I have been involved in producing film and television productions in the UK and Hungary
too. Recently I produced a very low budget feature film titled ‘The Whip’, during the course of
which I have been an instrumental part of the filming crew as a First AD which involved
scheduling, booking locations and making sure production went smoothly and COVID-safely. I'm happy to report that principal photography concluded on time and without any reported cases. During these productions I made use of wide variety of IT software in the past from Microsoft Office products through non-linear video editing programmes such as Adobe Premiere and Sony Vegas, audio editors like Audacity and scheduling services StudioBinder. During my primary education I learnt to touch type.
I have been working as a freelance script reader, copywriter, and journalist for a variety of clients and publications from both my native Hungary and the United Kingdom, almost exclusively in English. Through these jobs I got to know a lot of people working both in the industry press, distribution and production sides, and I’m on many of the industry mailing lists, keeping myself up-to-date with events. I am a founding member of The Hungarian Film Academy which gives me unique access into new developments within the Hungarian Film and Television industry. Occasionally I was asked to take part in press junkets as a journalist, gaining valuable experience in the inner workings of such events, and also utilising my research skills in order to deliver the best unique content for outlets. My interview with the cast of ‘Ready Player One’ was delivered as world-exclusive content for IGN Hungary, which I edited and captioned myself within 12 hours of recording.
My television experience includes writing two episodes of the popular Hungarian crime drama, ‘Hacktion’ in 2014, and my drama series project Retainer have been shortlisted at the HyperWriter TV Series Pitch Forum in 2018. During these projects I had to work under very tight deadlines – especially on ‘Hacktion’ where I had to jump in for an episode in short notice, when the original writer wasn’t able to deliver the script on time. As the shooting schedule had no wiggle
room, with the help of the head writer I was able to pitch, outline and write a complete episode in two weeks, which enabled the production team to keep their schedule unaltered.