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David Brodsky

David S. Brodsky

Brodsky, D

Brodsky, D.S.

Great Neck

New York

Music Video

Director

Editor

MyGoodEye

mygoodeye

my good eye

My Good Eye


NOTE: ALERTS and NOTES ON THE TOP-NEWS

&alert=<a href="mailto:junk@mgenyc.com">HEY YOU! We're BETA TESTING the new redesign and programming. Having any problems? Let us know. Like it? We'd love to hear that too. Click here to fill us in.</a>
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NOTE: THESE ARE FOR THE NEW VIDEO ON THE FRONT PAGE.

&videoname=GOD FORBID<br>THE END OF THE WORLD</FONT><br>

&videoblurb=<a href="http://www.godforbid1.com"target="blank"><b>GOD FORBID : THE END OF THE WORLD</b><br>Copyright © 2005 <b>Century Media.</b> <br>We had a great time shooting this video in an abandoned basement in Brooklyn. Except for Doc, who whacked his head - hard - on a low hanging pipe. <b>{click: band website}</b>
</a>

&videoname02=KERVIN<br>Mimic the Accident

&videoblurb02=<a href="http://www.whoiskervin.com"target="blank"><b>KERVIN : MIMIC THE ACCIDENT</b><br>Copyright © 2005 <b>Aim First Recordings.</b> <br>New York locals KERVIN bring their unique political sound to life. <b>{click: band website}</b>
</a>

&videoname03=STREET DRUM CORPS f BERT McCRACKEN<br>Happy X-Mas

&videoblurb03=<a href="http://www.streetdrumcorps.com"target="blank"><b>STREET DRUM CORPS f BERT McCRACKEN : HAPPY XMAS</b><br>Copyright © 2005 <b>WarCon Records</b> <br>Happy Holidays from Bert, Quinn, Frank, Bob, Adam and Aiden. Please enjoy this reimagining of John Lennon classic. <b>{click: band website}</b>
</a>

&videoname04=SCARS OF TOMORROW<br>The Constant Horror of Reality

&videoblurb04=<a href="http://www.scarsoftomorrow.net"target="blank"><b>SCARS OF TOMORROW : THE CONSTANT HORROR OF REALITY</b><br>Copyright © 2005 <b>Victory Records</b> <br>Shot in the same venue as Prince's Purple Rain - only not in the same room and not nearly as, om, purple. Southern California hardcore at its finest. Hint: watch the room.<b>{click: band website}</b>
</a>

&videoname05=<b>SCARS OF TOMORROW</b><br>The Constant Horror of Reality

&videoblurb05=<a href="http://www.scarsoftomorrow.net"target="blank"><b>SCARS OF TOMORROW : THE CONSTANT HORROR OF REALITY</b><br>Copyright © 2005 <b>Victory Records</b> <br>Shot in the same venue as Prince's Purple Rain - only not in the same room and not nearly as, om, purple. Southern California hardcore at its finest. Hint: watch the room.<b><i> click here to go to the band website </i></b>
</a>

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NOTE: ADDRESS, PHONE NUMBER AND COPYRIGHT INFO

&copyright=All contents copyright © 1999-2006 by respective owners. No portion of this website may be downloaded or duplicated without prior written consent of content owner and MyGoodEye.

&mgeinfo=MyGoodEye LLC : 141 Fulton Street : 3rd Floor : New York, NY 10038 : 212/791-2777 : mygoodeye@mygoodeyenyc.com

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NOTE: TEXT FOR PAGES

&musicvideo=So, yeah. We love making music videos. We've done over 150 of them and we want to do more. Film or video. SD or HD. We PRODUCE, DIRECT and EDIT them to broadcast standards. You might think it'd break the bank to make one. You'd be wrong. Ask us. We'll hook you up.
&endofsection

&dvds=Combining animation, editing and interactivity is one of our specialties. We've designed and authored over 200 retail DVDs since 1998 - yup, really, we've been at it that long! Every one of these was fully functioning in real-life, but you'd be here all day if we left it that way. We'll just show you what some of them looked like.
&endofsection

&commercials=
Design it. Edit it. Animate it. Broadcast commercials to sell your stuff.

&animation=Don't let all the music videos fool you. MyGoodEye is a fully functioning corporate animation and post house as well. All sorts of applications. All kinds of uses. 2D and 3D. Industrial, commercial, medical, broadcast and web. Have a look:

&endofsection

&contact=Reach out to us...

