Director: Jerzy Skolimowski
DP: Michał Dymek
Production: Skopia Film
Director: Łukasz Palkowski
DP: MIchał Sobociński
Production: Aurum Film Production
Director: Lukasz Kośmicki
DP: Paweł Edelman
Production: Watch out Production
Director: Maciej Pieprzyca
DP: Witold Płóciennik
Production: RE Studio
Director: Jan Komasa
DP: Piotr Sobociński jr
Production: Aurum Film
Director: Tadeusz Śliwa
DP: Michał Dąbal
Production: Mimikra
Director: Michał Rosa
DP: Piotr Śliskowski
Production: SF KADR
Director: Paweł Borowski
DP: Arkadiusz Tomiak
Production: Opus Film, co-production Di-factory
Director: Dariusz Jabloński
DP: Paweł Dyllus/Martin Ziaran/Andrey Lisetskiy
Production: Apple Film Production
Director: Łukasz Grzegorzek
DP: Weronika Bilska
Production: KOS Kino
Director: Agnieszka Holland/Kasia Adamik/Olga Chajdas/Agnieszka Smoczyńska
DP: Tomasz Naumiuk/Arkadiusz Tomiak/Mateusz Wichłacz
Production: House Media Company
Director: Krzysztof Skonieczny
DP: Michał Englert
Production: HBO/House Media Company
Director: Leszek Dawid/Jan Matuszyński
DP: Piotr Sobociński jr/Kacper Fertacz
Production: Canal+/ Telemark
Director: Jan Holoubek
DP: Bartosz Kaczmarek
Production: Movie Studio Kadr
The raven
Director: Maciej Pieprzyca
DP: Witold Płóciennik, cameraman Jan Holoubek
Production: Canal +/ Opus Film
Director: Paweł Pawlikowski
DP: Łukasz Żal
Production: Opus Film
Director: Wojtek Smarzowski
DP: Tomasz Madejski PSC
Production: Profil Film
Director: Olga Chajdas
DP: Tomasz Naumiuk
Production: Film It


"EO" by Jerzy Skolimowski with OSCAR nomination!!!
Corpus Christi has an Oscar nomination in the Best International Film category!
The premiere of the film "COLDEST GAME"
Premiere of the „(Non) Friends”
Our films at the 44th Polish Feature Film Festival

Di News


After being recorded on camera’s disk, files with images – due to their significant size which may reach more than 1 TB for an hour of filmed material – are converted in several ways. This requires expertise in management of large amounts of data as well as equipment able to handle that.

Whilst working with complex technology, we prefer the simplest yet most effective solutions – we have equipment which makes it possible to view recorded film images to control and verify their physical quality.

CODEX is the best file recorder for digital cameras available in the film market today. Known for its reliability, used in the largest film productions around the world, it provides stress-free recording of files in high resolutions and makes editing and conforming significantly easier thanks to uniform file naming and precise timecode recording, which is very important in further post production.

DI VIEW – service which allows for internet access to all film set materials on a computer, tablet or smartphone. Images can be placed in DI VIEW after one-light colour grading – allowing the cameraman to view materials from daily shoots in high definition and with correct colours and contrast.

Data from the camera is duplicated onto two hard drives and LTO tape or one hard drive and 2 LTO tapes.

DI FACTORY works on the film set or very close to it, which significantly cuts time between the shoot and the access to images available for editing, and allows for image quality control immediately after recording.



Preparation of digital copies for cinema distribution and KDM keys service.

Another type of service which we provide is the preparation of digital copies – DCP, and so-called keys for cinema distribution – KDM. To make disk copies, we use a duplicator which in a day produces enough copies to allow digital distribution of a film throughout Poland.

We have plenty of experience in this area from our work with Polish and foreign film distributors. So far, we have made several dozen DCP masters for feature films, several thousand digital copies and thousands of KDM keys.

We have produced the first DCP master in 4K for a Polish feature film – POD MOCNYM ANIOŁEM ( THE MIGHTY ANGEL) by W. Smarzowski.

We are also heavily involved in mastering of commercials for digital cinemas.

We have worked on hundreds of advertising campaigns, together with our partner sound company – SOUNDPLACE – which prepares cinema mixes, we verify, upscale and correct materials from various television formats which become part of advertising campaigns screened in cinemas.



After editing (which may also be done at DI Factory – 2 edit suites), conforming takes place, which is a process of repeat editing in high resolution.

The next step is digital colour grading where with the use of a digital projector – dedicated to work in post production – on an 8-metre wide screen. The projection is caibrated and constantly monitored according to the best industry standards. Colour grading is done with Digital Vision’s Nucoda Film Master.

For television work we use a 42-inch reference monitor from DOLBY.

Colour grading is followed by the export of files and the process of mastering, and the final result is reference material for digital cinema screening – DCP master, television screening – broadcast files, and compressed files for the internet and mobile media.

Since 2005, we have handled post production of more than 140 films done in the DI technology.



