Founded in 2003, My Good Eye has spent more than two decades making images that move fast, hit hard, and rarely behave themselves.

Best known for hundreds of music videos across the rock and metal world, MyGoodEye has also produced commercial campaigns, documentaries, live content, animation, and branded work for artists, labels, agencies, nonprofits, and major companies. The scale has ranged from tiny crews in questionable locations to large productions with a lot more moving parts, but the approach has stayed remarkably consistent: find the strongest idea, figure out how to make it work, and don’t waste time making things look like everybody else’s things.

MyGoodEye has never been particularly interested in chasing trends. More often, the company has found itself experimenting with visual ideas that eventually became trends themselves.

Small by design and hands-on by nature, My Good Eye remains deeply involved from the first conversation through the final frame.

David S. Brodsky founded My Good Eye in 2003 after coming to filmmaking from illustration rather than film school. That probably explains a lot. He learned by making things, breaking things, figuring out why they worked, and occasionally discovering that the “wrong” way of doing something looked considerably better than the right one.

Over the next two decades, David directed, shot and edited more than 350 music videos, becoming particularly associated with the visual language of heavy music. His work has taken him from tiny clubs and condemned buildings to major stages and large commercial productions, working with hundreds of artists as well as labels, agencies and companies including Sony Music, Universal, Century Media, Metal Blade, Nuclear Blast, Johnson & Johnson, Verizon, Citi, Sanofi and others. He still prefers to shoot what he directs whenever possible. For David, directing has never meant watching the work happen from a chair.

Along the way, he helped pioneer a number of techniques that became familiar parts of heavy music filmmaking. One of the best known was “The Shaggy,” a free-lensing technique David developed during the HVX200/Brevis era after accidentally discovering what happened when a lens separated from the camera. He turned the accident into a performance tool, warping the image, introducing light leaks and physically snapping the lens back into focus with the music. Variations of that look remain common in music videos today.

That experimentation extended into nearly every part of the image. David pushed hyper-saturated color when much of the industry was still coloring conservatively for broadcast, embraced extremely high shutter speeds because their violent clarity better matched aggressive music, and developed an editing philosophy built around musical energy rather than simply cutting on the beat. His “3Fs” philosophy, Fingers, Frets and Face, came from a simple question: if the important information is at either end of a guitar strap, why waste time looking at the strap? Jibs stopped being graceful camera supports and became weapons. Cameras moved harder. Cuts got faster. Every paused frame was expected to hold up on its own.

None of this came from an attempt to invent a “style.” It came from curiosity, impatience with convention, and a willingness to ask why something had to be done the way everyone else was doing it.

That instinct still drives David’s work today. In addition to filmmaking, he works in animation, visual effects, virtual production and interactive media, and is a Bethesda Verified Creator and game developer. The tools have changed dramatically since 2003. The underlying idea has not: find the strongest way to communicate the idea, then make the technology behave.

Allison Woest is a producer, camera operator, and partner at My Good Eye, although “person who keeps the entire machine from flying apart” is often the more accurate description.

She handles the practical reality behind ambitious productions: budgets, schedules, crews, locations, logistics, clients, gear, paperwork, last-minute disasters, and all the things nobody notices when they’re going well. On set, she is equally comfortable behind a camera or solving the problem that appeared five minutes before call time and somehow became everyone’s emergency.

Allison brings an unusually useful combination of organization, calm, technical ability, and common sense to productions that often contain very little of any of those things by the time the cameras start rolling.

She and David have worked together across music videos, commercial productions, documentaries, live events, and increasingly elaborate creative experiments. David tends to ask, “What if we did this ridiculous thing?” Allison is frequently the person who figures out how they actually can.