Vojtěch Kába: A Conductor of His Own Productions, Where Film and Music Experience Meet
Vojtěch Kába grew up in Brno, and for a long time it seemed that his world would revolve more around orchestras than film sets. After high school, he enrolled at JAMU to study music production, spending several years moving between philharmonic halls and concert stages, learning how big cultural institutions function behind the scenes. But he found himself increasingly drawn to the visual world. He began recording performances, photographing opera rehearsals, shooting promo videos — and gradually realized that audiovisual work was the environment where his energy made the most sense.
What began as a hobby slowly became a profession. With a group of friends from high school, he first photographed graduation balls, then came the first campaigns, livestreams, and larger commissions for the city, nonprofits, and major companies. Vojtěch discovered that he most enjoyed bringing people and professions together — not just standing behind the camera, but thinking about what the project communicates, who it’s for, and how it should resonate. That’s why, after finishing his bachelor’s degree in Brno, he headed to the Production Department at FAMU. There he completed his master’s degree, produced several student films, and simultaneously developed his own company, which evolved from a photography studio into a full-fledged production house.
He entered the television world through non-fiction projects. This was his first direct encounter with TV production and also the moment he realized he wanted to understand better how television works from the inside. When he received an email from FAMU about the possibility of applying to the CME Content Academy, it fit neatly into his plans. A program led by people like Michal Reitler represented a logical next step: combining hands-on production experience with a deeper understanding of how formats for a broad audience are created. He approached the admissions process seriously, but experience from other schools helped him treat it more like a friendly dialogue than an exam. “It was clear that the committee truly cared about motivation and the way you think,” he says. Part of the selection was a visual puzzle — from dozens of images, applicants had to assemble a story. For some an unexpected task; for Vojtěch, a natural exercise in something he does routinely: finding structure and meaning where, at first glance, there are only fragments.
Today, he sees himself primarily as a producer. He enjoys developing projects with a clear purpose — whether it’s a commercial spot, documentary, or series. He is comfortable with technology and gladly joins technical roles on set, but he is far more interested in how camera, light, and sound support the dramaturgy and tone of the story. This is also why he systematically tries out different crew positions: he wants to understand what each profession needs, so that as a producer he never pushes people into situations that make no sense.
He gravitates toward fiction and documentary work, ideally the kind that has real impact — whether dealing with sensitive social topics or offering viewers a new perspective on familiar issues. The Academy also helped him rethink his relationship to reality and entertainment formats. Thanks to lectures and case studies, he began to recognize that even strongly audience-oriented projects can subtly work with values and themes that an art-house film would struggle to bring to mainstream viewers.
During his internships, he is spread across several worlds: with Michal Macák, he prepares social media content for football projects; at Punk Film, he participates in documentary development; and on Kriminálka Anděl, he hopes to observe how an established series crew operates. In the classroom projects Fight Club Mezina and Veselka, he serves as producer and dramaturg — with no ambition (for now) to become a screenwriter or director, but with a strong emphasis on vision, structure, and realistic production planning.
In the future, he would like to work as a creative producer in his own independent production company while collaborating with television externally. He draws on the company he has built step by step and on his wide spectrum of experience across various types of shoots. He sees the CME Content Academy as a space where these different layers can connect — entrepreneurship, craft, and thoughtful reflection on the purpose of the projects being created for the audiences they aim to reach.