The Standby Program

THE STANDBY PROGRAM, INC. is a non-profit media arts service organization founded in 1983. Standby’s mission is to foster the creation and preservation of media art work by democratizing access to media technology, providing technical information and consultation, and creating resources which advance the development of the field as a whole.

Standby provides artists and independent makers access to state-of-the-art media services at affordable rates. Standby is an innovative program that allows the arts community access to the resources of the private sector. The program operates out of several top-rated media post-production studios located in New York City. These facilities drastically discount their rates for Standby clients by as much as 25 -85% off list prices.

The Standby Program allows artists and independent producers access to the highest quality post production facilities available.

POST PRODUCTION SERVICES

+EDITING
+AUDIO POST PRODUCTION
+DVD AUTHORING
+DUPLICATION & CONVERSIONS
+PRESERVATION – RESTORATION
+FILM PROCESSING & FILM TO TAPE

Film and digital media services include:

broadcast quality video editing
color correction
audio post-production
35mm, 16mm & Super-8 processing
film to tape transfers
format conversions
duplication
video & audio preservation
DVD authoring
technical consultation

EDITING

ALL SERVICES ARE PER HOUR AND INCLUDE AN EDITOR/OPERATOR

AVID Symphony $100
Final Cut Pro Editing: $100-$150
Smoke/Flame $200
After Effects $200

AUDIO POST PRODUCTION

Hourly rate $100-$150

ProTools Editing and Mixing
Voice-over, ADR, and foley recording
Sound Effects and Sound Design

DVD AUTHORING

CALL for quote

DUPLICATION & CONVERSIONS

Email us with format, length and sources and we’ll send you a quote.

PRESERVATION RESTORATION

PER TAPE HOUR, STOCK IS ADDITIONAL

1/2″ Open Reel Transfer (1/2 Hr. Minimum)
1″ Video Transfer
3/4″, VHS, Hi8, 8mm, Betamax, Beta SP Videotape

Visit our PRESERVATION PAGE for more information

FILM PROCESSING & FILM TO TAPE

We are currently working with Colorlab NYC; all our members receive as Standby Rate when working with Colorlab.

A letter from International Cinematographers Guild President John Lindley and 13 other top cinematographers was sent to Hollywood studios urging them to reduce excessively long workday hours on film sets as they resumed talks with IATSE on Tuesday on a new collective bargaining agreement.

Along with Lindley, the letter was signed by four Oscar-winning cinematographers, including Roger A. Deakins (“1917,” “Blade Runner 2049”), Emmanuel Lubezki (“The Revenant”), Erik Messerschmidt (“Mank”), and John Toll (“Braveheart”).

Read the full article on TheWrap by clicking here.

PITTSFIELD — Get Diane Pearlman talking about visual effects and she will provide several stories about cutting-edge techniques that were created in the Berkshires for many well-known movies.

For six years in the 1990s, Pearlman served as executive producer and general manager of Mass.Illusion, a visual effects movie studio that had an office in Lenox. Two movies that Mass.Illusion worked on in the Berkshires, “What Dreams May Come” and “The Matrix,” received Academy Awards for visual effects in 1999 and 2000, respectively.

Mass.Illusions no longer exists, but Pearlman remained in the Berkshires after the company was sold. She now serves as executive director of the Berkshire Film and Media Collaborative, an organization that promotes and facilitates film and media production in the Berkshires.

To read the full story on The Berkshire Eagle, click here.

Last month, Ben Gottlieb, a 27-year-old set lighting technician, wanted to show his support for his union’s campaign to improve working conditions on film sets so he wrote an Instagram post calling for an end to 12- to 14-hour shifts.

As with many of his colleagues, the Brooklynite felt burned out after working grueling hours without substantial breaks for much of the last year. Some nights, he was so tired driving home that he felt inebriated. He even thought about quitting — only two years after joining his union, IATSE Local 52.

The post struck a chord, drawing more than 21,000 likes. Gottlieb was soon inundated with messages from industry colleagues sharing their own stories, which prompted him to create a dedicated page called IATSE Stories. In just a few weeks, more than 500 posts have drawn nearly 17,000 followers to the page.

To read the entire story on the Los Angeles Times’ site, click here.

IATSE leaders say they remain “very far apart” on a wide range of issues in their negotiations with management’s AMPTP for a new film and TV contract.

“After more than six weeks of negotiation over a period of four months, it remains clear that the employers are unwilling to resolve our priority issues – living wages, reasonable rest, meal breaks, sustainable benefits and streaming – aka ‘not so new media,’” IATSE president Matthew Loeb and leaders of the union’s 13 West Coast studio locals said today in a message to their members.

To read the full article on Deadline.com, click here.

IATSE is gearing up for a possible strike against the film and television industry, which would be the first industry-wide strike in the union’s history. The union and management’s AMPTP will return to the bargaining table on Thursday in an effort to reach an agreement on a new film and TV contract in advance of Friday’s expiration of their current deal.

A strike, if it comes to that, would still be several weeks away, however, as IATSE continues to lay the groundwork for a possible walkout, which includes a text-messaging campaign to educate members about the negotiations and what’s at stake.

To read the full article on Deadline, click here.