The Kozmonavt campaign was created for Roletarstvo Medle in collaboration with director Davor Kralj, director of photography Darko Sintič and the production team at Moment Collective. The idea was simple, but visually rich: a young boy fascinated by space uses shading products, the FALCON roller shutter and the KRATER external venetian blind, as part of his own imaginary world.
Two TV commercials were produced as part of the campaign and later aired on major Slovenian TV channels. One focused on the FALCON roller shutter, where the remote control becomes a small rocket and the opening shutter brings sunlight into the room. The second, Glow in the Dark, focused on the KRATER system and the way it darkens the room, allowing the boy’s glowing universe to come alive.
My role in the project was on the client side, but I was also closely involved in the production process itself. The location was part of our company environment: we transformed the Livada Sports Centre in Novo mesto into a film set. This meant a lot of practical preparation before the cameras could start rolling. The hall had to be completely emptied, the floor protected with roll-up carpets, and the space adapted for a full commercial production setup. Once the production team arrived, the scale of the project became very clear. There was a huge amount of equipment, lighting, set material and technical coordination involved. A complete interior room was built inside the sports hall, with carefully designed scenography and details that gave the space its own atmosphere. One of the most memorable parts of the process was watching the artists create the glowing night sky on the ceiling. They built a chamber and airbrushed a detailed phosphorescent universe that became one of the strongest visual elements of the campaign.
Sound design was also an important part of the campaign concept. Both commercials used Also sprach Zarathustra as a musical reference, immediately connecting the story with the feeling of space, discovery and something larger than everyday life.
In the "Kozmonavt" spot, the sound builds around the boy’s imaginary launch sequence. As he circles around the room with the remote control in his hand, the countdown begins, inspired by the sound of an Apollo rocket launch. When he presses the button, the shutter starts to open, light breaks into the room and the sound of a rocket engine fills the space. The whole moment feels like a lift-off. Then reality gently interrupts the fantasy: his mother calls him for lunch, and the boy simply turns around and walks out of frame.
In the "Glow in the Dark" spot, the same musical theme is used in a quieter, more intimate way. The boy presses the button, the external venetian blinds close, and the room slowly becomes dark enough for his glowing universe to appear. He lies in bed, holding his small handmade night light, while his mother softly tells him to sleep well. Both films end with the company slogan, bringing the imaginary world back to the brand in a simple and memorable way.
From our side, it was important that the products were not just present in the shot, but installed correctly, visually accurate and fully functional. The FALCON roller shutter and KRATER external venetian blind had to look and behave as they would in a real home, while still working within the needs of a film set.
The whole process, from preparation to the actual shoot, ran very smoothly. The crew was large, focused and well coordinated. The young actor brought a lot of natural energy to the story, and the final result shows how much care was put into every part of the production. A lot of credit goes to the director for the original concept and to the DOP for translating that idea into a strong visual language.
Alongside the two commercials, the campaign also resulted in a strong set of still images by photographer Aljaž Hafner. His photographs captured the atmosphere of the set, the character of the young Kozmonavt and the carefully built visual world around him. They became an important part of the campaign’s wider communication, extending the story beyond the TV spots and giving the project a strong photographic layer as well.
For me, this project was interesting because it connected several layers at once: brand communication, product presentation, storytelling, set production and visual atmosphere. It was not just about showing shading systems, but about placing them inside a small story where light, darkness and imagination became part of the product experience.
Alongside my role in the project, I also captured behind-the-scenes footage, timelapses and a selection of photographs from the production process. These images show the transformation of the space, the scale of the setup and the amount of work that usually stays hidden behind the final commercial.