<a href="http://pub9.bravenet.com/forum/724808709">THE MGE FORUM:
CLICK HERE to access our FORUM to let us know how you REALLY feel, to ask a question, to vent your pent-up rage, whatever you want. We'll read them all.</a>

<a href="mailto:junk@mgenyc.com">MGE JUNKMAIL:
Don't take the email address personally. Feel free to use it to get in touch. Want a video? Got a question? Sent your requests here and we'll get right back 'atcha. {click to send an email or get us directly from your email program at JUNK@MGENYC.COM}</a>

We are located at:
141 Fulton Street
3rd Floor
New York, NY 10038

And you can call us at:
212-791-2777
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NOTE: BAND LIST

&clients=<a href="http://www.100demons.com"target="blank">100 Demons</a>
<a href="http://www.twelvetribesmusic.com"target="blank">12 Tribes</a>
<a href="http://www.36crazyfists.com/news/index.aspx"target="blank">36 Crazyfists</a>
<a href="http://www.action-action.com/"target="blank">Action Action</a>
<a href="http://www.agentsofman.com"target="blank">Agents of Man</a>
<a href="http://www.agnosticfront.com/"target="blank">Agnostic Front</a>
<a href="http://www.allthatremains.cc"target="blank">All That Remains</a>
<a href="http://www.anthrax.com/"target="blank">Anthrax</a>
<a href="http://www.mygoodeyenyc.com"target="blank">A Thousand Falling Skies</a>
<a href="http://www.theautumnoffering.com/"target="blank">Autumn Offering, The</a>
<a href="http://www.bekayrap.com/"target="blank">Bekay</a>
<a href="http://www.mygoodeyenyc.com"target="blank">Big Six</a>
<a href="http://www.boysnightout.com/"target="blank">Boys Night Out</a>
<a href="http://brandnewsin.org//"target="blank">Brand New Sin</a>
<a href="http://www.buryyourdead.com/"target="blank">Bury Your Dead</a>
<a href="http://www.killacam.net"target="blank">Cam'Rom</a>
<a href="http://www.candiriamusic.com/"target="blank">Candiria</a>
<a href="http://www.ncmusic.com/bands/codeseven/"target="blank">CodeSeven</a>
<a href="http://www.mygoodeyenyc.com"target="blank">Daytona</a>
<a href="http://www.bhcdiecast.com/"target="blank">Diecast</a>
<a href="http://www.dillingerescapeplan.com/"target="blank">Dillinger Escape Plan, The</a>
<a href="http://www.dirtyamericans.com/"target="blank">Dirty Americans</a>
<a href="http://www.thedistance.net/"target="blank">Distance, The</a>
<a href="http://www.drykilllogic.com"target="blank">Dry Kill Logic</a>
<a href="http://www.etownconcrete.net/"target="blank">E. Town Concrete</a>
<a href="http://www.falloutboyrock.com/"target="blank">Fall Out Boy</a>
<a href="http://www.fearfactory.com/"target="blank">Fear Factory</a>
<a href="http://www.thefightmusic.com/"target="blank">Fight, The</a>
<a href="http://www.fullblownchaos.com/"target="blank">Full Blown Chaos</a>
<a href="http://www.brandnewsin.org/"target="blank">Glass Casket</a>
<a href="http://www.godforbid.com/"target="blank">God Forbid</a>
<a href="http://www.gwar.net/"target="blank">Gwar</a>
<a href="http://www.hastetheday.com/"target="blank">Haste the Day</a>
<a href="http://www.hatebreed.com/main.asp"target="blank">Hatebreed</a>
<a href="http://www.hedrocks.com"target="blank">Hed P.E.</a>
<a href="http://www.heropattern.com/"target="blank">Hero Pattern</a>
<a href="http://www.jaemillz.com"target="blank">Jae Millz</a>
<a href="http://www.jrwriter.com"target="blank">JR Writer</a>
<a href="http://www.thejudascradle.com/"target="blank">Judas Cradle, The</a>
<a href="http://www.whoiskervin.com"target="blank">Kervin</a>
<a href="http://www.mygoodeyenyc.com"target="blank">Krumbsnatcha</a>
<a href="http://www.lilwayne.com"target="blank">Lil Wayne</a>
<a href="http://www.loveisred.com/"target="blank">Love Is Red</a>
<a href="http://www.midtownrock.com/"target="blank">Midtown</a>
<a href="http://www.miserysignals.net/"target="blank">Misery Signals</a>
<a href="http://www.mostpreciousblood.com/"target="blank">Most Precious Blood</a>
<a href="http://www.psychologicalrecords.com/"target="blank">Mr. Hyde</a>
<a href="http://www.mudvayne.com/"target="blank">Mudvayne</a>
<a href="http://www.psychologicalrecords.com"target="blank">Necro / Ill Bill</a>
<a href="http://www.nittyonline.com/"target="blank">Nitty</a>
<a href="http://www.norarockmachine.com/"target="blank">Nora</a>
<a href="http://www.mygoodeyenyc.com"target="blank">P Black</a>
<a href="http://www.thepiercesmusic.com/"target="blank">Pierces, The</a>
<a href="http://www.pigdestroyer.net/"target="blank">Pig Destroyer</a>
<a href="http://www.theprogrammusic.com/"target="blank">Program, The</a>
<a href="http://www.theredchord.com"target="blank">Red Chord, The</a>
<a href="http://www.rememberingnever.net"target="blank">Remembering Never</a>
<a href="http://www.psychologicalrecords.com"target="blank">Sabac</a>
<a href="http://www.scarlettsweb.com"target="blank">Scarlett</a>
<a href="http://www.scarsoftomorrow.com"target="blank">Scars of Tomorrow</a>
<a href="http://www.thesmashup.com"target="blank">Smashup, The</a>
<a href="http://www.stillbornrecords.com/"target="blank">Scurvy</a>
<a href="http://www.seemlessband.com/"target="blank">Seemless</a>
<a href="http://www.shadowsfall.com/"target="blank">Shadows Fall</a>
<a href="http://www.slunt.net"target="blank">Slunt</a>
<a href="http://www.streetdrumcorps.com"target="blank">The Street Drum Corps</a>
<a href="http://www.stretcharmstrong.net/"target="blank">Stretch Armstrong</a>
<a href="http://www.swornenemynyc.com/"target="blank">Sworn Enemy</a>
<a href="http://www.3inchesofblood.com/"target="blank">Three Inches of Blood</a>
<a href="http://www.trivium.org/"target="blank">Trivium</a>
<a href="http://www.theused.com"target="blank">Used, The (Bert and Quinn)</a>
<a href="http://www.unearth.tv/index.php"target="blank">Unearth</a>
<a href="http://www.thewarriorz.com/"target="blank">Warriors, The</a>
<a href="http://www.youngjeezy.com"target="blank">Young Jeezy</a>

