Andy Matthias

Post Production Freelancer

WiseTribe Animation

The Beautiful Lies


“Quarter to 12”

“Quarter to 12″ A Near Death Experience by Joseph Kellner
“Quarter to 12″ is a short film about a near death experience that happened to Joseph Kellner. The experience changed his life. So much so, that he needed to tell his story. Wether you believe it or not, the story is amazing. And it makes one question what happens to us when we pass on.

My roll: Editor & Colorist

Susannah Edit & Color Grade

Cleaning out the hard drives I came this set of footage from a few years back of a short titled “Susannah”. It was shot on the original RED camera system and was offered to editors through Since I had all the original footage I thought I might as well edit the story. I also used this as an experiment for workflow. The edit was done in Final Cut Pro X as well as the sound design. I sent a proxy render over to After Effects to create the titles, then brought them back into Final Cut. I then sent an XML over to DaVinci Resolve for the final color grade. Once in Resolve’s editor, I did notice the audio work I did as well as the title clips from After Effects were not recognized. So I deleted the unsupported clips and focused just on the picture. Once the grade was complete I then rendered out a 422 HQ master with no sound and brought that back into Final Cut to lay over the original edit. That way I could still use the good sound design I created before as well as the titles from After Effects.

Written & Directed by: Evan Nicholas
Producers: Dennis Shin and Evan Nicholas
Executive Producers: Joe Carnahan and Torrey Loomis
Director of Photography: Brian Hamm
AC/DIT: Ryan Todd
AD:  Paul Damen
Sound Engineer: Tyler Sabbag
PAs: James Gauntt and Frank Kearl
“Ed”  Ben Bray
“Jacob” Johnny Bogris
“Penelope” Kazandra Santana

Lab Coat Patch Composite

I was  hired to track and composite a logo patch onto the lab coats of doctors in various shot of a promo video. I initially tried variations of the built-in tracker in After Effects but wasn’t getting the quality that I wanted. So I upped my tracking game to Mocha. That worked like a charm. It maintained the perspective of the patches and also allowed me to modify the shape of the patch in Photoshop to match the shape and distortion on any jacket folds.
It was great to actually have a green patch to track because I could also use that as a key to composite the patch behind the video layer and not have to worry about masking out the overlap from the collars and stethoscopes.

Nica Surf Edit

Well, I finally got the GoPro out into some real surf. Spent a week down in Nicaragua and surfed various spots around the Popoyo area. All of this footage is from Popoyo reef. Another post will be coming soon with more trip details and some photos.

Special thanks to Waves of Love for housing and feeding us for a week.

Lodge Color Grade

I did a grading project for a real estate client. The footage was shot as RAW DNG image sequences on a Canon 5D. My initial thought was, “Great! just import the sequences natively into DaVinci Resolve and do everything right there!” No matter what I tried, I still felt like something was off, I wasn’t getting the results that I wanted. The initial video was really dark (as you can see in the video attached), so that might have had something to do with it. What I needed was a well balanced starting point, then give it the mood. What I found worked really good, and seemed to have a ton of control over the image, was importing the sequences into After Effects first. That way I could pre-grade in the Adobe RAW adjustment panel to give me the balanced starting point I wanted. I then exported them back out, brought them into Resolve for the final grading pass.

Here is the video, showing the original clip and final result.

Velocity Training

Whole Planet Foundation

This video was written by Whole Foods Market Winter Team Member Lauren Carder to be a training video for Whole Foods Market Team Members, educating them and making them aware of the Whole Planet Foundation. It was lit, shot, edited, colored, and animated by myself. The style we were going for was to be similar to the 1960s Batman series.