The Journey
Behind the Camera
2019 — 2023
Film school in Zlín. From day one, I was drawn to the camera — not as a tool, but as a way to shape how stories feel. I focused on the technical and visual side of filmmaking, working as DoP on my graduation project.
My first year, a camera teacher brought me to a professional set as 2nd AC. From that moment I spent more time on set than in the classroom — commercials, music videos, series, short films, and AVATAR productions.
Fameplay & AI
2024 — 2025
I joined Fameplay — one of the first large-scale AI audiovisual productions in Czech Republic — originally as camera operator on avatar shoots. Over time I became responsible for AI imaging, DoP work, and equipment management.
Working across HeyGen, Midjourney, Runway, Lumalabs and many others on real commercial projects for major brands. This is where both worlds merged.
Generative Practice
2025 →
A fully-fledged creative practice blending generative tools with cinematic language. Working on campaigns for international clients, leading workshops on AI workflows, and pushing the boundaries of what's possible when you combine a camera operator's eye with AI's reach.
The craft doesn't change. The tools do.
But AI isn't everything.
AI fills a big part of what I do — but not all of it. I'm still actively shooting and editing classical work, and a lot of my time goes into Seismic.rec, a techno label and creative collective I help build out of Hradec Králové. There I work primarily as a lighting designer at events, but I also shoot promo content for Seismic and built their website — just like this one.
If you're looking for a collaboration that has nothing to do with film or AI — web work, lighting, anything visual — I'm open to it. I genuinely enjoy both.
Honestly, I think to do good work with AI you need to diversify. AI moves fast, and being all-in on a field that keeps shifting under your feet can wear you down. Working across mediums is how I stay grounded — and it keeps every part of my craft sharper.