*Insert preamble for the Award for Best Sound at the Oscars.*

The Bandit x ASICS Novablast 5 campaign video consisted of four main elements: the video itself, the VFX, the color, and the sound. None work without the other, all equally important to achieving the desired total outcome.

The sound, however, presented a unique challenge given the hundreds of unique interactions throughout the 1 minute and 17 second film. In order to realize the video as it was envisioned, we turned to Prague-based sound designer, Samuel Jurkovič.

Every single sound in the video is completely original and made bespoke by Samuel in his studio. Check this out:

Unreal, right? We caught up with Samuel to learn more about his process...

Samuel, please introduce yourself. Who are you, where are you from, what should the world know about you?

My name is Samuel Jurkovič and I’m a sound designer and mixer based in Prague.

I specialize in creating original sounds that I use in the projects I work on. I’ve been in sound industry for over 10 years, and during that time I’ve built a large sound studio with three rooms, where I record and do post-production.

I create sound design for commercials, films, as well as art installations and experimental projects.

Last year, I became a member of the Czech Film Academy after receiving an award  Czech Lion for Best Sound Design for the feature movie Restore Point, directed by Robert Hloz.

What made you get into sound designing and what do love about it?

I got into sound through my love for music and film. What I enjoy most about my work is the freedom it gives me—the chance to express emotions without using words, which can often feel limiting. At the same time, it’s a great way to meet interesting and inspiring people along the way.

How would you describe your approach to this video?

One of the key tasks I focused on in this video was designing unique and characterful sounds for all the buttons that appear throughout the ad. Each one needed to have its own distinct feel. All the button sounds were recorded in my studio using custom setups and objects to give them a tactile, physical quality. I also worked on the sound of the rocket taking off and flying—shaping it to feel dynamic and full of texture, without going over the top.

What were some of the more challenging sounds in the video? Or any favorite moments?

The most challenging moment was keeping the right volume balance between the music and the sound of the flying rocket, the overall punch and transients—so the viewer could feel the intensity of both without one overpowering the other. It was all about finding that sweet spot where they could coexist and still feel strong on their own. Maintaining the overall dynamics of the piece was also quite demanding, especially with so many dense layers competing for space.

But at the same time, these aspects were exactly what I enjoyed most about creating this sound design—they pushed me to be precise, creative, and fully immersed in the process.

What’s something you learned on this project you might take into future creations?

What I realized while working on this project is that I naturally tend to push things louder—it’s almost like a reflex. And at the same time, I found how much of a difference it makes to really focus on which sounds deserve attention. That careful choice is what made the whole thing feel more dynamic and alive to me