post-film production
A studio for filmmaking beyond film.
01 — Manifesto
On Czech film sets, a street sign reads MIMO FILM — “except film crews.” It marks the space reserved for filmmakers.
We took the sign with us — into work that couldn’t be filmed two years ago. Films, series and branded content made with tools that are brand new, and craft that hasn’t changed in a hundred years. No AI slop.
02 — Case study
A living series — proof of concept for solo AI narrative production.
A nine-episode AI dark-folklore series set in Iron Age Bohemia. Rooted in real history — Ptolemy’s Κορκόντοι and Helwig’s 1561 map of Silesia. Vertical 9:16, released on Instagram, TikTok and YouTube Shorts.
@korkontoiThe workflow that sells: film craft at every step, AI as the tool.
// audience metrics added as the series rolls out
03 — Case study
A standalone AI short film. Different genre, same craft — proof the studio’s voice extends beyond folklore. Details added before release.
I spent several days producing a short film entirely with AI. Here’s my honest take on where the technology actually stands.
The brief was a 2.5-minute vertical thriller. One character in a rideshare. Rain. A stranger who won’t leave. A cliffhanger.
The pipeline I built: moodboard → AI image generation → character creation → video generation → voice cloning → local foley model → sound isolation → colour grade → upscale. Roughly a dozen tools to finish what a small crew would do in a day.
What surprised me — in both directions:
Further than I expected: The visual quality, when you get it right, is genuinely cinematic. Atmosphere, lighting, texture. Two years ago this wasn’t possible at this level.
Further from ideal than the demos suggest: You don’t direct AI. You negotiate with it. Reverse shots are hard. Consistent faces across cuts are hard. The gap between what you see in your head and what the model gives you is still wide — and bridging it takes as much creative problem-solving as any traditional production.
The result isn’t perfect. The pacing is faster than I’d want. Some shots had to be redone mid-process. Budget constraints shaped every decision.
But here’s what I keep thinking about: the constraint isn’t the technology anymore. It’s the craft of working with it. Knowing how to visualise a shot before you generate it. Knowing when to fix in post instead of regenerating. Knowing which tool to reach for.
AI video is no longer a novelty. It’s a production discipline. And like any discipline — it rewards people who treat it seriously.
Still a long way from the ideal. But I’d make another one tomorrow.
Last Fare — produced with Higgsfield, SoulCast, DaVinci Resolve, HunyuanVideo, Magic Hour, ElevenLabs, Fal.AI, Topaz and others.
04 — Services
AI proof-of-concept for series and film — for producers pitching projects.
Spots, campaigns and brand films — cinematic language at AI speed and cost.
We don’t do cheap volume content or generic AI slop. We’re mimo — outside. Hence the name.
05 — About
For years, my mum kept seeing street signs around Prague that read “No parking — mimo film” (“except film crews”), and she was convinced MIMO FILM was a production company. The certainty she said it with made me laugh — until I realised she was right. The company just didn’t exist yet.
I’m a cinematographer. I’ve shot films, series and commercials, and for the past few years I’ve been exploring what happens when film craft meets generative tools. The answer: either the AI slop flooding the internet — or something that looks like cinema, because it was shot by someone who’s been shooting film his whole life.
mimo.film is the second thing. A boutique studio for AI narrative work and branded content. Deliberately small. I work on every project personally, from concept to grade.
06 — Contact
cinematographer & founder
www.ondrejherold.czWrite directly — no forms.
o.herold@gmail.comPrague