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I’m at the judging panel of this year music and sound awards! Looking forward to listening to all the amazing entries and submissions
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So proud being part of this award winning team that just picked company of the year award at arrows 2022 awards. This is HUGE
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December 2021
This has been a very busy and productive year. Being a new member of 750mph I have been involved in some amazing but also challenging and labour intensive projects. No pain no gain. In the meantime 750 has won a numerous awards both in UK and internationally. Im so grateful and fortunate to be working here. Here's to 2022!
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October 2021
So proud to make it here! Sound design for Nike New Height documentary has just been nominated for this year music and sound award in the best sound design for a tv programme category. This is huge! It was one of my first project I worked on after joining 750mph earlier this year and it was a great but also quite challenging project to be involved in and I'm so stoked it has been recognised with a nomination!
The extended trailer available to watch here
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September 2021
Great to be involved in this one and it keeps on giving.
This is what chrome production wrote on wining the award
'Being recognised for five AutoVision Awards is just incredible, and a testament to the hard work and creativity of our teams both in the UK and the US,” stated Joel Mishcon, CEO of Chrome Productions. “The diversity of wins across award categories speaks to Chrome’s agility and our passion for storytelling and technical innovation in this sector.”
Winning both a Gold and Black OttoCar trophy for the ‘Commercials Over 60 Seconds’ and ‘Best Editing’ categories is ‘Enter…the 2021 F-150 Raptor’ – the highly-anticipated global launch of the all-new, 2021 model of Ford’s premier off-road performance truck. Set to Metallica’s ever-iconic ‘Enter Sandman’, the epic three-minute film follows one man’s annual pilgrimage through the California desert to visit a memory-laden cairn that memorializes his father.
The film, which served as the centrepiece of the virtual launch event for the Raptor, was directed by Scott Weintrob (Apple TV+’s Home and Netflix’s Fastest Car) alongside Director of Photography Khalid Mohtaseb (Uncle Frank and The Wolf Hour). Chrome Productions’ in-house editor Alessandro Dordoni brought his unique energy and style to this cut, seamlessly dipping between emotional narrative and high-octane driving sequences to create a complex and visually-engaging spot. Dordoni built the cut to allow Enter Sandman prominence in every scene – paying homage both to the iconic track and the iconic truck.
It was only the second time in history that Metallica has licenced its most iconic and protected track ‘Enter Sandman’ for commercial purposes. The result? An adrenaline-fueled, jaw-dropping film.'
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June 2021
Had a very good time creating this compilation of music tracks for LBB and Twenty Below Music. I enjoy listening to soundtracks a lot so Ive made a playlist with this style of music in mind. I also decided that any orchestra driven pieces won't make it to my playlist and focused on electronic scores only. Ended up with 20 tracks, all of them original compositions featured in films and TV series of the last decade.
Check it out here
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April 2021
I still pinch myself when I think about it, but I have started a new job as a full time in house audio engineer and sound designer at a very prestigious and highly reputable audio post production studio - 750mph. This is a HUGE move for my career. The studio has 8 big rooms with spacious booths, all very well equipped, running latest pro tools with avid s6 desks, Dynaudio monitoring and cinema Dolby Atmos licenced suite. The studio has won many, many awards and it's doing amazing campaigns and very exciting work for the biggest brands, agencies, directors and production houses. So happy to be a part of this universe!
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February 2021
Pretty delish ride this was - pun intended. It's very rare to work on a promo ft epic Metallica track, in fact apparently it’s been only very few times the band allowed its music to be featured in a commercial project or promo, etc so I was super delighted to be able to work with it. We only had one day to do the whole thing including extra sound effects, overall sound design and mix. It ended up being a long 11h day of work but all was delivered on time and with no issue and clients happy. Watch here
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March 2020
Its the start of 2020 ish and here I am featured in Little Black Book online magazine where I discussed the relationship of sound and visuals and offered an insight into Oscar nominees. It's been great to be able to verbalise my thoughts about matters related to my passion and profession. Read here
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October 2019
Had the most amazing time exploring diverse sonic environments of the French Pyrenees with the Cabaret Voltaire band member and sound recordist guru - Chris Watson. Amazing locations, amazing people and priceless insight into wildlife and nature recording in general.
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June 2019
My recent work for Caviar London has received 5 stars rating on David Reviews Website, whoop whoop! Really enjoyed working on this one with the director Thomas Ralph. The project received quite a lot of recognition and there's an article about its post-production process on Little Black Book website featuring my words.
