Campaign was created for Roletarstvo Medle as part of the preparations for the company’s 50th anniversary:
// Sound Design by Stojancho Georgiev
From the beginning, the idea was not to create a loud product commercial. We wanted something calmer, more atmospheric and more connected to the feeling of home. A campaign about light, time, comfort, privacy and the quiet reliability of products that are present in everyday life, often without being noticed.
The concept was first developed by Davor, and after the idea was approved, he and Darko started shaping the technical and visual direction of the project. Knowing Darko’s experience and precision with light, I was confident that the campaign had the potential to become visually strong. The final approach was built around two main visual layers.
The idea
The first layer is the background: a series of timelapse shots from different locations across Slovenia. Throughout 2025, Davor and Darko travelled to selected places and captured landscapes, weather, clouds, water, roads, forests, the sea and the changing light of the day.
These timelapses became a visual expression of time passing. The world moves, the seasons change, the light shifts, but the product remains present in the centre. In a way, this became the main feeling of the campaign:
// For 50 years, Medle products have stood quietly in the foreground of everyday life, helping shape the spaces where we live.
Some locations were iconic, others were chosen simply because they had strong visual potential or interesting natural light. Once the full selection of timelapses was ready, they were edited into three 30-second background films, each built around a different product.
The second layer was the product itself.
In the centre of the frame, floating in space, stood one of our products. A FALCON roller shutter, a FALCON PERFO roller shutter or a KRATER external venetian blind. The product was not static in a traditional studio setup. It moved gently, and more importantly, the light around it kept changing in relation to the timelapse in the background.
This detail was crucial. When the sun rose behind a mountain in the background, the studio light on the product had to follow that change. When the timelapse moved to another location, the direction and character of light changed again. To make this work, the studio setup had to allow fast, programmed and very precise lighting changes. This is where Darko Sintič played a key role. His knowledge of lighting, technical precision and ability to translate the movement of natural light into a controlled studio environment were essential for bringing the visual idea to life. The execution required a lot of preparation, careful planning and the support of the Fix Media production team.
The goal was to make the product feel like it belonged to the light of the landscape behind it. Not as something simply placed on top of a background, but as something visually connected to the moment.
Product preparation
On our side, one of the most important tasks was preparing the three main products for the studio shoot. All products were used in their actual size, but they had to be carefully adapted and refined so they could work with the custom mounting system.
The final 16:9 TV format was the main reference, but we also kept digital formats in mind from the beginning. The product had to sit in the middle third of the frame, so the same visual idea could later function well in vertical versions for social media.
Each product was built in-house at Roletarstvo Medle and prepared specifically for the studio part of the production. To create the floating effect, my father and I welded custom floor stands with an iron substructure. Each stand held two thin vertical metal rods, onto which the product was mounted through its guides and then fixed in place.
We tested this approach weeks before the actual shoot and prepared the same system for all three products. In the final frame, the construction was invisible. What remained was the feeling of a full-size product quietly floating in space.
The studio part required a lot of small adjustments. The products had to look perfect, even though they were mounted in a way they would never be installed in real life. Everything had to be level, stable and clean. We used a green screen background, protected all mounting points with green tape and made sure that the products were positioned precisely.
The first studio day was mostly used for tests, setups and solving technical details, so that the actual shoot could run as efficiently as possible. The main challenge was that we had three products, three different timelapse backgrounds and three separate dynamic lighting setups.
It was a very technical shoot, but also a very creative one. A lot of the final feeling came from small details: the angle of the product, the reflection on the surface, the timing of the light change and the way the product slowly moved through the frame.
Sound design
Sound was another important part of the campaign.
From the concept phase, we wanted the commercials to feel different from typical TV advertising. Not loud, aggressive or overly energetic, but calm, almost meditative. Something that would support the visual rhythm instead of fighting for attention.
Together with sound designer Stojancho Georgiev, we worked on creating what could be described as the sound of the timelapses. The soundscape was built in layers and followed the locations in the background. When there is water in the image, you hear water. When the scene moves into the forest, you hear birds. When Piran and the sea appear, you hear the atmosphere of the coast and boats. When the road appears, traffic becomes part of the sound.
This created an interesting contrast. Visually, time is moving very fast through the timelapse, but the sound stays slower, calmer and more natural. In my opinion, this is one of the strongest parts of the campaign. It gives the viewer a feeling that the world is moving, but the product remains calm, stable and present.
Under the ambient sound, there is a minimal piano-based music layer that gently supports the story. The final touch is the soft voiceover with the campaign line:
// Povsod z vami. Roletarstvo Medle. Vaši strokovnjaki za senčenje.
// (ENG) Always with you. Roletarstvo Medle. Your shading experts.
My role
My role in the project was mainly as the responsible producer on the client side.
I was involved in the development of the concept together with the company management and the creative team. After the concept was approved, we refined the idea further and prepared the technical production plan.
The timelapse part of the project was carried out entirely by Davor and Darko, while my biggest responsibility was on the product side. I had to make sure that all three products were prepared, technically functional, visually clean and ready for the studio shoot.
During the shoot, I was present as the client-side producer, helping with the setup, checking the products, following the execution and approving final versions from our side. I also documented the production process with behind-the-scenes photography and created a timelapse of the studio shoot.
The project combined many things I enjoy working on: a strong visual idea, real locations, technical problem-solving, studio production, light, sound and a lot of small details that only become visible when everything comes together.
Final result
The final campaign was created from real footage, real locations, carefully prepared products and a precise studio production process.
// No artificial intelligence was used in the creation of the visuals.
What I like most about the result is that it does not try to explain too much. It lets the image, the light and the sound create the feeling. The products are present, but not pushed too strongly. They simply stay there, in the middle of changing landscapes, weather and time.
In the end, Povsod z vami became a campaign about presence. About products that are not always noticed, but are part of the spaces where life happens.