The Future of Creation
Image credit: Kamil Ślaziński
When we think about exceptional projects in the Polish film and advertising industry, Tomek Bagiński’s name often comes up first. The director and animator, known for the Oscar-nominated short film 'The Cathedral,' the iconic 'Polish Legends' series created with Allegro, and his work on the series 'The Witcher,' is not afraid of innovation yet understands well the commercial aspect of his activities. "I enjoy working on large-scale projects intended for big audiences. Times are changing, tools are evolving, but scale will always matter. Audiences, whether film or advertising, want to watch things that are difficult to make, unique, and rare. If done well, they also deliver powerful advertising impact. These are the projects I currently focus on the most," he explains.
In recent years, he has worked on large-scale productions like The Witcher, which at times brought together over 1,000 crew members and extras on set, yet he also found time for developing projects in games, films, and animated series. "I write a lot on the side between shooting days; I stay in close contact with Jacek Dukaj, and we develop several ideas together," reveals Tomek, emphasising that working in various areas, from full-length productions to illustrations and posters, brings him joy through purely artistic expression.
According to Tomek Bagiński, today's market increasingly needs individuals who bring a unique element to campaigns or projects. He sees examples of such collaborations among artists working simultaneously in advertising and pop culture, like Andrzej Dragan, who engages in music videos featuring AI. While Tomek himself is among those who effectively use artificial intelligence to prototype visions, he believes that full automation in this industry is still quite distant, especially in large-scale productions. "AI is very helpful during brainstorming, I am fascinated by the potential of new tools and closely follow their development, but there is great value and synergy in working with real artists, and in my opinion, this will become even more important in the AI era," he explains.
This cautious stance stems from industry realities. Large film projects involve matters of consistency, control, high resolutions (6-8K, 16-bit colour depth), significant costs, copyright issues, and a general reluctance to take risks. "Often it turns out that nothing replaces traditional craftsmanship. AI tools can speed up certain stages, but ultimately, traditional, painstaking work is often faster and more effective, and its results have a much broader reach," Tomek admits. Nevertheless, he stresses that generative AI is invaluable where agile concept testing is critical, and he regularly uses it in daily work with film studios and clients.
From a technological viewpoint, he sees tremendous potential. He personally uses various tools, including Runway and Magnific, and advises friends interested in experimenting with AI. "Often people achieve faster results by sticking to traditional methods rather than struggling with imperfections of image generators, but I'm fascinated by the new possibilities it opens," he notes. He also draws attention to ethical and legal considerations, such as whether certain tools are approved by major streaming platforms or if AI models rely on sources with unclear status.
Nevertheless, Tomek Bagiński is convinced that AI will play an increasingly significant role in creative processes over the next decade, but it will not dominate the entire process: "Certain elements can already be automated, but it will take some time before AI fully takes its place on screen." He believes that the coherent vision of an artist capable of giving projects a unique character, along with a team of people who understand the power of good storytelling, remains essential. "Algorithms in the film industry are nothing new; for years they have influenced advertising strategies and Hollywood productions, but time has shown that only projects retaining some human spirit succeed."
Therefore, when asked about advertising campaigns, Tomek does not rule out returning to this world. As he says, he is open to new challenges, provided they can reconcile the client's specific needs with creative energy. For brands, this means if they aim for a distinctive impact and are ready to invest in scale, they can count on truly exceptional projects.
From the advertising industry's perspective, constantly seeking innovation, Tomek represents an intriguing example of combining the worlds of commercial production and high art, as well as leveraging the powerful potential of generative AI. He demonstrates that even within the traditionally cautious film environment, AI can be considered a genuine creative support. As a creator of expansive productions and niche initiatives alike, Tomek proves that the key to success lies in combining modern technologies with vision, courage, and respect for client budgets. "If you invest in something big, it should genuinely make an impact," he concludes, emphasising that a well-designed campaign effectively merges marketing goals with artistic expression.
