Born In Poland, Living In London, Creating Noises, Playing With Waveforms, Capturing Sounds
Hi, I’m Marcin Pawlik, an award-winning sound designer with over 10 years of experience in sound post-production. I craft soundscapes for films, documentaries, motion graphics, cinematics, promos, commercials, and any project that requires creative sound design and mixing. I am currently employed by the multi-award-winning sound post-production company 750mph, where I continually deepen my expertise in creating more innovative and effective narratives through sound.
Sound awards and nominations
- Cannes Lions Bronze for film craft in sound design for Vanish titled "Me, My Autism & I"
- Creative Circle Silver in Sound Design for Vanish titled "Me, My Autism & I"
- LIA Silver in Sound Mixing & Sound Editing for Vanish titled "Me, My Autism & I"
- Music and Sound Award finalist - best sound design and best mix finalist for PUBG Ground Of Honor: Rondo' promo film
- Music and Sound Award finalist - best sound design in a television programme for Nike "New Heights" documentary
The Journey
My career in sound design isn’t something I actively sought out - it’s something that found me. I’ve always been fascinated by storytelling, whether through film, books, or music but I never considered pursuing a career in sound or music. For a long time, I wasn’t sure what I wanted to do and arbitrarily I ended up studying English Language and Literature, thinking it would help me enjoy watching films in English without subtitles.
After graduating, I moved to London and started working in a record shop. It was during this time that I began to think about finding a passion I could turn into a career. A friend of mine introduced me to post-production, and through him, I managed to get some work experience. I began my journey as a runner at the age of 26 - fairly late compared to others but I was hooked from the start. Even now, I remain curious and eager to keep learning and improving.
My expertise lies in short-form projects - trailers, promos, brand films, cinematics and commercials. These projects often have tight deadlines which require an efficient way of working. I’ve also worked on short films, long form documentaries, and feature films which allow more time for experimentation and creative exploration. A work of art is never truly finished, there’s always room to refine and polish. However, in short-form projects, you have to balance creativity and craft with strict time constraints, which can be a challenge. That said, I believe it’s crucial to work on both short and long-form projects. The lessons I learn and the skills I develop while working on films and other long-form content often inform and enhance my approach to short-form work.
I wish more people understood how deeply sound design can engage an audience, how powerful and potent it can be and how intricate the process is. Take the sound of an explosion, for example. Most people think of it as a single sound, but it’s usually a combination of layers. There’s the initial energy of the explosion, the build-up, the debris, and sometimes even a wild animal’s roar layered in to create a more terrifying effect. People often don’t realize how much time, effort and creativity go into crafting something that ultimately comes across as just one cohesive sound.
