- About Przyborski Productions
- Demo Reels
- Misc Videos
- Introduction of 24P (from 2002)
- Images from a Summer Carnival
- River Rafting
- Scenes from a County Fair
- America Lost
- Moments@24fps (1997)
- Behind-the-Scenes Prop38 (2000)
- 1991 Pittsburgh Penguins
- Barth Bartholomae (1997)
- Behind-the-Scenes Pagetime (1998)
- Frontier Telephone (2000)
- Time Capsule: GNC 1992-1995
- Jimmy D
- Contact Info
It’s a new year and that means ad agencies and clients from across the country are working on new creative ideas for TV campaigns…
We had a great 2012 and the opportunity to work with some new folks and lots of old friends. We’re optimistically hoping 2013 will be even better.
Not to be “crass commercialists”… but, we’d like you to take 5 minutes to screen our updated reel which includes some recent projects. The spots span the gambit from high-energy, effect-driven commercials, to sincere, one-on-one communications aimed directly at the home viewer.
It’s also our first reel where every spot was shot digitally… Sorry Kodak, it appears our $.65/foot, 25 year relationship is over…
It’s like the story of David vs Goliath… only this time Goliath wins. It’s all from the crazy mind of political media superstar, John Brabender. The spot’s a visual metaphor for the unfair tax advantage a big internet business has over small local shops.
I shot the commercial using a RED One camera at Pittsburgh’s 31st Street Studios. At the rear of the 31st facility is the interior of an old industrial warehouse. A crew erected a full-sized, professional boxing ring as our set. We used 4 “space lights” over the ring as a primary light source. Numerous other HMI’s and other lights were used to highlight portions of the old steel warehouse.
I used the RED for most of the camera setups outside the boxing ring. The fighter’s “punches” were shot at 96fps. Inside the ring, I used a Panasonic AF100 for POV shots from both fighter’s perspectives. All the POV scenes were recorded at 40fps to add a “bigger than life” feel to the action. For several intense fight shots, I wore the primary boxer’s glove on my right hand and punched past the lens to the actor’s face for action cutaways. In case you’re wondering, it’s hard (and very unusual) to shoot a scene while you’re punching your actor.
Senior editor, Thad Christian of Pittsburgh’s, Phenomenon Post edited the high energy spot and created the original title graphics.
A couple weeks ago, I had the opportunity to direct and photograph Steelers’ coach, Mike Tomlin in the new TV spots for “The Extra Mile Foundation.” This worthwhile, non-profit organization gives urban kids the chance to attend a school where they learn in an atmosphere that’s free from drugs and violence.
When you’re the head coach of the Pittsburgh Steelers, every hour of your day is blocked out with meetings, interviews and other activities. Mike Tomlin was kind enough to give us 3 hours of his time. Producer and production coordinator, Judy Gurchak and I worked our entire shoot day around Tomlin’s schedule.
Stan Muschwek wrote and produced the new ad campaign. Stan thinks in visual terms, so he wrote scripts that didn’t require our featured talent to rush through his on-camera and voice-over copy. Stan and I have worked together on numerous projects for the past 25 years.
I shot all the 1080P “B-Roll” footage in actual working classrooms. For these scenes, I used Panasonic’s new GH2 camera. It makes great images and it’s small enough that kids don’t feel intimidated having it close to their face. Gaffer, Ted Weigand used small LED soft panels, bounce cards and battery powered LED fill lights to minimize classroom disruptions.
I shot Mike Tomlin’s on-camera segments with Panasonic’s new AF100, HDTV camera. I also photographed the still images for The Extra Mile Foundation’s 2011 print campaign. It feels great to give your time to such a worthwhile cause.
The concept sounds deceptively simple… real cancer survivors sharing their stories with the home viewer. We all agreed that the TV campaign would be most effective if these non-actors could talk one-on-one, directly to camera.
At Florida’s Lynn Cancer Institute, I mounted a through-the-lens teleprompter system in front of a Sony HDTV digital camera. The prompter’s monitor was fed by a video camera focused on an off-camera interviewer. Suddenly, our cancer survivors were talking and relating to a live human face, instead of a cold glass lens.
Producer/production coordinator, Judy Gurchak deliberately kept crew size to the bare minimum so the on-camera people wouldn’t be intimidated. Black flags and “floppies” were used to block the talent’s view of equipment and off-camera people.
During post-production, I decided to cut the best thoughts together and not worry about jump cuts. We made no attempt to hide the fact that the material had been edited. I felt that once the home viewer feels engaged with the talent and their story, why introduce random side cutaways, shots of hands or other distractions.
Background Info: Don Nehlen is a former head coach of the West Virginia University “Mountaineers” football team. For 20 years, he lead the team to winning seasons and bowl games. Nehlen retired from his successful coaching career in 2000. You know you’re appreciated when the road to Mountaineer Stadium is named Don Nehlen Drive.
A few years ago, West Virginia University Healthcare performed triple-bypass heart surgery, which saved his life. Coach Nehlen agreed to be featured in a TV commercial for the WVUH Heart Institute.
