Full Audio Post. ADR, Foley, Sound Design, Mix, Screenings
Matthew, a respected expert in his field, maintains long-running client relationships by exhibiting patience, creativity, and depth of technical prowess. Clients leave the studio feeling like they have been taken care of, and their needs fully tended to. Sessions are often described as being easy or fun.
Currently teaching the mix class at NYU Tisch School of the Arts, Matthew also graduated from the film program in 1997. This enables him to approach the craft of sound design holistically, considering all cinematic layers of a film.
Matthew has been running SoundSpace for 15 years and has worked with over 150 filmmakers as well as other top post facilities. He's also an avid photographer and father of two toddler girls.
Smart Studio Management = Better and more work for your film at less cost.
Designed around a modern, distributed business approach rather than the older, "large facility" mentality, we can offer exciting advantages to clients:
- There are no B or C rooms to put "less important" clients. If you work from here, you get the A room with the A engineer. That's it. Our rates remain competitive because of the lean facility.
- The smaller size also means that the focus on your project is unmatched.
- Workflows and teams are scaled to accommodate anything from a 30 second spot to a feature-length film. This approach allows bids to not only be highly competitive, but more importantly, flexible for different size and shapes of films. Theatrically distributed features or episodic webisodes are all a perfect fit.
There is little or no sound design for documentaries, right? WRONG! Documentaries have the same tools and techniques available to them as narrative films. The trick is in the execution.
A typical primary goal with a documentary is to maximize the impact of the audio recorded with and around the subjects. Cleaning problematic location audio, smoothing out edits, and improving intelligibility are all common first steps. The film can then be enriched with all sorts of creative sound design:
• Sound Design for title sequences, text animation, maps, or other graphics
• Sound design for re-creations or archival footage.
• Rich soundscapes that you experienced on location, but that were not adequately captured on your recordings (like nature, crowds, sports events, etc) can be re-created.
Sound Design for a narrative film is so wonderfully vast. Things can be created, erased, enhanced or changed. With its power to shape a film, it can be considered a little brother to principal photography. The best scenes in films are those that fundamentally integrate the visual and audio elements. Planning and designing sound can begin as early as the script writing stage. Often times, the production sound is thought of as the primary ingredient for a film's soundtrack. In reality, it's just one of dozens or hundreds of other sound elements working to create the universe of your film.
With the right sound design, a good film can become a great film, and a great film can become a classic.
Television mixing, often more than other types, requires a fast, efficient workflow that can only come with experience. Matthew has mixed for a multitude of series, spots, and corporate branded content for Discovery Channel, Oprah Channel, ABC, Sundance Channel, IBM, Wendy's, National Geographic, MTV2, PBS, A&E and more. He knows how to get a mix done within the strict technical specs and time constraints of the television world.
Why filmmakers love working
with Matthew at SoundSpace
• Collaborative workflow is our m.o. It's your film, and you can be as hands on as you want with your sound. Some directors love to watch their film in a dark theater like an audience member and have options presented to them, while others like to perform their own foley. We meet you where you're at and help guide your film to polished perfection.
• You want your crew, actors and producing partners to be comfortable at your chosen facility. At SoundSpace, you will be presenting your film in a gorgeous screening room complete with various comfortable areas for sitting, eating, making calls, or working on the film.
• We strive to work towards your vision. Every film has its own voice and sound plays a critical role in the clarity of that voice. We feel our work is done when the film's vision is best served.
• Matthew's experience and speed at the mixing board allows for shockingly fast work. It often looks as if he might have sprouted an additional hand or two. But speed at the expense of quality is not worth very much. With Matthew, the process is not rushed, it's just that the technology gets out of the way. At SoundSpace, budgets are met, schedules are kept, and a polished film is delivered.
• You want to be sure that your film will play well across all modern distribution channels. Gone are the days of theatrical or TV-only distribution. Today it is not uncommon for a film to have a festival run, a theatrical release, an online on-demand distribution, 4-walled private screenings, and an internet presence. Knowing this, SoundSpace has been designed to mix for a multitude of destinations from Dolby 7.1 cinema to laptop computer speakers. Everything is audition-able on the fly for you to hear as you work, making sure everything "translates".