The last element of our activity is long term digital file archiving. We use LTO-5 tapes to record data for Poland’s entire film market as well as other industries which require data preservation over many years.


Dedicated software had been written for the purpose of this service, to allow viewing, cataloging and even simple editing through direct link to the server.
Our first client, a large advertising agency, has almost 3.000 films already filed there. We plan to expand the library by adding further modules – for archiving of radio commercials and graphics.


This is our technological partner, with close business links to Di Factory, who adds another service to our entire portfolio. Building experience and modifying workflow, reKino is today a team characterised by high quality of their work, capable of digital restoration of even the most complicated damages to film.
They use a wide range of digital tools which allow for very advanced restoration, repair and mastering, e.g. grain management or removal of heavy scratches.

Jędrzej Sabliński


Julia Skorupska

Executive Producer

Rafał Golis

Sales Executive

Michał Herman

Senior Colourist

Jędrzej Sabliński


In the film industry since 1993 when he joined Eastman Kodak as director of sales of film products. In 2000 he became The Chimney Pot Warsaw President where he started to develop digital image processing:

- in 2003 Poland’s first Digital Intermediate

- in 2005 digital colour grading introduction

- in 2007 beginning of the process of digital feature film restoration in cinema resolution as part of the KINO RP project.

- since 2008 colour grading of all feature films done with the use of digital film projector dedicated to post production and compliant with DCI standard.

He supervised digital image processing for more than 120 feature films, incl. “KATYŃ” directed by Andrzej Wajda, DoP - Pawel Edelman. The film had first DI in Europe in 4K resolution.
As well, he produced digital restorations of more than 40 films – incl. “The Saragossa Manuscript”, “Pharaoh” and “Promised Land”. He presented his achievements at numerous symposiums and seminars, incl. IBC in Amsterdam – film and television industry’s largest trade fair, FMX in Stuttgart – European VFX fair, and at IDIFF in Paris – European post production symposium.


Julia Skorupska

Executive Producer

In the film industry since 1999. In the years 2000-2012 she worked for The Chimney Pot, since 2005 as Head of Production. She supervised work on numerous prestigeous and complex projects, both Polish and foreign.
She co-ordinated post production of such features as "Katyń" and "Tatarak" (dir. Andrzej Wajda), "Time to Die” (dir. Dorota Kędzierzawska), "Venice” (dir. Jan Jakub Kolski), “Janosik” (dir. Agnieszka Holland and Kasia Adamik) as well as “The Courageous Heart of Irena Sendler” and "Popieluszko".

Rafał Golis

Sales Executive

In the film industry since 1996. Up until 2005 with “TOR” Film Studio where he worked on more than 20 feature films by, among others, Krzysztof Zanussi, Wojciech Marczewski, Agnieszka Holland, Magdalena Piekorz.

He has covered the entire film production cycle – from script to post production. He spent 1,5 years at The Chimney Pot where he supervised post production of feature films and television series. He also worked at TVP Film Agency overseeing film production on behalf of TVP. In the years 2008-2012 he worked as Head of Production at Besta Film / Telemark, supervising post production of such TV series as “Londyńczycy” and “In Treatment”.

Michał Herman

Senior Colourist

A photographer by profession. He has been building his experience in colour grading since 2008 working on such features as "Konfident" (dir. J. Novota / DOP J. Malíř), "Walesa.Man of Hope." (dir. A.Wajda / DOP P. Edelman PSC), "Nude Area" (dir. U. Antoniak / DOP P.Sobocinski, PSC), "Stones on the rampage" (dir. r. Glinski, DOP P. Edelman, PSC),  "In the name of..." (dir. M. Szumowska / DOP M. Englert PSC)

At DI Factory he also graded widely awarded “Ida” (dir. P. Pawlikowski / DOP Ł. Żal & R. Lenczewski).

He has also worked on many digital film restorations with cinematography masters –  Witold Sobociński, Jerzy Wójcik, Kurt Weber, Grzegorz Kędzierski and Wiesław Zdort.

About us

A company stemming from many years of experience and successes in digital image processing for film and commercial post production.

Julia Skorupska, Rafał Golis, Michał Herman, Kamil Rutkowski and Jędrzej Sabliński, having spent more than ten years in the film industry, had decided to combine their organizational and technological experience. They set up a company which follows the latest trends in the film industry.

DI FACTORY is run by a team which guarantees the highest standards of image quality in following aspects:

- artistic – advanced colour grading for cinema/TV and computer graphics for feature films and commercials.

-technological – processing of high resolution files from digital film cameras.

The concept for DI FACTORY and such specialised services stems from attentive observation of the latest trends in US and British film industries.  


Di Factory


ul. Dominikańska 9, bud. 3
02-738 Warszawa, Poland

wjazd od ul. Niedźwiedziej
sprawdź na mapie jak dojechać
E-mail: info@di-factory.com
Telefon: (+48) 887 807 800

DCP support:

E-mail: support@di-factory.com
Telefon: (+48) 887 807 813