Read here
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June 2019
Carlsberg Build The Danish Way mini series which I had a pleasure to sound design and mix for Armoury London at Envy Advertising has took silver in the Branded Content Category! Great to be involved! Trailer here
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September 2018
Quite an interesting read about rare music in advertising has recently appeared in Little Black Book online magazine and features my thoughts on the matter. My words below:
''The opposite of in-your-face thrash metal can be a powerful tool as well, as ENVY Advertising sound designer and mixer Marcin Pawlik notes. “I’d like to see more commercials with atmospheric, ambient and minimal-like genres,” he says. “Commercials with catchy, attention grabbing, busy, melody driven music are ubiquitous but non-intrusive music tracks which don't tell us what to feel but allow us to feel are rare. Good examples of that are the scores of Trent Reznor and his composing partner Atticus Ross (e.g. Gone Girl, Social Network, Girl With The Dragon Tattoo). Their music creates a desired mood without taking over the scene but effectively communicating an idea. All the emotional clues are still there but done in a much subtler way. Music of this kind facilities more space for other sounds to thrive. There’s less conflict fighting for a space in the mix - less is more. The Guinness commercial ‘Compton Cowboys’ is a good example of that."
Read the whole article here.
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May 2018
Some long unsocial hours with this campaign, but its been an amazing ride. The main challenge was in creating 'vocalization' sounds for petrol head characters using just engine and other car sound noises. The car has a very aggressive and a distinctive sound, definitely an option for all sport car lovers but I want a Tesla :)
You can watch the commercial and read about the campaign in here
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March 2018
Im back at school attending 360 spatial audio and VR course at UCL. Really looking forward to expand my insight into mixing audio for immersive formats and into all VR related matters
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March 2017
At the begining of 2017 little black book online magazine put a fantastic article on Envy's Audio Team, a rare insight and a great read. I have been mentioned half way through the article. Some highlights below:
Read the whole article here
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January 2017
It's been a very rewarding journey thus far. My first year at ENVY has been wrapped up with a very unexpected surprise. During our Xmas party I had taken home 'Man Of The Year - producers choice' award! Such a blast it was
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September 2016
In September 2016 ENVY's short-form department where I'm currently based was moved to a brand new post-production facility featuring 3 brand new sound studios capable of delivering mixes in 5.1, 7.1 and also the latest Dolby Atmos format. All sound studios running the latest ProTools and are controlled by Avid S6 mixing desks with Exigy monitoring system. The rooms are quite spacious, very well equipped and sound fantastic. Super happy to spend my working days surrounded by such incredible toys in an amazing facility with so many talented people and awesome clients!
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August 2016
There's so many people out there including my friends who don't really comprehend what I do for a living so I made this quick video to roughly illustrate what my audio postproduction universe is all about
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October 2015
I've been very lucky to be employed by one of the leading post-production houses in UK - Envypost which features 12 amazing audio suites running Pro Tools HD with Icon D-command and Avid S6 mixing desks ft dolby licensed cinema 7.1 suite. Really excited about this new chapter and what a big opportunity it is for my career and general audio postproduction insight!
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Heavy bit of 80's classics at work. Used mainly by Prodigious in-house music composer.
Jupiter 8. Noise!
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We're settling down in the new Prodigious building. Below is the quick video which was put together to show you our space and what we do:
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In the 80s the building was the home of Odyssey studio where artists like Marvin Gave, The Who, Brian Ferry and even Jacko The Great had their songs recorded. Prodigious studio 2 where Im based is situated exactly where Odessey's control room used to be, yay!
Below is the picture of Odyssey's studio live room which now serves as Prodigious' reception/client /chillout area.
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New Prodigious building has two audio suites. These are studio 2 pictures where I spend my days as a junior sound designer/mixer
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April 2015.
We're packing up leaving the home of Triangle Television and WAM London studios where I started my career as a runner and worked my way up to a junior sound designer & dubbing mixer. Years of hard work and experience working with many high profile clients. Time to kiss good-bye those rusty U-Matic, DAT and Digibeta decks, happy to move on - the only constant is change.
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March 2015
Late night, unsocial studio hours slicing audio clips for a feature with Iggy Pop at Wam Studio. No pain no gain! ;)
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At the end of 2012, I worked on a short film 'Good Night' directed by Muriel d'Ansembourg which was nominated for BAFTA in 2013! I took the role of ADR recordist and re-recording mixer. Amazing experience and pleasure to be involved.
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Presenting my aural illumination in the office where I used to work as an audio assistant at WAM London sometime between 2008 and 2012. This was my very first sound assisting job and my very first office with some 'vintage' equipment including Dat decks, yamaha O3D mixing console and a cd player ;)
