As soon as he gets a vacation, he'll have the site up and running. Until then, here's an updated bio and a preview of the new style.
Matt Wallach grew up a "set baby" in Chicago, Illinois, becoming the youngest working production assistant in the city at 2 years old. Some found it funny, others were baffled, and the rest felt it was cruel. His mother deemed it "good exposure."
It's hard to argue against the colloquial "Mom knows best" when she's a producer and her kid's first words were "triple grande half-caf Americano with room."
After relocating to Breckenridge, Colorado, Matt and his mom went into production withdrawal, forcing the family to move to the more metropolitan Boca Raton, Florida. Now that he was in a better location and of legal working age, Matt was able to travel to shoots in Chicago, New York, Orlando, and Los Angeles during his summer breaks. This quelled the negative effects that came with the lack of time spent on set.
Matt enjoyed the South Florida weather, so he elected to study film and photography at the University of Miami. After graduating, Matt relocated to Los Angeles to live the proverbial dream. It didn't take long to work his way from PA into the camera department, shimmying between commercials, reality, and independent features.
Since then, Matt has joined Local 600 and increased the scope of projects he is involved with, working locally in both sweet home Chicago and Los Angeles as a Digital Imaging Technician. He has an equipment package and the knowledge to ingest and secure footage, apply color, deliver dailies and proxies, and troubleshoot popular digital cinema cameras. He spent most of 2013 augmenting his skills in a partnership with EC3 (the mobile platform of DI color giants EFILM and Company 3), assisting the dailies colorists on Lionsgate's Divergent and Universal's Fast & Furious 7.
Matt takes pride in his work ethic and positive attitude. He knows his way around a set, cameras, software, and hardware. He can ensure integrity of the image thanks to a deep understanding of the DI process and being able to communicate with post, leaving the Director of Photography free to focus on what's being created now rather than worrying over the end result.
Banner Photo Copyright Tina Rowden Photography