Secrecy shrouds The Witcher Netflix series. We don’t know who will dye their hair to become Geralt, what stories the show is going to tell and when it will start streaming. The list of the unknowns doesn’t end there, either. However, what we do know about it is a cause for optimism. The initial announcement back in May named five people involved in the project. And each of the confirmed names spells good news for the series. The Hollywood duo of Sean Daniel and Jason Brown will produce the show together with a Polish team of The Witcher lore experts: Tomasz Baginski (who will also direct at least one episode per season) and Jarek Sawko. 

Andrzej Sapkowski, the grumpy creator of The Witcher saga is also along for the ride to consult with the showrunners on creative matters. While Sapkowski is a household name by now, you may not recognize Baginski and Sawko. But you’re almost certainly familiar with their work. The same goes for Daniel and Brown. Let’s have a look at what each of them brings to the conference table at the Netflix offices. 

“Sawko is also making a name for himself with gigs like the visual effects producer on this year’s Wonder Woman”

Baginski and Sawko both hail from Platige Image, a Polish creative agency working on the crossroads of technology, culture, and commercial cinematography. While Baginski is the better known of the two, it’s Sawko who produced most of his greatest hits. Baginski joined Platige Image in 1997 on the strength of his debut short film Rain. 

After almost five years of tinkering came a breakthrough. Platige Image’s next big project, The Cathedral was directed by Baginski and produced by Sawko and went on to garner almost universal critical acclaim. The short film was nominated for an Oscar in 2003 and won the Best of Show award at the prestigious SIGGRAPH festival for digital film and video. 

And that was just the beginning of a long and successful working relationship. Their next cooperation titled The Fallen Art won a BAFTA and another SIGGRAPH award in 2005, which was the first instance of the same filmmaker winning it twice. Baginski’s next effort called The Kinematograph, a rare instance of him working without Sawko, had to settle for a Golden Lion nomination at the Venice Film Festival in 2009. 

Since then, Baginski and Sawko have worked together on countless commercials, short films, game cinematics and cultural projects. Sawko is also making a name for himself with gigs like the visual effects producer on this year’s Wonder Woman. But what makes them such a great fit for The Witcher Netflix series is their work on the cinematics for The Witcher games. Starting with the introduction to the first game in the series: 

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