Prop master with more than 10 years of experience. I create, source, and organize the visual world of objects for shoots, advertising campaigns, films, and visual stories.
Good props do more than simply appear in a frame. They shape the atmosphere, reveal character, and help the visual story feel believable.
I’m Michal Horñák. I work as a prop master, creating the visual world of objects that makes an on-screen reality feel convincing — to the point where the audience stops noticing the boundary between the scene and reality.
I was born on August 27, 1988, in Olomouc, Czech Republic.
My interest in props began in childhood. I was always drawn to old objects, mechanisms, photographs, books, and everyday things — and to the stories that even an ordinary object can tell.
In the early 2000s, while still a teenager, I began helping small theatre and amateur productions, sourcing furniture, tableware, clothing, old interior pieces, and small details that made a scene believable.
That was when I understood my main principle: good props should not draw attention to themselves — they should make the audience believe in what is happening.
Gradually, theatre gave way to advertising shoots, short films, and television, and props became my profession rather than a hobby. Today, I have more than fifteen years of experience across feature films, series, advertising campaigns, music videos, historical productions, and commercial video projects.
My strength is combining creative thinking with practical execution. I do not just imagine what an object should look like on screen; I also handle sourcing, rental, fabrication, delivery, preparation, placement on set, and return.
“The audience may not consciously notice the props, but they will always feel their absence.”
I pay particular attention to historical accuracy. When a project requires a specific period, I study photographs, catalogues, archival materials, and the everyday details of that time.
An old clock, a cup in the kitchen, a framed photograph, a newspaper beside a chair or the right door handle — these are the details that create the feeling of a real world.
Over the years, I have built a wide professional network of directors, producers, production designers, decorators, stylists, and production crews.
More than 120 clients and production teams have worked with me, and many of them have returned for subsequent projects.
Advertising is another important part of my work. I have worked on numerous advertising campaigns for European brands, sourcing and developing props specifically for the visual concept of the director, art director, and brand.
On set, I often have to quickly find a replacement for a missing object, adapt props to script changes, or create a solution overnight for something that was never in the original plan.
That is why colleagues value my reliability, attention to detail, and ability to stay calm when only a few hours remain before a shoot.
Today I work as a full-cycle prop specialist: I can join a project at the preparation stage and manage the prop department through the end of the shoot. I study the script carefully, identify objects that matter to the characters and story, build the prop list, and plan backup options in advance.
For a director, I am someone they can trust with the visual authenticity of a scene. For a production designer, I am a reliable partner. For the crew, I am the person who knows where to find the right object, how to prepare it, and what to do when the object simply does not exist.
“If the audience believes in the world of the film, then the props have done their job. ”
I tailor each solution to the visual brief, budget, and pace of production — without unnecessary extras, but with attention to every detail.
References, sourcing, rental, purchase, and finding unique objects for a specific shot.
Creating spaces and object environments that support the concept and mood.
Prop organization, logistics, preparation, and hands-on support directly on set.
Sourcing, adapting, and preparing unusual objects when an off-the-shelf solution is not enough.
Turning a visual idea into a concrete set of objects, materials, textures, and details.
Working closely with the producer, director, stylist, and art department at every stage.
The process starts with the project brief: understanding the idea, finding the right objects, and making sure everything is ready on set on time.
Understanding the brief, visual language, timeline, and project constraints.
I assemble options, references, and specific objects around the approved direction.
Sourcing, rental, restoration, fabrication, and prop logistics.
Final placement, detail checks, and team support during the shoot.
Tell me about your project — we’ll discuss the brief, timeline, and how I can help.