ABOUT / TONY KOSACK
ABOUT / TONY KOSACK
I like being close to the work.
I like being close to the work.
I like being close to the work.
The idea, the shoot, the edit. I’m happiest when I can stay involved in all three.
The idea, the shoot, the edit. I’m happiest when I can stay involved in all three.
I’ve spent more than ten years working across creative direction, directing, cinematography, and editing. What’s kept me interested is how much each part teaches me about the others. Being behind the camera changes the way I come up with ideas. Sitting with the footage in an edit changes what I look for the next time I’m on set.
I’ve spent more than ten years working across creative direction, directing, cinematography, and editing. What’s kept me interested is how much each part teaches me about the others. Being behind the camera changes the way I come up with ideas. Sitting with the footage in an edit changes what I look for the next time I’m on set.
I’ve also seen how far an idea can travel before anyone makes it. A brand briefs an agency, the agency brings in a production company, and the work passes through another set of hands. There are good reasons for those teams to exist. But the handoffs can add meetings, overhead, and distance between the original idea and the thing we’re trying to make.
I’ve also seen how far an idea can travel before anyone makes it. A brand briefs an agency, the agency brings in a production company, and the work passes through another set of hands. There are good reasons for those teams to exist. But the handoffs can add meetings, overhead, and distance between the original idea and the thing we’re trying to make.
By the time I’m talking through a concept, I’m usually thinking about the shoot and the edit too. What do we actually need to capture? How much time will it take? Where should the budget go? Having done the work myself helps me answer those questions early, while there’s still room to make the idea better.
By the time I’m talking through a concept, I’m usually thinking about the shoot and the edit too. What do we actually need to capture? How much time will it take? Where should the budget go? Having done the work myself helps me answer those questions early, while there’s still room to make the idea better.
Often, I can take an idea through production and post with a producer and one or two extra hands. That keeps us close to the work and makes decisions easier. When a project needs a bigger crew or a specialist, I bring them in. The scale follows the idea and what it takes to do it well.
Often, I can take an idea through production and post with a producer and one or two extra hands. That keeps us close to the work and makes decisions easier. When a project needs a bigger crew or a specialist, I bring them in. The scale follows the idea and what it takes to do it well.
I’ve been curious about AI tools; Codex, Tesseract, Hyperframes, Higgsfield just to name a few are becoming part of how I explore ideas and produce the work. From testing a direction, building something I couldn’t have built as quickly before, or taking repetitive work off my plate. I 10000% believe this is just the beginning. The entire industry will shrink (which you're probably seeing already) and I want to be part of the new wave of creatives that keep their hands on many parts of the process.
I’ve been curious about AI tools; Codex, Tesseract, Hyperframes, Higgsfield just to name a few are becoming part of how I explore ideas and produce the work. From testing a direction, building something I couldn’t have built as quickly before, or taking repetitive work off my plate. I 10000% believe this is just the beginning. The entire industry will shrink (which you're probably seeing already) and I want to be part of the new wave of creatives that keep their hands on many parts of the process.
Sometimes I’m carrying a project from the first conversation to the final cut. Sometimes I’m joining an agency or production team for a specific part of it. Either way, I want to understand what we’re making and why, be useful to the people around me, and stay close enough to the work to make it better.
Sometimes I’m carrying a project from the first conversation to the final cut. Sometimes I’m joining an agency or production team for a specific part of it. Either way, I want to understand what we’re making and why, be useful to the people around me, and stay close enough to the work to make it better.
CREATIVE DIRECTION / CINEMATOGRAPHY / EDITING
CREATIVE DIRECTION / CINEMATOGRAPHY / EDITING