Jozefina Gocman - Dicks PSC

Ministry of Culture and National Heritage Republic of Poland, Karachi Biennale Trust/Pakistan, Culture Department of Singh, Magdalena Abakaowicz, Research and Development Foundation Pakistan.

Film in post production.

dir. Anna Konik, Pakistan/Poland, 55 min.

• Close cooperation with the director, establishing the artistic vision for the film.
• Working in difficult terrain.
• Adapting and solving issues of changing conditions.
• Post-production, working with the colorist on the final look of the film.

dir. Natalia Siwicka; Poland; 78 min.

Film in post-production

• Close cooperation with the director, establishing the artistic vision for the film.
• Adapting and solving issues of changing documentary conditions, quick decision-making. Operating the camera.
• Post-production, working with the colorist on the final look of the film.

dir. Daniel Stopa; Poland; 40 min.

• Working closely with the director, discussing possible story directions, and visual approaches.
• Operating camera, tripod, handheld.

dir. Banca Lucas; Poland / USA / Mexico; 84 min.

Word premiere: 75th Locarno Film Festival. Winner, best First Future - Special Mention Award.

• Pre-production: exploring the potential for every location, planning the shot list, determining the appropriate time of day for the scenes.
• Creating the look of the film, color, lighting, and aesthetics establish the camera for every shot.
• Close cooperation with the director ensures that our choices support the director's overall vision of the film.
• Operating the camera. Tripod and handheld camera.
• Setting up the lighting.
• Post-production, supervising color grading and working with the colorist.

dir. Anna Konik; Great Britain/Poland; 71 min.

• Close cooperation with the director, establishing the artistic vision for the film.
• Adapting and solving issues of changing documentary conditions, quick decision-making.
• Operating the camera.
• Post-production, working with the colorist on the final look of the film.

dir. Miguel Velez; Poland / Colombia; 79 min; distribution Canal+

• Pre-production: exploring the potential for every location, planning the shot list, creating the look of the film, color, lighting, and aesthetics.
• Close cooperation with the director - visual storytelling.
• Establish the camera for every shot. Giving color to the film on the set by using appropriate gel filters.
• Working with the full light crew department and camera department.
• Operating the camera. Tripod, dolly, and handheld camera.
• Post-production, supervising color grading and working with the colorist.

dir. Leri Matehha; Germany; 92 min.

World premiere: International Film Festival Rotterdam.

• Pre-production: exploring the potential for every location, planning the shot list, planning the shot schedule.
• Creating the look of the film, color, lighting, and aesthetics establish the camera for every shot.
• Close cooperation with the director ensures that our choices support the director's overall vision of the film.
• Working with the international crew.
• Operating the camera. Tripod, dolly, and handheld camera.
• Post-production, supervising color grading and working with the colorist.

dir. Mikolaj Lizut; Poland, 12 episodes.

A series broadcast by Canal+

• Pre-production: planning the locations, shot list, and visual look, color, lighting for the whole series with the close cooperation of the director.
• Working under time pressure.
• Operating the camera. Tripod, dolly, and handheld camera.
• Close cooperation with light, camera, and set design departments.
• Post-production, working with the colorist.

dir. K. Krauze, J. Kos-Krauze; Poland / Rwanda; 113 min.

Co-cinematography with Krzysztof Ptak, Wojciech Staron.

• Pre-production: exploring the potential for every location, planning the shot list, determining the appropriate time of day for shooting.
• Creating the look of the film, color, lighting, and aesthetics establish the camera for every shot.
• Close cooperation with the director ensures that our choices support the director's overall vision of the film.
• Locations in Africa. Wildlife photography in Kenya.
• Operating the camera. Tripod and handheld camera.
• Post-production, working with the colorist.

- Kocham wolność - Cover. Matheo and Damian Ukeje. Legendy Polskie Allegro

dir. Jakub Radej, Tomasz Bagiński.

- Czarna Polana & Albo Inaczej - 'Co to za miejsce?' feat. Muniek Staszczyk.

dir. Tomek Suwalski, Tomasz Bagiński - Oscar nominee director.

• Pre-production: planning the shot list, planning the shots for special effects.
• Creating the look of the music videos, color, lighting, and aesthetics establish the camera for every shot.
• Close cooperation with the director ensures that our choices support the director's overall vision.
• Coordination of two camera and lighting units, two camera operators. Studio shots, green screen, special effects, and photos with animals.
• Post-production, working with the colorist.

Commercials for Subway - Make it What you Want. Puerto Rico

dir. Olivier Garland

• Pre-production: planning the shot list, planning the shots for special effects.
• Creating the look of the music videos, color, lighting, and aesthetics establish the camera for every shot.
• Close cooperation with the director ensures that our choices support the director's overall vision.
• Coordination of two camera and lighting units, two camera operators.
• Camera operator.
• Post-production, working with the colorist.

• Close cooperation with the director, establishing the artistic vision for the film.
• Pre-production: exploring the potential for every location, planning the shot list, determining the appropriate time of day for the scenes
• Operating camera
• Post-production, supervising color grading and working with the colorist.