&endofsection

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NOTE: NEWS GOES HERE.

&news={January 2006}
NEW STUFF EVERYWHERE! New Website! New Forum! New 'Blog!

We're announcing the finalists of our UNDERGROUND SEARCH AND RESCUE $10 MUSIC VIDEO CONTEST and get ready to vote! WWW.METALINJECTION.NET on January 16th!

{Demember 2005}

The STREET DRUM CORPS f/BERT MCCRACKEN wins its spot on FUSE'S OVEN FRESH, is up for 'BEST XMAS SONG' on YAHOO! LAUNCH and got added to rotation on MTV! Basically meaning now you'll hear it AND see it everywhere!

ADDED to our MUSIC VIDEO section: SCARS OF TOMORROW, KERVIN, AGENTS OF MAN's "WITHOUT A TRACE", 12 TRIBES "TRANSLATION OF FIXES" and a bunch of other stuff. In case you didn't notice, we weren't updating with any regularity. Well, hopefully those days are over...

AGENTS OF MAN's "WITHOUT A TRACE" is added to MTV2 HEADBANGER'S BALL.

{November 2005}

Shot REMEMBERING NEVER's single CON ARTIST in scenic Brooklyn today. Thanks to RICH HALL and ADRIEN for, om, well, you'll see what for when you see the video.

STREET DRUM CORPS f/BERT MCCRACKEN gets picked up worldwide! Pretty damn amazing. Early adoptees: Germany, Canada and the UK.

{October 2005}

For DIECAST's THESE DAYS, we suspended the drummer 8 feet in the air with airplane cable and lit an abandoned oil facility the size of a football field. Of course, it didn't help that the generator died on us... however, the band and crew came back around the following weekend (and thanks tons to all of you) and finished the job. Look for it to debut in January.

