Matthew Fridg is an Emmy®-nominated filmmaker. He has produced work for Facebook, NFL, Discovery Channel, Fox, GNC, Velocity Network, Freethink Media, Martin Guitar and more. His passion is to tell compelling stories with a cinematic approach.
After graduating college in 2006, Matthew worked as a set lighting technician for feature films and major commercials in the Pittsburgh, PA area. In 2008 he became a full-time director for a Pittsburgh based production company and later took over as the head of production, guiding every project from idea to delivery. Matthew graduated from Liberty University in 2015 with a MA in Pastoral Counseling. He currently freelances, directing projects for brands and companies nationwide and resides in the beautiful Pennsylvania countryside just outside of Pittsburgh with his wife and four kids.
DEWEY DECIMAL SYSTEM OF DEATH
Thomas Hargrove created an algorithm that can detect serial killer patterns in crime statistics.
Matthew Fridg directed this film with a DP and Sound Mixer. It was shot in one day with an extra half-day for additional inserts.
Student faculty relationships are important to the Chatham University culture. Matthew Fridg directed this web spot along with DP, Sound Mixer and PA. Additionally, Matthew took two camera men and a PA to the Chatham graduation to capture behind the scenes moments as well as Maggie walking across the stage during the ceremony.
ELECTRIFYING CLASSIC CARS
This short documentary, written and directed by Matthew Fridg for Facebook, profiles an out of the box thinker making waves in San Diego. Director, DP, Sound Mixer and PA spent two days in San Diego capturing interviews and multiple camera angles of driving. This film was almost entirely captured using the Movi Pro for a stylistic, smooth look and feel.
PROFESSIONAL VISION CARE
Directed by Matthew Fridg, this beautiful film profiles an innovative Optometrist in Columbus, Ohio who wanted to open the “Apple Store” of eye doctors offices. This crafted style was achieved with specialty lenses and a six-person crew.
BRAIN SURGERY WITH SOUND
Bonnie’s essential tremors were treated without invasive surgery. After brain surgery with ultrasound, she was able to write her name again for the first time in decades.
Director Matthew Fridg along with DP, Sound Mixer and PA, spent a half day at Bonnie’s home. A full day was spent in the hospital following the course of the surgery and conducting a sit down interview with the surgeon.
PURSUE YOUR HAPPINESS
This web spot directed and edited by Matthew Fridg for the EMMY®-nominated Pennsylvania tourism campaign beautifully profiles an ice cream maker in Pittsburgh. It was shot with a five-person crew over the course of a12 hour day.
THE STORY OF COLEMAN SPOHN
Lensed by DP John Pope, this ad builds on the award winning series of testimonials written and directed by Matthew Fridg for First Commonwealth Bank. This more crafted style was achieved with specialty lenses and a six-person crew.
CAN CODING PREVENT OVERDOSES
Written and directed by Matthew Fridg, this short documentary, with millions of Facebook views, explores a group you inner city students learning how to code and combating the opioid crisis in the process. This film was shot with a run and gun style and three person crew over the course of a single day in Baltimore.
I put as much emphasis on character as I do on framing and lighting, capturing truth in small, often unrehearsed moments. When the energy onscreen is genuine, it radiates straight through to the viewer.
I specialize in this style of shooting: “cinematic realism.” It’s a loose yet aesthetically pleasing approach, where every single frame can function as a stunning photograph. It means deeper, more emotional storytelling. And it can be extremely beautiful: the visual style of a carefully composed narrative film – gorgeous light, thoughtful framing – will be consistent throughout.
What makes it distinct is that we get a little closer to our subjects, erasing any semblance of a wall between the viewer and the scene: not “breaking it” by having them address the camera, but simply pretending it doesn’t exist.
For instance, if we’re shooting two people talking and the camera gets real tight on someone’s shoulder, seeing a bit of their cheek in the foreground, it makes the viewers feel as if they’re part of the moment. It’s tangible; they’re actually experiencing it for themselves.
That’s the aesthetic standard I’m going for. Each bit of lighting is striking and dramatic. Each environment jumps to life on the screen. And the warmth of our characters, in the close-up views of their expressions, their willpower, their subtle looks: all these things come to life in my photography.
Matthew is comfortable supplementing an existing internal team or pulling one together from his network of hand picked crew. Over the last ten years, Matthew has worked with excellent creative professionals all over the country. His experience with local and national talent has been put to the test, even on international productions. His network of DPs, producers, lighting, sound, and post professionals have experience working at the highest levels and work extremely well under difficult circumstances knowing that sacrificing quality is never an option.