This commercial is an example of combining the best image quality attributes of 2 completely different 1080P HDTV cameras. I shot all of Coach Nehlen’s on-camera interview scenes with my Sony F900R. All the cutaways or “B-Roll” scenes were shot with my Panasonic AF100.
Personally, I’m sick of seeing “interview” spots where the subject is looking and talking off-camera to some nondescript, unidentified person. I wanted Coach Nehlen to tell his story, first person, directly to the home viewer. I resurrected an idea and technology that I first pioneered in the mid-eighties. We hooked 2 cameras and teleprompters together so the coach could talk directly to a virtual image of the interviewer’s face which appeared to “float” in front of the camera’s lens. The technique worked very well and added to the believability and sincerity of the Coach’s on-camera delivery. Thanks to Gary, Jay, Heidi and Mary of WVUH’s marketing team for putting up with my crazy production techniques…
The HDTV commercial is scheduled to begin airing in August throughout West Virginia.
I live in the City of Pittsburgh. Our company is in the city. Most of our clients and ad agencies are located in cities across the state. It’s easy to forget that Pennsylvania is mostly rural farm country.
Once a year, my wife Carol and I travel an hour and a half north of Pittsburgh to Meadville, Pennsylvania. It’s the annual site of the Crawford County Fair, the largest agricultural and livestock exhibition in the state. For an entire week, kids and adults from all over Northwest Pennsylvania show off the best looking animals they’ve raised. 4H members and others take pride in their sheep, cattle, pigs, horses, goats, ducks and chicken. Every exhibitor hopes to win a prize and the bragging rights to having raised a “best of show” animal at the Crawford County Fair.
I call this video “Scenes from a Pennsylvania County Fair” because every week in the summer, scenes like these repeat themselves in rural towns across the state and throughout the country. It’s was a hot, sticky 92 degrees at the fair but everybody enjoyed walking the fairgrounds, eating junk food and catching up with their old friends.
This video is a compilation of 1080P footage I shot in 2008 and 2011. It’s a salute to the hard working people we sometimes take for granted…
Burton Morris has created major works for CocaCola, The Academy Awards, Heinz, the Olympics, Absolut Vodka and hundreds of other corporations. Although he’s an internationally famous artist, Burton Morris’ is also one of the nicest guys you’ll ever meet.
He just completed a fun project for Eat ‘n Park Restaurants. Burton created his own original art to celebrate the 25th anniversary of “Smiley,” Eat ‘n Park’s corporate cookie icon. This summer, Burton Morris’ original artwork will adorn t-shirts, coffee mugs and other items that are sold in Eat ‘n Park’s chain of over 80 restaurants.
Sorry, I can’t reveal Burton’s original “Smiley” artwork, ’till it’s unveiled in June!… stay tuned!
I used Panasonic’s new AF100 to shoot the latest HDTV campaign for Eat ‘n Park, a Pittsburgh based chain of restaurants. In one 10 hour shoot day, we had to set, light and stage a sequence inside the company’s test kitchen. This included several tasty food shots of strawberry pies. The second half of the day was used to film “customer testimonials” and customer interaction with country singer and company spokesperson, Sarah Marince. (Sarah just celebrated her 21st birthday!)
The shots inside Eat ‘n Park’s test kitchen were lit with 3, 1200 watt Arri HMI’s located outside the kitchen’s windows. To create a warm feel of early morning sunlight, we put CTO gel on the HMI’s. The interior fill light was from 12″ x 12″ daylight balanced LED panels. I manually set the AF100’s color balance to 4700K to keep the warm feel without going too yellow or orange. Most of the kitchen scenes were shot from a Fisher 10 crab dolly. For the pie cutaways, I mounted my AF100 on a small, homemade tabletop dolly with skate wheels. I used my Olympus 14-35mm F2 lens for the wide and medium wide shots and an older Canon 85mm F1.2 FD lens for close-ups.
A few of the in-restaurant scenes were filmed from the Fisher crab, but for most I used a Manfrotto mono-pod. This created a more spontaneous and unpredictable feel to the back and forth dialogue. Most of these scenes were shot with a EF series, Canon 24-70 F2.8L lens, wide open at F2.8. All the in-restaurant footage was lit with HMI’s outside the restaurant and LED panels and white bounce cards inside. We exchanged all the warm-white CFL bulbs for 5000K lamps.
The second portion of the video is a movie theater ad that plays between shows in hundreds of theaters in Western Pennsylvania. I shot this simple on-camera delivery spot at the end of our shoot day.
I used Panasonic’s new AF100 HDTV camera to shoot this commercial which features former NFL SuperStar Jerome Bettis. With the exception of the airliner cutaway, every scene was shot at 1080P using Canon FD series lenses. I shot the Airbus 319 airliner cutaway in the pouring rain using my smaller GH-2 camera. The spot was fun to shoot and the folks at Arnold Palmer Regional Airport in Latrobe, PA and Spirit Airlines from Ft. Lauderdale were very accommodating. Jerome Bettis always arrives on-set with a great attitude and gives 100% to the project. The commercial will air on numerous stations and cable systems in Western Pennsylvania.
Pittsburgh based Elias-Savion Advertising is S&T Bank’s advertising agency.