State-of-the-art boutique post company
celebrates a year in Chelsea with launch of second 4K theater.

NEW YORK—Sixteen19, a growing powerhouse on
the post-production scene, marked one year at its new headquarters in Chelsea
with the launch of its second 4K DI finishing theater. The theater will enable
the company’s premier group of artists and technicians – led by co-founders
Pete Conlin and Jonathan Hoffman, and Senior colorist Andrew Francis  – to build on a breakthrough year marked by
physical expansion, high-profile projects and in-roads into new markets.

The new 4K theater serves as a centerpiece of Sixteen19’s
new flagship facility, opened in late 2015. The 20,000 square foot space
features high-end technology consistent with the unmatched boutique service
Sixteen19 has delivered for productions since the company’s founding in 2010.
In addition to the two DI theaters, the Chelsea location also boasts 40 edit
suites, three color suites, and two visual effects suites. High-speed bandwidth
capacity reflects the increasingly global nature of post-production, allowing
seamless connectivity with Sixteen19’s Los Angeles, Atlanta, and London
outposts, as well as shooting locations around the world. Finally, clients’
work is covered by advanced security systems in line with major studio
compliance standards.
Pete Conlin and Jonathan Hoffman

In addition to these technical specs, the location offers
the kind of ambience not found at standard post houses. With a lofty open
layout, two sun-filled lounges, a huge kitchen, and a large windowed conference
room, Sixteen19 is a space that fosters collaboration and creativity. This
reflects an important tenet of the company’s driving philosophy: that post is
about more than adding the final touches to a finished product – it’s an
integral part of the creative process.

“We built a facility that is the most elegant in NYC—by
far—and specifically designed it to provide a creative environment for our
clientele to thrive,” says Hoffman. “In addition to our technical expertise,
our clients have come to expect a certain culture that is uniquely Sixteen19,
which is very different from other post houses. With the new space, we needed
the environment to be an extension of that culture. With an abundance of
natural light and an open layout, there is a lot about this space physically,
creatively, and technically that makes it unique.”
In the past twelve months, more and more filmmakers have
begun to take notice. Recently, director Peter Berg and his team chose
Sixteen19 for their post work on the Summit Entertainment blockbuster Deepwater Horizon. For The Promise, directed by Terry George (Hotel Rwanda) and starring Christian
Bale, Sixteen19 delivered a complete post package comprising mobile dailies
across Spain, Portugal and Malta, Avid suites, VFX, final color grading, and
editorial finishing in the Chelsea facility.
“I was looking for the perfect New York location to set up
my projects. Sixteen19’s new facility absolutely fit the bill,” said Berg.
“I’m cutting two projects at Sixteen19’s new facility and I couldn’t be
happier here. Jonathan and Pete have put together a very comfortable,
state-of-the-art environment for creatives.”
“Sixteen19 was the top choice,” said George. “This is a
place which truly fosters a community of creatives. The technical support team
made life seamless for our editors. Their knowledge and cooperation to
customize workflow was greatly valued by our team. The edit suites are large
and comfortable, and the in-house screening room was the perfect place to
review VFX, and work with our colorist. It was a pleasure to work at Sixteen19.
They have the most helpful, and cheerful staff and are very conveniently
located in the heart of Chelsea.” 
Conlin points to Sixteen19’s development of a custom
workflow for the upcoming Universal Pictures comedy Girl Trip as an example of the transformative impact the company’s
boutique approach can have on a project. “We began working with the DP, Greg
Gardiner, three weeks prior to the shoot in order to help him cope with some
challenging locations,” Conlin explains. “Led by supervising colorist Andrew
Francis, color scientist Bill Feightner, and dailies supervisor Olivier Girard,
our team developed a proprietary LUT package that Gardiner utilized throughout
the 40-day shoot. The looks were applied to the dailies and downstream files
throughout the entire post process, including VFX and all Previews.”
While Sixteen19 operates on the cutting edge of post
technology, this collaborative approach to service makes it something of a
throwback. “We’re not a factory like other facilities,” Hoffman says. “When
filmmakers come here, they know we participate as an extension of their
production both technically and creatively. That’s how business used to be done
in New York. The fact that we still do that today really sets us apart.”
As momentous of a year as it’s been, 2016 isn’t a victory
lap for the company – it’s the first step in a larger process. Conlin and
Hoffman plan to add more editing and finishing suites, as well as ADR recording
and sound finishing. The new resources will allow Sixteen19 to keep pace with
its heavy slate of motion picture and television projects, and growing demand
for advertising and commercial finishing. “Looking ahead, we’re going to build
on our increased capacity and growing reputation for excellence,” Conlin says.
“If you look at the kind of work we’ve been doing on major projects in the past
year alone, we see all kinds of potential going forward. It’s an exciting time
for us.”

About Sixteen19
Sixteen19 is a boutique production and post services company
specializing in feature film, episodic storytelling and commercials. Based in
New York, the company also maintains offices in Los Angeles, London and
Atlanta. Founded in 2010, the company took its name from its original location
at 1619 Broadway in the historic Brill Building. Recent projects include Deepwater Horizon, Jason Bourne, Pete’s
Dragon, Bleed For This, Vinyl,
and The
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