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Philosophy

Disrupt, don't destroy

Human-directed cinema. The core is directing: story, rhythm, tone, and the pressure of the frame.

For years good ideas died in budget meetings and paperwork. Not anymore. Today I can make what I could not afford to make before: films, games, software and music. With agentic workflows, my own agents and finally my own harness, I keep optimising how I work so I can create as much as I can. I build while I play and play while I build, and the ideas I make, I also turn into businesses.

New tools can tear up the old production schedule. They should not tear up the people who make the work. These are the lines I hold, whatever the model of the month is called.

01

Direction first

AI speeds up execution but never makes the creative decisions. Every frame has an author who answers for it: the models offer options, a director chooses, cuts and throws away. If nobody can say why a shot is in the film, it does not stay in the film.

02

Own agents, own harness

Nothing here is off the shelf. Every production gets its own workflow, built for an ecosystem that changes every month, and run by agents and a harness I built myself. I brief a model like a new head of department: clear notes, a budget, the right to be wrong.

03

Ship real work

Every tool, test and prototype exists to move a film, a game or a product forward, not to demo. Play is how ideas start; shipping is how they count. If it does not ship, and in the end pay for itself, it does not count.

04

Protect the frame

Consistency, authorship and visual discipline matter more than speed alone. The machine joins the crew next to the cinematographer, the editor and the composer, not instead of them. Their craft is what tells a good take from a lucky one.

05

Quality in, quality out

This is the first thing I teach my students. A model only multiplies what you bring to it. In the hands of a professional AI has no ceiling, but whoever wants to make something with it has to know the basics of the craft first: story, light, cut and sound.

06

Machine learning, human learning

A model gets better because it never stops training. So does a person. The tools change every few months, so learning is not a phase before the career, it is the career. I learn every day, and that is what I ask of the people I teach.

07

Faster is not cheaper people

The hours AI saves go back into the work: more takes, a sharper cut, a better mix. They are not a reason to pay a crew less or to drop names from the credits. A shorter schedule should leave the work richer, not the team poorer.

08

Consent before likeness

A face, a voice or a body of work goes into the pipeline only with the owner's permission, on terms they can read. I train on my own material and on data I have the right to use. Actors keep their likeness and artists keep their names.

Mike OverJK Owerczuk, film director

Mike “OverJK” Owerczuk

Founder, iPro.One & CIN LabsArt Director, Warsaw GlitchCEO, Glitch Group LLC
Founder

I am Mike "OverJK" Owerczuk, a film director, and the studio, the festival, the lab and the national team all grow out of that. I trained at film school and in the documentary tradition of Marcel Łoziński and Jacek Petrycki, and I keep one rule through every change of tools: story first, then rhythm, tone and the pressure of the frame.

I studied American studies, cognitive studies and machine learning, worked as a journalist and a war correspondent, and directed game cinematics, documentary and television, including League of Legends: More than a Game for Riot Games. I taught filmmaking for more than seven years and have written three books.

Spec Ops: Heavy Water, shot with real actors and made on my own pipeline with custom-trained models, was the first film of its kind in Europe and was presented at a special screening in Cannes; alongside it I devised a workflow for reconstructing archival footage. Broken Arrow has collected multiple festival awards and nominations. As captain of Team Eagles I led Poland to gold at the first AI World Championship, and I won Best Film solo with URSULA.

I founded iPro.One, the Warsaw Glitch festival and CIN Labs, and I lead Glitch Group LLC as its CEO. I work with AI compute, image enhancement and generative video companies and advise the board of Popcorn.co. Outside the frame, I built a school in Cambodia and I am an honorary member of the UN Peacekeeper Veterans Association.

Education

  • Film school, in the documentary tradition of Marcel Łoziński and Jacek Petrycki
  • American studies, cognitive studies and machine learning

Teaching & talks

Honours

  • Honorary member, UN Peacekeeper Veterans Association
  • Gold, first AI World Championship, as captain of Team Eagles
  • Best Film for URSULA, made solo
  • Cannes special screening of Spec Ops: Heavy Water

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