NEW YORK — Sixteen19 (www.sixteen19.com) recently marked one year in its new Chelsea headquarters with the launch of its second 4K DI finishing theater. The new 4K theater serves as a centerpiece of Sixteen19’s flagship facility, which opened in late 2015 and spans 20,000 square feet of space.
Sixteen19 was founded in 2010 and boasts 40 edit suites, three color suites, and two visual effects suites, in addition to the two theaters. High-speed bandwidth allows seamless connectivity with the company’s Los Angeles, Atlanta and London outposts, as well as with shooting locations around the world.
Photo: Co-founders Pete Conlin and Jonathan Hoffman
“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 co-founder Jonathan 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.”

Recently, director Peter Berg and his team chose Sixteen19 for their post work on the Summit Entertainment film 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.
The studio also developed a custom workflow for the upcoming Universal Pictures comedy Girl Trip.
“We began working with the DP, Greg Gardiner, three weeks prior to the shoot in order to help him cope with some challenging locations,” says co-founder Pete Conlin. “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.”