The projects I am
happy to show

A world record shot. Márk Jászberényi broke the world record for the longest evening long-range shot. I like how the film is built and how it is cut. Everything I had in my head before and during the shoot actually worked.

„We would like a few shots of our trucks gliding through the landscape.” This short film is what came of that request.

What makes this one interesting: we shot by day while the editor, the colourist and the sound studio worked through the night in parallel, and I sent the finished films to the agency the next morning.

The result of a mid-sized crew's well-prepared work; we shot it in a single day.

We shot Tamás Széll's introduction film from a neatly written shot list.

I like this video because all the movement in it was solved with lighting.

Shot for BBC Earth. An exciting project. There is more about it behind the „behind the scenes” link.

A buyer falls in love with the feeling of a property. We back that up with film-making tools.

Transylvania, mountains, a three-day shoot, BMPCC6K Pro and a set of Sigma Art lenses. A dream job.

It was screened at the final in London. So more or less the whole world could watch it.

This eight-day shoot is among the top five projects I have been part of. We travelled the most beautiful places in the country, and all of it for National Geographic.

Working with Péter comes down to this: days that finish early, and guaranteed laughing fits. This one was no exception.

I travelled to Ethiopia for a film about international relations. A true one-man-show project.

A typical single-shot appearance in a film. Lucky, too, that it made the cut. Otherwise I could not put it here.

A proper large-crew television trailer, shot in one of Mafilm's biggest studios, with well-known faces and imposing lighting.

We treat even an exhibition opening with film-making tools. We make sure the result carries not just the atmosphere but the message too.

I really liked the book, and we made an unusual corporate film for it.

The brief was to wrap a classic corporate film in an unusual package: Tomi Pásztor's idea was to make it look like one unbroken take. I strung the shots together in an edit program on set, and that is how we checked it.