At the end of March 2020 I had the pleasure to be 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. The whole article is available to read here
Had the most amazing time exploring the diverse sonic environments of the French Pyrenees with the sound recordist guru - Chris Watson. Amazing locations, amazing people and a priceless insight into wildlife field recording in general.
My recent work for Caviar London has received 5 stars on David Reviews Website, whoop whoop!
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! Watch the trailer here
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. The whole article is available to read here. 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."
May 2018
Some long unsocial hours with this campaign, but its been an amazing ride. The main challenge was in creating 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
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
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. The whole article is available to read here
January 2017
It's been a very rewarding ride 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
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 and very well equipped, so super happy to spend my working days surrounded by such incredible toys in such an amazing facility with so many talented people!
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
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!
Heavy bit of 80's classics at work. Used mainly by Prodigious in-house music composer.
Jupiter 8. Noise!
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:
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.
New Prodigious building has two audio suites. These are studio 2 pictures where I spend my days as a junior sound designer/mixer
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.
March 2015
Late night, unsocial studio hours slicing audio clips for a feature with Iggy Pop at Wam Studio. No pain no gain! ;)
At the end of 2012 I had a pleasure to Mix a short film 'Good Night' directed by Muriel d'Ansembourg which was nominated for BAFTA in 2013! Amazing experience and pleasure to be involved
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 ;)
