In 2006, at just eleven years old, I held my very first MiniDV camera. I filmed one of my mother’s music therapy sessions, and it was an incredible experience for me. I spent most of the time zooming in and out, capturing anything that appeared even slightly interesting. Perhaps that was the moment when my love for the camera was born — as if it were a magical tool with which one can observe and tell the world’s stories.

 

    In 2009, I bought my first Full HD camera, with which I produced my first one-hour amateur film, titled "Test-Vérek" (2009) [Bloody Brothers], with the participation of relatives and friends. In school I became “the film guy”: at every event I grabbed the camera, and over time more serious requests began to come my way.

 

    My talent was first noticed by Villányi Zoltán, a television reporter from Oradea, and Oláh Olivér, an operator specializing in event filming, when, at age 16, I began shooting my first amateur feature film.

As a child I was a huge fan of Jackie Chan’s films. I was especially inspired by the behind-the-scenes segments shown at the end of his films, which revealed how much playfulness and joy lie within the filmmaking process. Those moments reinforced in me the sense that filmmaking is not only technique but also play and experimentation. Perhaps for that reason I became a naively enthusiastic and ambitious young person eager to make narrative films. Jackie Chan’s influence was particularly evident when I realized my first feature film, which I created together with Fodor Lénárd.

 

    I feel that as a cinematographer I blossomed most through my own narrative films and short films. Among them were "Málna ízű méz" (2014), "Ecou" (2015), "Sky High Blunder" ['Túl Drága Kirohanás'] (2016), Mariann (2016), Unseen Angles (2017), Song of a Crumb (2018), Succor (2019), and Last Save (2023). The only thing I somewhat regret is that I never had the opportunity to work with more professional television cameras, so the dynamic range of the image was often constrained. However, as a cinematographer I've been fortunate to gain extremely versatile experience. I have worked as D.O.P. on narrative films, in multi-camera broadcast productions, in theater, opera, concert and event filming, as well as for television reportage. Additionally, I have shot several documentaries, which have greatly shaped and enriched my visual perspective, such as "Hamu és Kívánság" (2017), "Music Therapy: The Movie" (2018), Saint George on the Heath and Neudorf (2018), and A nagyváradi Villányi Zoltán (2026) [upcoming].

 

    I believe that every story holds an original, deep viewpoint, and as a cinematographer I consider it my mission to make that visible through imagery.