Matt Wallach(II)
- Editorial Department
- Camera and Electrical Department
- Cinematographer
Matt Wallach has been a colorist for dailies and feature films for over ten years. He handled final color for the powerful, award-winning darkly comic feature Saltburn and both dailies and final color for star-studded period epic Babylon from director Damien Chazelle. Wallach also colored both dailies and final versions of James Bond's 25th outing, No Time to Die, for director Cary Joji Fukunaga. He has also brought his artistic and technical prowess to The Vince Staples Show for Netflix and documentary Good Night Oppy for Amazon Studios, as well as indies like the period drama The Performance, and thriller Desert Road.
Prior to joining Company 3 (formerly EFilm), he was the go-to dailies colorist for some of the most renowned cinematographers working today, including Linus Sandgren, Roger Deakins, Hoyte van Hoytema, Robert Elswit, and many others.
Wallach earned his degree in Art, Photography and Motion Picture Production at the University of Miami in Florida and immediately relocated to Los Angeles where he worked various jobs in the film industry, quickly finding his place as a D.I.T. - a role that allowed him to apply much of his experience processing and editing still photography. During his productive four-year run as a D.I.T., he developed a deep understanding and pronounced love for the color grading facet of that position and applied his skills and experience of close collaboration with cinematographers into his career as a colorist.
Prior to joining Company 3 (formerly EFilm), he was the go-to dailies colorist for some of the most renowned cinematographers working today, including Linus Sandgren, Roger Deakins, Hoyte van Hoytema, Robert Elswit, and many others.
Wallach earned his degree in Art, Photography and Motion Picture Production at the University of Miami in Florida and immediately relocated to Los Angeles where he worked various jobs in the film industry, quickly finding his place as a D.I.T. - a role that allowed him to apply much of his experience processing and editing still photography. During his productive four-year run as a D.I.T., he developed a deep understanding and pronounced love for the color grading facet of that position and applied his skills and experience of close collaboration with cinematographers into his career as a colorist.
