The Making of a Video
We decided to record this song, and while we were working on it, I started to think it was turning out to be pretty decent. So I got the idea that it would be a lot of fun to get everyone together and make a music video for the song. My idea for the video was to try to really capture the recording studio "experience" and also to have a little bit of a storyline that reflects the spirit of the tune.

After asking around a bit, I was introduced to a very talented young filmmaker from Oakland named Ben Flanigan. We spoke on the phone a few times about the concept and finally Ben agreed to do the project.  Then the fun began. We had to schedule the studio, the people, lighting, gaffers, etc.  I met Ben at a cafe in Berkeley for 4 hours on a Sunday afternoon discussing everything from the concept, the type of lighting, should we film in high-def or normal resolution, coloring, all kinds of things I never realized had to be taken into consideration before starting such a project.

We finally got eveyone together on a Friday evening at The Annex in Menlo Park to do the shoot. Ben arrived a couple of hours early with a gaffer (I honestly still don't know what that is), another lighting engineer and an entire truckload of lighting equipment, camera, fog machine and who knows what else. By the time I got there they had lights hung all over Studio A. In addition Ben had created what he called a shot list - this is where he had thought through in advance and written out all of the shots he wanted to capture - so he had a game plan.

I was surprised about how these things actually work. It turns out the process of filming something like this consists of endless waiting around while the director instructs the crew to change and test the lighting - followed by little tiny bits of actual filming. It was so much fun and so tiring at the same time. I spent most of the latter part of the evening just trying to keep everyone from bailing before we got the shots we needed.

Finally Ben decided he got all he needed (or maybe could) and we wrapped. I captured a few photos from the shoot for the record and wanted to share them.  Here they are....










This is Dave the lighting engineer or "grip". He is sitting in for Patrick at the piano in order to set up the lighitng for the piano shot.
































Russell Bond of "The Annex" in the control room of Studio A.  Russell is a recording engineer, producer and a record making genius.

And yes, in true "George Costanza" fashion, I asked him, and he actually does know what each of those buttons is for!
















As I mentioned, a lot of time was spent waiting for the lighting to be set just right for the next shot.





















Filmmaker and Director Ben Flanigan. Think Quentin Tarantino only younger, more talented and fun to work with. But don't let looks deceive here - he can be annoyingly bossy!

















Patrick Feehan - Pianist, Arranger, Composer, Choir Director, Irishman (says he wishes he were Polish though), and Human Being Extraordinaire. As for his piano skills - take a listen.

This gorgeous Yamaha grand piano by the way is the same piano that George Winston played on his album Autumn.










Kris Yenney tuning her instrument while waiting for the lighting to be set for her shot. She calls her Cello Fanny.

Russell once called Kris a "Cellist of Utmost Perfection." Watch the video - you will immediately understand what he meant.

Also you can catch Kris in the Disney film "Bedtime Stories" with Adam Sandler. "Quite Cool".