Shot the STREET DRUM CORPS reimagining John Lennon's HAPPY XMAS with THE USED's BERT MCCRACKEN and QUINN for WARCON'S TASTE OF XMAS CD. Special thanks go to the ST. JOHN - St. MATTHEW - EMANUEL LUTHERAN CHURCH in Park Slope, Brooklyn, Pastor DAVID PARSONS and the congregation for putting us up (you should all go and say hello, they're wonderful people). And to the KELLY Family in Morristown, NJ for donating not only their home, but their children...

SCARS OF TOMORROW's "THE CONSTANT HORROR OF REALIZATION" is added (with the brick... surprise, surprise) to MTV2 HBB and FUSE. Also added to YAHOO! LAUNCH.
Shot AGENTS OF MAN's "WITHOUT A TRACE" for CENTURY MEDIA. Our second video with this amazing New Jersey band captures their live performance.

This year we received SEVEN nominations for the HEADBANGER'S BALL BEST OF 2005. Three for directing/editing ALL THAT REMAINS, THE RED CHORD, E-TOWN CONCRETE (the only three that were eligible at the time... shameless plug that it is) and four more for the edits on DARKEST HOUR, TRIVIUM, MADBALL and SEEMLESS. Be sure to vote!

{September 2005}

MGE crew flies to MINNEAPOLIS to shoot SCARS OF TOMORROW's "THE CONSTANT HORROR OF REALIZATION" for VICTORY RECORDS and finishes up in NYC with Betsey and Erik. Check it out in the MUSIC VIDEO SECTION. Also, don't forget to have a look at the MGE BLOG to read a bit about the making of this video.

{August 2005}

THE RED CHORD'S "ANTMAN" is officially the MOST PLAYED VIDEO on MTV2 HEADBANGER'S BALL.

THE AUTUMN OFFERING is signed to VICTORY RECORDS! Again, we'd like to think it had something to do with the video, but that'd be just plain ego talking. Congrats to them!

{July 2005}

Our friends in THE SMASHUP get signed to WARCON RECORDS! We'd like to think it had something to do with the video, but more likely it had something to do with them being damn talented. Either way, we're proud of them and wish them well!

ALL THAT REMAINS's "TATTERED ON MY SLEEVE" is added to MTV2 HBB and FUSE.

{June 2005}

Now that was some kind of weekend. We produced and directed not one, not two, but THREE videos in three days! ALL THAT REMAINS, TWELVE TRIBES and New York locals, KERVIN.

Videos for: FIGHT PARIS, MADBALL and THE AUTUMN OFFERING! All in-house and all to be seen shortly!
HASTE THE DAY - WHEN EVERYTHING FALLS and E-TOWN CONCRETE - WHAT CAN I DO? are new and on-line in our music video section.

{May 2005}

Coming in for post-production this week: DARKEST HOUR, 32 LEAVES, BIG LEFT and BLOODSIMPLE.

It's about time! Finally, the DIRTY AMERICANS get the love they deserve. Just added to MTV'S Advanced Warning. Watch STRANGE GENERATION in our MUSIC VIDEO section.
METAL INJECTION premieres THE RED CHORD video and a behind the scenes look at the making of ANTMAN. Still makes me itch to watch it.

Also new in the music section, Century Media's BRAND NEW SIN. Black and Blue, the first single from their new album, showcases BRAND NEW SIN'S infectious rock and roll. Have a look.

This month we're working on two new live multicamera shoots! One showcasing the legendary ANTHRAX reunion tour throughout the US. And for the other for New York Metal band BLOODSIMPLE. Look for them both on DVD in the near future.

{April 2005}

4/21 : Just came down off the roof with HASTE THE DAY. Shooting 35mm film overlooking the vast landscape of NYC for their latest single When Everything Falls. Our overnight shoot started out at 85 degrees and dropped to 55 in a matter of hours - and don't forget the wind and the rain (gonna feel that in the morning) - but the incredible sunrise footage from the crane is worth every second.

4/18 : Posted the complete THE SMASHUP video for Effigy. We're highlighting it in the MUSIC VIDEO Section and you should check it out.

4/9 - 4/10: Big weekend! Wrapped shooting for NY Rap/Rock act HEDSICK and Century Media's AGENTS OF MAN on Sunday.
&end

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NOTE: BIOGRAPHY

&bios=<b>DAVID S. BRODSKY :<br>President, Lord and Master, Bringer of Visual Goodness</b>
<a href="mailto:david@mgenyc.com"><i>{ contact david</i></a>

David, having spent six years covered in paint as the Art Department manager of Tower Records continued his melding of music and art by finding his way into the world of music video. With the help and support of director Dale Resteghini, David and MyGoodEye have now produced, edited and have lent animation to nearly 150 music videos in the two years and change.

