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.