A “Knock-Out” Shoot for Przyborski & BrabenderCox

On September 14, 2011, in Uncategorized, by Glenn Przyborski

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.

Rebellion 2012

On January 22, 2012, in Uncategorized, by Glenn Przyborski

Usually, I’m shooting nice things… like attractive people eating food while smiling. This project was completely different.

John Brabender (BrabenderCox) is one of the country’s top political media consultants. For over 10 years, he and I have worked together on many successful TV campaigns. John rarely thinks anywhere near the box, much less inside it.

John gave us less than a week to put together this project. Fortunately, I remembered scouting an old abandoned manufacturing building in Pittsburgh for a previous TV campaign. My producer and production coordinator, Judy Gurchak and I re-scouted the location and it was still available.

I set up most of the shots to take advantage of a wall of windows that lined the North side of the building. This became my primary light source, supplemented with 1200 and 2500 watt HMI’s. We used smoke machines to add atmosphere and distance to the scenes.

Growing up in Florida, I hate shooting in freezing cold weather. For the entire shoot day, our set temperature was less than 50ºF. We couldn’t use heaters because they quickly dissipated the smoke. Our shoot day was overcast and snowy, so we knew we would loose useable window light by 4:30PM.

I used a motorized, 7′ slider for the marching feet scenes and all ground level camera angles. This slider can smoothly move 25 pounds of camera.

I photographed everything with a RED Epic M using the standard set of RED primes including the 300mm telephoto. Every scene (except the fall) was shot at 30fps for playback at 23.98.

Thad Christian at Pittsburgh’s Phenomenom Post did an amazing job editing and grading the 90 second spot in less than 2 days including numerous effect shots. Michael Goodis handled original sound design. Steve Parys worked his butt off as my assistant director. Without the talents of gaffer, Ted Wiegand and scenic designer, Rich Schutte none of this would have been possible in such a short amount of time.

PLEASE: No political comments… I’ve uploaded this commercial to show an interesting assignment and production treatment… it’s not intended to be a political statement.

Moving Numbers

On January 28, 2011, in Uncategorized, by Glenn Przyborski

Last year, Glenn Przyborski directed and photographed a multi-part web series titled, “Moving Numbers.” The show is a humorous look behind-the-scenes of a political campaign. “MN” has the look and feel of spontaneous reality, yet every line is scripted. The cast is from LA, NYC and Pittsburgh.

John Brabender (of BrabenderCox) created and wrote the series based on events and characters that he’s observed (and worked for) in dozens of real political campaigns.

Post-production was handled by Thad Christian and his talented staff at Pittsburgh’s Phenomenon Post.