On the journey to the creation of MyGoodEye and beyond, David has covered a lot of ground. An award winning documentary editor, an indie filmmaker, an illustrator (both by hand and digital), an animator, a print designer, a DVD author and even a web designer.

Recently entering the directing/producing arena, David has put himself behind the camera (so to speak) for videos such as GOD FORBID, DIECAST, THE STREET DRUM CORP f/ BERT McCRAKEN (of the USED), THE RED CHORD, E-TOWN CONCRETE, SCARS OF TOMORROW, REMEMBERING NEVER and a slew of others... all of which (shameless plug) can be seen on this very website in the Music Video section.

In 2004, MyGoodEye was honored with 8 nominations for HEADBANGER'S BALL : Best of 2004. In 2005, we slipped to seven, but notably 3 of the 7 were directed and edited by David. We're hoping that's a step in the right direction.

<b>ARIS PINEDO-BURNS : <br>Problem Solver</b>
<a href="mailto:aris@mgenyc.com"><i>{ contact aris</i></a>

With a background in broadcast television news, Aris brings his expert eye for narrative and precision. Able to write and produce a spot, shoot it, and then edit it, we sometimes wonder what he'll leave the rest of us to do. Aris shoots regularly for Telemundo here in New York City.
Additionally, he has been working with Scarlett on the soon to be released Out-Of-The-Box Music Vision vending system. Recently, Aris completed work as co-editor of the SUPERJOINT RITUAL LIVE AT CBGB DVD for SANCTUARY MUSIC which was directed by DENISE KORYCKI of FUSE TV. Aris has also produced a number of music videos recently and is alway looking to expand his repertoire.

<b>ERIK BOCCIO : <br>Gentleman of Leisure</b>
<a href="mailto:erik@mgenyc.com"><i>{ contact erik</i></a>

Coming to us via the frozen tundra of Buffalo, NY, Erik came to the Big Apple seeking to get a foothold in the music video business. As it happens, he's got one heck of a knack for it. As a musician and video director, Erik's love of music and eye for editing has made him an invaluable asset to MyGoodEye. Erik's recent projects include directing the feature length dvd TOUR IS HELL for Eulogy Records as well as the debut music videos from THE JUDAS CRADLE and THE WARRIORS. He has also edited for ANTHRAX, GWAR, MISERY SIGNALS, PIG DESTROYER and UNEARTH, among others.

<b>Evan Hahl :<br> In Need Of Silly Title</b>
<a href="mailto:evan@mgenyc.com"><i>{ contact evan</i></a>

It's tough to peg Evan as any one thing other than unique. He has the tendency to surprise the hell out of us with insight while simultaineously charming with his boyish demeanor. Generally, a conversation with Evan is vastly more entertaining than you'd expect.

Finding his way to New York City via Utah and Ohio, we are pleased to have him on board to lend his style to a variety of projects. Recently, Evan has worked with us on a project for PROCTER AND GAMBLE as well as cutting CAM'RON, KOTTONMOUTH KINGS, AUGUST BURNS RED, DANNY DIABLO and a number of others.

<b>OLIVER WELLINGTON :<br>Also In Need Of Silly Title</b>
<a href="mailto:oliver@mgenyc.com"><i>{ contact oliver</i></a>

Oliver had hoped to find a rich wife in college that would support him. Instead he found himself alone and in debt, so he took up a job as a manservant in a local New York music management office. While the glamour of faxing, filing, copying, and answering phones did arouse Oliver sexually, mentally it just wasn't stimulating him enough, so he decided to take a chance on love and join the My Good Eye family.

Oliver has been playing Bass and Guitar for 8 years and is currently the bassist for New York's own Kervin and also loves going to shows and meeting new bands. (note: Oliver is NOT a groupie). Although he is not a groupie, Oliver is still available to tend to any needs clients may have while dealing with My Good Eye, he is here to make sure that while everyone ends up WANTING the beat the living piss out of each other with baseball bats, they only use the foam ones he keeps safely locked up in his office. To sum it all up, Oliver loves all people as if they were his own children, and isn't afraid to dress in crush velvet.

<b>SASHA GOMELSKAYA :<br>Sidekick and Drinking Buddy</b>
<a href="mailto:sasha@mgenyc.com"><i>{ contact sasha</i></a>

Born in St Petersburg, Russia, Sasha moved to NYC in 1993. After nine years of art and music lessons, she has taken up interest in graphic design and video editing in hopes of combining her talents and interests in the career of her dreams. The opportunity has finally presented itself when she has joined the MyGoodEye team as a graphic designer/editor. More importantly, she has joined David and company on numerous recent drinking binges, a bunch of shows and more than a couple of video shoots.

