🇬🇧 With several years of experience as a Visual Effect Artist and Creative Director in the film industry at studios such as Lucasfilm and other major VFX studios, my portfolio includes shots from Avengers: Age of Ultron, Iron Man 3, Captain America: The Winter Soldier, Jurassic World, etc.

It was an honor to be able to work for Marvel Studios for almost 6 years with work recognition when both Iron Man 3 and Captain America: The Winter Soldier had Oscar nomination under the visual effect category.

In 2017 I co-founded a company called smashbuster that focus on development of fan engagement tools connecting the digital and the real worlds in multiplayer. Our first two projects for Marvel fans reached millions of fans around the world. In 2019 smashbuster, we accepted an offer from a German leAD / Sport1 accelerator to join their program with our project Live Penalty.


Marvel’s Iron Man influenced me at age 19, when I could not decide whether to study architecture or graphics. Etched in my memory was the legendary scene in which Tony Stark tests his new suit of armor in a laboratory.

This was so inspiring that I repainted my parents’ garage green to create a green screen, and began working on my own personal armor. Unfortunately, the results were far from satisfactory and my parents were annoyed about the destruction of their garage.

I ignored advice from parents, teachers and friends, and announced that one day I was going to work in the film industry. I left high school in Pilsen with the conviction that I had to follow my heart. My parents did not take this well.



I’ll never forget my father’s words:
” What do you see behind the house? A forest. Yes, that’s right. There’s a forest and no Hollywood, so go back to school. “

Despite this, I loaned a large sum of money from a friend working in a bank, and flew off to study animation in New York. The whole situation was further complicated by the fact that I was unable to speak a single word of English, as I had only learnt German at school.

What came next were months of isolation and living on the edge, battling to save money. Days were spent taking notes during lessons I did not fully understand because of the language barrier. Nights were spent studying over the internet in order to catch up to the same level as my classmates.


When I returned from New York to the Czech Republic, I faced another problem. I had a certificate in animation but no job. So, for six months I shut myself in the cellar which I had transformed into a makeshift studio. In spring, however, when the snow melted suddenly and the cellar was flooded overnight, I lost all of my equipment.

Nevertheless, with the help of all my closest friends and relatives, I overcame these hurdles and sent my newly completed demo reel into the world.


To my great surprise, I was contacted by world renowned studio Cinesite in London and within a month I was travelling to work on my first film, John Carter of Mars (Walt Disney).

In 2013, I had almost moved to Vancouver, Canada, when I received a fabulous offer from German studio Trixter to work on Iron Man III. I accepted the offer without hesitation because Iron Man was my inspiration. The Iron Man 3  team was headed by VFX Supervisor Chris Townsend who was nominated for an Oscar in the category of visual effects.

This was followed by a stint at Double Negative in London during which I worked on Thor: The Dark World, which was the most technically challenging project I have ever worked on. I was part of the team which created Thor’s large, sprawling home city of Asgard. After returning to German studio Trixter, I worked for several weeks in collaboration with Lucasfilm on Captain America: The Winter Soldier, which was nominated for an Oscar in the category of visual effects.


In 2014, another dream came true. After 5 years of applying for a job at Lucasfilm, I finally received an offer to start in Singapore as a Lighting Technical Director. Given the success of Avengers, there were high expectations for the sequel. As it turned out, Avengers: Age of Ultron was a fabulous ending to the second phase of my career. Despite the fact that Lucasfilm was company that I wanted to work for since the very beginning I started to struggle with creative freedom. After I finished my work on Jurassic World I decided that I’m gonna leave and pursue a different career. 


At the beginning of 2015, I received an invitation to visit the movie set of Guardians of the Galaxy Vol.2 in Atlanta, where I immediately fell in love with the Baby Groot character which later became an inspiration for the first smashbuster project. In 2016, I worked on set of Spider-Man: Homecoming in Berlin as a visual assistant, this movie officially concluded my visual effect career, shortly after that I moved to Los Angeles. 

I worked on:


At smashbuster we are a group of creative artists who customize unique experiences that blend one of a kind live intimate and interactive events with the reach of social media, apps and the internet. By combining the best of both worlds we eliminate certain limitations. While the digital world increases the reach to millions of people, the aspects of the real world increase the experience and include a more personal connection to brands and other people. Other game developers try to digitally replicate reality, we actually engage with it. Giving access to players to do things which people can’t usually do.