Gregory Czaplak is a Vancouver-based producer, editor, colourist, story advisor, and co-founder of Adanac Films. His work centres on post and finishing, where he shapes projects through structure, rhythm, and image. While he leads full-chain production, the edit suite and colour bay remain his primary ground, and Adanac is built accordingly as a post and finishing house for documentary, brand, and institutional work.
His documentary work includes The Prop Master's Dream, a film on the revival of Cantonese Opera in Vancouver's Chinatown, produced through Saltwater City Films, where he co-produced, shot, edited, and colour-graded the project, and co-directed its 2D animated sequences. He also shot, edited, and produced A-Yi, a CBC-funded short directed by Martyna Czaplak. Additional credits include The Day Don Died, a Hot Docs selection, Synnopsis for 104 Studios, and editing the TELUS short Who the Hell is Nigel. Across these projects, he continues to explore hybrid forms that integrate animation into documentary storytelling.
Alongside his own projects, he works with directors, brands, and institutions to shape narrative at the development and editorial stages, building arcs from early concepts through to final cut. Earlier in his career, he produced and advised on over 100 short films through Vancouver Film School, guiding projects from idea to completion within the constraints of a single-day shoot. That format trained his ability to identify structure early and carry it through to the edit.
Before founding Adanac Films, Gregory worked within brand and institutional systems. He was Internal Brand Video Producer at Kit and Ace from 2015 to 2017, embedded in the in-house creative team as the company scaled internationally. He later became the first in-house video lead at St. Paul's Foundation, where he built the video function from the ground up, developing workflows, content strategy, and platform infrastructure. His client work includes Fairmont Pacific Rim, Lululemon, Monos, Kits Eyewear, Marcon Developments, and other Canadian and international brands.
He began his career on set in camera and lighting, operating across multiple movies of the week and lighting an independent feature. That experience remains foundational, informing both his producing instincts and his editorial judgement: how a shoot unfolds, where time and resources are lost, and how those decisions resolve in post.
Today, his work is focused on finishing. He edits and colour-grades across documentary, brand, and short-form commercial projects, both independently and in collaboration with Another Studios in Mount Pleasant and other production partners across Vancouver, advising across story, production, and post. Alongside this work, he is experimenting with emerging forms of AI-assisted visual production, using myth-making as a framework to explore new narrative structures.
Outside of film production, his work extends into industry and civic systems. He has participated in CRTC advisory discussions and is interested in strengthening Canada's film economy beyond its role as a service base for foreign production. Drawing on years of on-set experience in movies of the week, he has seen firsthand the scale of foreign-owned production operating in Canada. He is interested in how equivalent investment, paired with stronger domestic distribution, could support Canadian-owned stories and intellectual property, and ensure they are prioritized across national platforms and exhibition. As a father, his interests have also expanded into digital infrastructure and civic technology, where he is developing projects that move beyond documenting systems toward actively reshaping them.