Sasha's most recent work includes the AGENTS OF MAN : WITHOUT A TRACE and DANNY DIABLO : UNDER THE GUN music videos. She has also assisted in editing a music video for AUGUST BURNS RED.
&end

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<?xml version='1.0'?>
<newsblock>

<news date='12.16.05 : SO, I ADDED A FORUM'>Admittedly, I am always interested to hear what people have to say about the work we do, the bands we work with, the music we love, that kind of thing. So, for shits and giggles, I implemented the MGE FORUM. You can get to it through the CONTACT section or the BLOG/CREW/FORUM (duh) section of our site, and I heartily encourage everyone to use it. I'll read and comment (and so will Erik, Evan, Oliver and Sasha) and we can have a good old fashioned discussion.
Right now, it's a free service for me, so there will be the annoying pop-up ad from time to time. And, if anyone seems to use it, I'll spring the $54 dollars and pay for the upgrade.
First things first. Let's see if it gets used.
</news>

<news date='12.15.05 : HAVE I GOT A SCARS OF TOMORROW STORY FOR YOU.'>I've been thinking a bit about what might be interesting for anyone to bother reading. Actually, a few months back, Stephanie from Victory Records asked if there were any interesting anecdotes about the SCARS OF TOMORROW VIDEO that I could share with them. And actually, I'd have to say yes... here it is:
SCARS OF TOMORROW in MINNEAPOLIS: If there is one video that I've done that has an interesting anecdote... this is the one:
We load in at approximately 8am. Right on time. Which was simple for Mike Milia, my DP (director of photography) and I, since we booked a hotel about two blocks walking distance.
The room that we are supposed to shoot in had been slightly 'exxagerated' by the locals with regard to size and technology. The light rig, for the most part, consists of nothing other than antiquated faders (that don't fade) and a bunch of 100W light bulbs in par cans from Home Depot. On top of that, the ceiling was 10' as opposed to 15' which kind of sucked given that we had rented a 20' jib arm.
Not to worry, Mike Milia and I had done this before and I knew he could get that 'insect buzzing' look that I dig (you know, where the camera is flitting around the subject like a bug... can't get that handheld... "to see how precious life really is" is a great example, by the way). Combine that with a room full of fog, shots right into the lights to cause flaring and some intense low angles (again, can't do these hand-held) and we're a-okay. The band is into it. And, to their credit, they perform over and over and over again without complaint or losing energy. There's a certain magic to working with a touring band. They know how to perform and there's nothing I need to tell them to get them to be any better showmen than they already are.
We break for lunch at around 1pm, after shooting the majority of the 'performance footage'. We're on schedule, having overcome the location's limitations. I'm feeling pretty good about the footage we have and know that we have some great stuff.
And we were considering going to do some loose-narrative cut-away shit in the basement of the club. But it's lunch time. We heard rumor of a good sub joint that delivered and, while it wasn't the best sub in the world, it certainly hit the spot after 5 hours of shooting. It was also going to be the only food that Mike (the DP) and I would have before running off to the airport at 4:45pm to catch a 6pm plane home. I'm sitting on some half wall thing, thinking about what to do with the basement footage. Chris, the drummer, had requested that we tie him up or something extreme like that and I'm thinking: I can work with this. I like to have an "oh shit" factor in a video. Chris and I had spoken about it the night before and we were in agreement that some intense cut-away performance stuff would work wonders.
Mike Milford, the singer, walks over to me with a dour look. Maybe he didn't like his sandwich?
"You have to call Stephanie from the label" he says to me.
"Okay. Why?"
"We're shooting the wrong song."
Epilogue: We were, indeed, shooting the wrong song. We had shot five hours for Murders and Madmen (if the label ever wants a video for that song, it's already done... it'll just look the same... hehehe). The band had told me what song we were shooting in an email the night before and I assumed they had cleared it with the label since I had sent an email to the label the day before that and figured that the label and the band had talked since and it turns out that they hadn't and there was something about an old manager and that's what I get for assuming (HA!). My mistake for not double-checking. Me... well, I liked both songs.
I put the sandwich down. Told the band and the crew.
Everyone was in shock for about five minutes, but, like professionals, everyone rallied to the cause and got it done. And got it done well. We hadn't broken down the gear from the earlier part of the shoot just yet, so it was kind of a no-brainer to go back and do it all again. What struck me was that nobody at anytime got angry or pissed. Just kind of a collective shrug and back at it.
The band got up immediately and played as hard as they had earlier. We reshot the entire performance video in three hours - no breaks, the song on repeat. Then added the super-cool spotlight stuff for cutaways. We took turns standing on a bar stool swinging the floodlight back and forth - which is harder than you'd think. Got done in time to run to the airport and make the plane home to NYC.
The upside is that headbanging and just about anything that isn't singing, specific guitar or bass fingering and specific drum fills can be edited to fit just about anywhere - especially when you're a high-cut-count guy like me. So, the funny part is, it turned out to be no trouble at all - I actually ended up with MORE footage for the performances than I would have had otherwise.
In the airport, Mike Milia and I were feeling kind of bad because the mixup had taken the opportunity to shoot our 'narrative' stuff away from us. We figured we could come up with something using this old building that was completely full of junk in Brooklyn. At some point, it occurred to me that having a woman sitting in a room that slowly filled with garbage without her moving might be a compelling visual (since I knew this room in particular came pre-junked - we actually shot the room footage from completely full to empty and cleaned it as we went).
And from there it took off. We reexamined the lyrics to the song and did what we could to interpret them using the location we had as a baseline. Set it up in such a way that the woman is virtually paralysed by the 'horror of reality' as the room fills around her and her 'demons' creep in closer and closer until she tricks her 'demon', captures and kills it. And, of course, the brick to the face is about as compelling a lyric and image as you can get.
Funny part is, had we not done it in NY, we would likely not have come up with the 'creeping emotional demon', the 'brick to the face' and the 'room slowly filling from empty to overloaded' for the narrative - items which I think make the video that much stronger. So it all worked out for the best in the long run.
End of anecdote...
</news>

