Vojtěch Kába: Conducting his own productions at the intersection of film and music
Vojtěch Kába grew up in Brno, and for a long time it looked like his world would be orchestras rather than film sets. After grammar school, he enrolled at JAMU to study music production. For several years he moved between philharmonics and concert halls, learning how large cultural institutions function behind the scenes. But the image kept pulling him in. He began filming recordings of performances, photographing opera dress rehearsals, shooting promo videos – and gradually realised that audiovisual work was the environment where his energy made the most sense.
What started as a hobby slowly became a job. With a group of friends from high school, he first shot and photographed graduation balls, then came his first campaigns, streams, and larger commissions for the city, non-profits, and major companies. Vojtěch discovered that what he enjoys most is connecting people and professions – not just standing behind a camera, but thinking about what a project communicates, who it’s for, and how it should land. That’s why, after completing his bachelor’s degree in Brno, he headed to FAMU’s Department of Production. He finished his master’s there, produced several student films, and at the same time grew his own company – which evolved from a small photo studio into a fully fledged production outfit.
He entered the television world through non-fiction projects. It was his first direct experience of TV production, and also the moment he realised he wanted to understand how television works from the inside. When an email from FAMU arrived with information about applying to CME Content Academy, it fit neatly into his plans. A programme led by people such as Michal Reitler felt like a logical next step, a way to connect practical producing experience with a deeper understanding of how formats for broad audiences are developed.
He took the admissions process seriously, but his experience with other schools helped him approach it more as a friendly conversation than an exam. “You could tell the committee genuinely cared about your motivation and the way you think,” he says. One part of the selection process was also a visual puzzle, candidates had to build a story out of dozens of images. For some, an unexpected task, for Vojtěch, a natural exercise in something he does all the time – finding structure and meaning where, at first glance, there are only fragments.
Today, he mainly identifies as a producer. He enjoys developing projects with a clear purpose – whether that’s a commissioned commercial, a documentary, or a series. He’s technically minded and likes to step into hands-on roles on set, but what interests him more is how camera, light, and sound support dramaturgy and the overall tone of a story. That’s also why he systematically tries out different positions across the crew: he wants to understand what each department needs, so that one day, as a producer, he won’t push people into choices that don’t make sense.
He feels closest to scripted and documentary work, ideally the kind with real impact, whether through sensitive social topics or projects that offer viewers a new perspective on familiar things. At the same time, the Academy has helped him rethink his relationship to reality and entertainment formats. Through lectures and case studies, he has come to see that even strongly audience-driven projects can quietly work with values and themes that art cinema would struggle to carry to mainstream viewers.
His internships currently span several worlds. With Michal Macák, he helps prepare social media content for football-related projects; at Punk Film, he is involved in documentary development; and on Kriminálka Anděl, he wants to observe how an established series crew operates. On the workshop projects Fight Club Mezina and Veselka, he works as a producer and dramaturg – without ambitions (for now) to become a screenwriter or director himself, but with a strong focus on vision, structure, and a realistic production approach.
Looking ahead, he would like to work as a creative producer within his own independent company while collaborating with television externally. He builds on the firm he has developed step by step, and on a broad range of experience across different kinds of shoots. He sees CME Content Academy as a place where these layers can connect – business, craft, and the deeper thinking behind what projects mean for the audiences they aim to reach.