎬 On set w/ @dptomkeller SCS BVK, “THE EXPOSURE,” the first Swiss film with entirely in-camera visual effects. Alongside director Thomas Imbach, they took an innovative approach, filming on 16mm Kodak film and using minimal studio set construction. Props and virtual sets in Unreal Engine 5 made it all possible. This demonstrates how this method of virtual production can work even with a smaller team and lower budget. What do you think about it? Feel free to ask anything in the comments and have a great day on our channels ❤️ @filmmakersworld #filmmakersworld #sonyvenice #cookeanamorphic #virtualproduction #visualeffects #shortfilm #featurefilm #independentmovie

At the end of the COVID-19 pandemic, I shot a feature film titled ‚Corona Obsession.‘ Here is a lighting setup of a scene.

What’s the key to authentic and dramatic #moviescenes? The script? The actors? The equipment/props? The director? The camera? The lights? ...? It’s obviously all of the above, but what productions sometimes forget is, how important extras (background actors) are. There are things that are very hard to fake, like in this case: Pulling someone away. That’s why we had the trained extras from Berlin City Cops. Their support and the stunning performance of actor Philipp Stier and Andrei Viorel Tacu lead to an incredible intense scene.

I’m certain that the #virtualproduction is the future. In a view years every studio will have some kind of #vr set or at least back drops. Although it doesn’t have to be as big as the one industrial light & magic build for Disney’s Mandalorian. Sometimes rear projections like we used for these scenes are just enough. One was used for the Berlin backdrop and the other for the huge monitor screen where you could live stream the actors on another set. ▶️SWIPE for the behind the scenes pictures and lighting set up.

#cinematography is story telling. Sometimes the story takes place in a white room, or in this case a white tent and then you have to deal with it and find a way to make it look interesting. ▶️SWIPE for the lighting set up. Next week I show you the set up for a “dark“ tent.

It all starts with the script and the director's vision. He wanted to shoot a night chase scene during a snowstorm. It was clear, that I will have to shoot most of it outside, but what about the scenes in the hideout? These were longer dialog heavy and emotional scenes. Might it be better to film them in the studio? Yes, so we let Spree Kulissen in Berlin build a highly detailed, snowy, rock backdrop and used wind machines and artificial snow to give it a real touch. #behindthescenes ▶️SWIPE Gaffer Amnon Schmuckler bounced some ARRI M18 over a 20”x12” ultrabounce and the rest of the scene we light with hand held dedolights, bounced of the walls.