<news date='12.15.05 : THE STREET DRUM CORPS are OVEN FRESH'>It is with great pleasure that I formally announce that THE STREET DRUM CORPS f/BERT MCCRACKEN "HAPPY X-MAS" video has been approved by the FUSE OVEN FRESH VIEWERS! As such, our humble video will be played on Fuse and I personally feel pretty damn good about it. Of course, with ten days left until XMAS, I don't know how long it will play, but fuck it all, I'm thrilled!
I don't know if you know this, but Bert and the SDC were asked to play a live version of the song with Yoko Ono about a week back here in NYC. That's a pretty cool thing also. And it makes for a great first relevant entry in the MGE Blog.
</news>

<news date='12.15.05 : MY FIRST OFFICIAL BLOG ENTRY:'>And I can't believe I'm going to be doing this with any regularity, but Oliver tells me that it will be cool and that you folks will dig it, so, well, here you go.
</news>

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<?xml version='1.0'?>
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<news date='12.15.05 : MY FIRST OFFICIAL BLOG ENTRY:'>And I can't believe I'm going to be doing this with any regularity, but Oliver tells me that it will be cool and that you folks will dig it, so, well, here you go.
</news>

<news date='12.15.05 : THE STREET DRUM CORPS are OVEN FRESH'>It is with great pleasure that I formally announce that THE STREET DRUM CORPS f/BERT MCCRACKEN "HAPPY X-MAS" video has been approved by the FUSE OVEN FRESH VIEWERS! As such, our humble video will be played on Fuse and I personally feel pretty damn good about it. Of course, with ten days left until XMAS, I don't know how long it will play, but fuck it all, I'm thrilled!
I don't know if you know this, but Bert and the SDC were asked to play a live version of the song with Yoko Ono about a week back here in NYC. That's a pretty cool thing also. And it makes for a great first entry in the MGE Blog.
</news>

