Tomáš Metz
Game Production / Creative Operations
My background combines film production, operations/logistics, and solo game-developement. I’m focused on helping creative teams stay organized, communicate clearly, and actually ship.
What I Do
Creative Production
Keeping artists, technicians, changing requirements and deadlines aligned without killing creative momentum.
Operations & Follow-up
I make priorities, ownership, blockers, and next steps visible so work does not quietly fall apart.
Game Development
I build video-game prototypes myself to understand scope, iteration, bugs, player flow, and the difference between an idea and something actually playable.
Selected Work
Horror Prototype
A small first-person horror prototype built in Unity, focused on interaction, pacing, scripted events, audio triggers, UI flow, and a complete playable loop.
Creative Production Background
Practical creative production experience around prosthetics, visual work, deadlines, changing requirements, and cross-discipline collaboration.
Horror Prototype Breakdown
Goal
Build a short playable first-person horror demo with a complete loop: exploration, item pickup, locked progression, scripted events, threat escalation, chase, and ending.
What I built
First-person movement
Interaction system
Scripted horror events
UI flow
Enemy chase sequence
Production challenge
The main challenge was not any single feature, but how quickly simple ideas turned into dependencies between level design, scripting, UI, audio, pacing, and testing.
What I learned
A feature is not “done” when it works once. It is done when it works inside the actual player flow, with UI, audio, pacing, edge cases, and testing.
Practical Effects / Creative Production Background
Prosthetics & set work
My creative background comes from practical film and prosthetics work, where visual quality depends on materials, timing, collaboration, and solving problems under real constraints.Working around practical effects taught me how creative work behaves under pressure: changing requirements, limited time, visual standards, and the need to keep different people aligned without slowing the work down.That experience is one of the reasons I’m interested in game production. I care about creative work, but I also care about the structure that helps it actually get finished.
What this taught me
Creative work needs freedom, but also clarity.
Visual quality depends on timing, references, feedback, and iteration.
Production should support the work, not suffocate it.
Real constraints force better decisions.
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