Matthew Williams

Matthew Williams was born in Los Angeles and graduated from the Academy of Photographic Arts in North Hollywood, specializing in commercial still photography. After developing an interest in film and motion picture work, he attended UCLA’s film school to study cinematography.

In addition to (12) feature films, which include the WWII Drama “American Pastime,” for Warner Brothers, "American Mall" for MTV / Paramount, “Saving Sarah Cain” for the Lifetime Network, (7) TV series, which include the highly rated “Touched By An Angel”and “Promised Land,” for CBS,"Big Love" 2nd Unit for HBO, and “State of Mind” for Lifetime Network. Matt has also photographed (7) IMAX films, which include, “Journey to Mecca," “Stephen Hawking’s: Beyond the Horizon." “India: Kingdom of the Tiger," “NSYNC: Bigger Than Live,"the dramatic segments for “Wired to Win: Surviving the Tour de France,"and “Hearst Castle: Building the Dream”for National Geographic.

Matt has also shot hundreds of television commercials including AOL Assist, Orchard Supply Hardware, Prudential Life Insurance, Children’s Miracle Network, Foundation for a Better Life, Adobe Acrobat, Subway, Arctic Circle, National Dairy Foundation, and Tru-Green Lawn Care.

He was one of seven cinematographers chosen to shoot the Official 2002 Olympic Winter Games Documentary for, “Bud Greenspan’s Stories of Olympic Glory.” Matt was in the first wave of cinematographers to start working with digital cinematography, and today Matt is highly experienced with every format from 35 and 65mm film to all the current digital formats, including Arri Alexia Mini, Alexa Mini LF, Sony Venice, and Canon C500 MKII.

Matt is currently finishing “Amber Brown” for Apple TV+ and also photographer Season 1 of “High School Musical: The Musical” for Disney as well as “Anti Mack” for 3 seasons. This year "Wayne Shorter: Zero Gravity" will be released about the great Jazz legend Wayne Shorter's life. The other is "Stephen Hawking's Fate of The Universe" a project that I have been working on for several years. We have shot parts in 35mm, 65mm IMAX and now we'll finish on digital for a television documentary version.