<news date='12.15.05 : Got a SCARS OF TOMORROW STORY for YOU.'>I've been thinking a bit about what might be interesting for anyone to bother reading. Actually, a few months back, Stephanie from Victory Records asked if there were any interesting anecdotes about the SCARS OF TOMORROW VIDEO that I could share with them. And actually, I'd have to say yes... here it is:
SCARS OF TOMORROW in MINNEAPOLIS: If there is one video that I've done that has an interesting anecdote... this is the one:
We load in at approximately 8am. Right on time. Which was simple for Mike Milia, my DP (director of photography) and I, since we booked a hotel about two blocks walking distance.
The room that we are supposed to shoot in had been slightly 'exxagerated' by the locals with regard to size and technology. The light rig, for the most part, consists of nothing other than antiquated faders (that don't fade) and a bunch of 100W light bulbs in par cans from Home Depot. On top of that, the ceiling was 10' as opposed to 15' which kind of sucked given that we had rented a 20' jib arm.
Not to worry, Mike Milia and I had done this before and I knew he could get that 'insect buzzing' look that I dig (you know, where the camera is flitting around the subject like a bug... can't get that handheld... "to see how precious life really is" is a great example, by the way). Combine that with a room full of fog, shots right into the lights to cause flaring and some intense low angles (again, can't do these hand-held) and we're a-okay. The band is into it. And, to their credit, they perform over and over and over again without complaint or losing energy. There's a certain magic to working with a touring band. They know how to perform and there's nothing I need to tell them to get them to be any better showmen than they already are.
We break for lunch at around 1pm, after shooting the majority of the 'performance footage'. We're on schedule, having overcome the location's limitations. I'm feeling pretty good about the footage we have and know that we have some great stuff.
And we were considering going to do some loose-narrative cut-away shit in the basement of the club. But it's lunch time. We heard rumor of a good sub joint that delivered and, while it wasn't the best sub in the world, it certainly hit the spot after 5 hours of shooting. It was also going to be the only food that Mike (the DP) and I would have before running off to the airport at 4:45pm to catch a 6pm plane home. I'm sitting on some half wall thing, thinking about what to do with the basement footage. Chris, the drummer, had requested that we tie him up or something extreme like that and I'm thinking: I can work with this. I like to have an "oh shit" factor in a video. Chris and I had spoken about it the night before and we were in agreement that some intense cut-away performance stuff would work wonders.
Mike Milford, the singer, walks over to me with a dour look. Maybe he didn't like his sandwich?
"You have to call Stephanie from the label" he says to me.
"Okay. Why?"
"We're shooting the wrong song."
Epilogue: We were, indeed, shooting the wrong song. We had shot five hours for Murders and Madmen (if the label ever wants a video for that song, it's already done... it'll just look the same... hehehe). The band had told me what song we were shooting in an email the night before and I assumed they had cleared it with the label since I had sent an email to the label the day before that and figured that the label and the band had talked since and it turns out that they hadn't and there was something about an old manager and that's what I get for assuming (HA!). My mistake for not double-checking. Me... well, I liked both songs.
I put the sandwich down. Told the band and the crew.
Everyone was in shock for about five minutes, but, like professionals, everyone rallied to the cause and got it done. And got it done well. We hadn't broken down the gear from the earlier part of the shoot just yet, so it was kind of a no-brainer to go back and do it all again. What struck me was that nobody at anytime got angry or pissed. Just kind of a collective shrug and back at it.
The band got up immediately and played as hard as they had earlier. We reshot the entire performance video in three hours - no breaks, the song on repeat. Then added the super-cool spotlight stuff for cutaways. We took turns standing on a bar stool swinging the floodlight back and forth - which is harder than you'd think. Got done in time to run to the airport and make the plane home to NYC.
The upside is that headbanging and just about anything that isn't singing, specific guitar or bass fingering and specific drum fills can be edited to fit just about anywhere - especially when you're a high-cut-count guy like me. So, the funny part is, it turned out to be no trouble at all - I actually ended up with MORE footage for the performances than I would have had otherwise.
In the airport, Mike Milia and I were feeling kind of bad because the mixup had taken the opportunity to shoot our 'narrative' stuff away from us. We figured we could come up with something using this old building that was completely full of junk in Brooklyn. At some point, it occurred to me that having a woman sitting in a room that slowly filled with garbage without her moving might be a compelling visual (since I knew this room in particular came pre-junked - we actually shot the room footage from completely full to empty and cleaned it as we went).
And from there it took off. We reexamined the lyrics to the song and did what we could to interpret them using the location we had as a baseline. Set it up in such a way that the woman is virtually paralysed by the 'horror of reality' as the room fills around her and her 'demons' creep in closer and closer until she tricks her 'demon', captures and kills it. And, of course, the brick to the face is about as compelling a lyric and image as you can get.
Funny part is, had we not done it in NY, we would likely not have come up with the 'creeping emotional demon', the 'brick to the face' and the 'room slowly filling from empty to overloaded' for the narrative - items which I think make the video that much stronger. So it all worked out for the best in the long run.
End of anecdote...
</news>

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