Co-founded by industry veterans, Pete Conlin and Jonathan Hoffman, Sixteen19 opened in May 2010 on the entire 7th floor of NYC’s iconic Brill Building (10,000 sq. ft.) at 1619 Broadway. With a business model encompassing DI, editing, color correction, mobile dailies, on-set data management, and finishing for audience previews, the expansive NY ‘mother-ship’ complex features 17 spacious Avid editing suites, two color correct theater/screening rooms, digital dailies, file transcode/encode and workflow management.
“We opened our doors to a set of high profile projects,” revealed Sixteen19 managing director Claire Shanley. “Our initial clients included Black Swan, Salt, Adjustment Bureau, Morgan Spurlock’s upcoming Greatest Movie Ever Sold and the hit HBO series Treme.”
Managing partner Jonathan Hoffman reported that Sixteen19 is cooking on all four burners. “Our NY facility is busy with a full slate of feature projects including Columbia Pictures’ Premium Rush directed by David Koepp; Exclusive Media Group’s So Undercover, directed by Tom Vaughan, and Warner Bros. highly anticipated, Extremely Loud And Incredibly Close, directed by Stephen Daldry. LA projects include Summit Entertainment’s The Twilight Saga: Breaking Dawn, directed by Bill Condon; Dreamworks’ Fright Night 3D, directed by Craig Gillespie; Trillum Productions’ Albert Nobbs, directed by Rodrigo Garcia; Monarch Pictures’ Bless Me, Ultima, directed by Carl Franklin; Lakeshore Entertainment’s One For The Money, directed by Julie Anne Robinson and Werc, Werk, Works’ Darling Companion, directed by Lawrence Kasdan. Our London facility,” Hoffman added, “is working on HBO’s Veep, directed by Amando Iannucci; and recently completed Scott Free Productions’ Life In A Day directed by Kevin MacDonald.”
Hoffman began his career as a producer/artist with Def Jam Recordings. In 1998 he joined the staff of T.H.E. Tools post in NY and was named president of New York and Los Angeles divisions in 1999. Prior to forming Sixteen19 with Conlin last year, Hoffman was a partner in Orbit Digital and later Postworks SVP of feature film and creative services worldwide sales following the firm’s merger with Orbit in 2006. His feature film credits include The Blind Side, Salt, The Devil Wears Prada and Black Swan.
“We conceived Sixteen19 around an exceptional team,” said managing partner Conlin. “Emmy-winning editor, Anthony Cortese; executive producer, Ben Baker; director of technical services, Travis Boyer; director of technology, Brandon Bussinger and managing director, Claire Shanley share a broad sphere of technical knowledge across all departments. They embody a wealth of experience with feature film workflows and Avid systems for feature film and broadcast. Their industry foundations are universally rooted in internships. Each of us has worked our way up through the ranks.” Conlin adds.
A 17-year veteran of the NY and Hollywood post industry, Conlin has worked on such major projects as The Chronicles of Narnia Trilogy, and The Bourne Identity. He served with such seminal post companies as Tapehouse and Tapestry Productions. In 1997 he joined The Shooting Gallery as a sound editor on the Academy Award-winning film Sling Blade. In 2001 he joined Orbit Digital as a partner. In 2006, when that company merged with Postworks, he was named SVP of sales.
“It’s unusual for a company in our business to open its doors with no fanfare whatsoever,” Conlin concluded. “But our primary mandate was to create a blue-ribbon, international, service-oriented organization which would attract and maintain a high-level client base. Our first year has been extraordinarily gratifying. We are currently working on a number of major projects, and are extremely optimistic about our future.”
