FSS-67 - Colorlab Corporation - GS25F0069M

Colorlab, May 1, 2010

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Colorlab, May 1, 2010

COLORLAB

The professional’s choice for quality Eastman processing, film preservation, and telecine mastering

GSA Pricelist

5708 Arundel Avenue • Rockville, MD 20852 • 301-770-2128 • Fax: 301-816-0798 COLORLAB NYC • 27 W. 20th St., #307 • New York, NY 10011 • Ph: 212-633-8172

Laboratory and Telecine Services—• 16mm, Super 16, 35mm, and 8mm color negative processing • 16mm, Super 16 & 35mm black and white negative/positive processing • 16mm reduction workprints • Fully timed 16mm, Super 16 & 35mm liquid gate answer prints and intermediates • 8mm, Super 8, 16mm, Super 16, and 28mm blow-ups to 35mm • Digital Intermediates to 16mm and 35mm • 16, Super 16 & 35mm 7244/5244 interpositives for film-to-tape transfers • Liquid gate optical super 16masters from any film format • Hi-Def & SD Film-to-tape transfers • Aaton KeyLink systems • Indaw Digital Audio work stations • daVinci 2K HD color correction • Digital Vision DVNR 2K Noise Reduction and Dirt and Scratch Removal • Tape-to-film transfers

COLOR NEGATIVE & COLOR POSITIVE SERVICES

Process and Workprint

Prices are per foot:

16mm 35mm

ECN II process–normal .112 .124 ECN II process–force 1 or 2 stops ..

.133 .150 Best-lite workprint .274 .283 Fully timed workprint .309 .309 Bleach by-pass ($100 an order) .112 .124 Stabilizing for cross processing, per order $42.890 Optical Reproductions 1:1 Liquid Gate

Freeze frame, ea 25.00

Frame repositioning/ cropping, ea 25.00

Skip frame, ea 25.00

Stretch optical, add .50

Step printing—1 ratio, add .75

Step printing—mixed ratio, add 1.00

In-camera dissolves, ea.

10.00

All other special effects, per hr 100.00

BLACK & WHITE NEGATIVE & POSITIVE SERVICES

Process & Workprint

Prices are per foot:

16mm 35mm

B/W neg. original .129 .142 B/W neg.–force 1 or 2 .150 .159 Fully timed B/W workprints .274 .283

FILM-OUT (TAPE-TO-FILM) SERVICES TO 16MM OR 35MM DIGITAL INTERMEDIATES

Colorlab has developed this product to answer the need of Archivists and filmmakers to deliver affordable film prints from digital tapes or file formats. This product can be used for making film negatives of simple titles or finished digital programs.

We achieve this by taking your digital file or tape master and writing it onto a new color internegative or B/W duplicate negative with a series of three HD LCD’s. We can also digitally manipulate your file to create either scoped intermediates (for anamorphic widescreen projection) or flat intermediates. Please specify either scoped or flat intermediates when placing your order.

Please supply the highest resolution tape master or digital file for transfer. Files should be submitted on hard drives and accepted formats are .fcp, .mov, .tiff., .pdf, .psd, and .jpeg. Others may be available upon request.

Finished Programs - from hard drive or tape master, 24fps, SD or HD, color or B/W includes digital intermediate and first answer print, optical soundtrack and sync charges billed separately

16mm……………………………………………………………………………….$195/minute

35mm……………………………………………………………………………….$265/minute

Minimum Charge……………………………………………………………………..5 minutes Titles/Logos only – from client supplied computer file of composed title and cue sheet of length/fade events includes digital intermediate color internegative or B/W duplicate negative only, workprint of finished title billed separately

16mm or 35mm ………………………………………………………………………$600/hour Estimated time required depends on factors such as number of titles, total length, and complexity of cue sheet.

Example 1: A text file is submitted with the wording of each title card and descriptions of how it should appear on the screen. Colorlab then has to create each title card. One hour will produce approximately 5 of these titles.

Example 2: A Photoshop file is submitted with the layouts of 30 title cards with instructions concerning how long to hold each title and any fade-in/fade-outs. Colorlab does not have to create each title card. One hour will produce approximately 30 of these titles.

MISCELLANEOUS SERVICES

Mag Track stock @ ........................ $.07/ft

DAT or digital audio files to 16mm mag or video, hour minimum.

$80.00 plus stock

Black or white leader

.11

Orange base leader—16mm/35mm (100' min)

.44

16mm fill leader

.05

16mm color positive academy leader, each

1.50

16mm negative academy leader, each

3.50

Film Storage Charge

Minimum per month...........$15.00

All elements provided by the client or generated for the client by Colorlab are subject to storage charges starting one month from the date the elements are received or generated. Storage is $1.00 per container per month. A container is an ECN box, audio case, cassette, or film can. These charges are billed monthly in advance and/or at time of release to client. A one-time log-in fee of $2.00 per container for computer cataloging will be charged. Colorlab will combine elements in containers whenever possible to minimize costs.

COURIER AND RUSH CHARGES

Pick up & delivery, each way ……...........Call

Rush pick & delivery, each way Call

RUSH TURNAROUND PREMIUM

For film-to-tape & tape-to-tape, add ...... 50%

ARCHIVAL REELS AND CANS

Plastic unless noted otherwise

16mm reels or cans:

400' 4.00

10.00

800' 11.50

1200' 13.00

1600' 15.00

2000' 23.00 35mm:

1000' archival plastic can 16.00

4-reel ICC cases/metal 80.00

3-reel ICC cases/metal 76.00

2-reel ICC cases/metal 70.00

8mm/Super8

400' reel & can set 8.00

200’ reel & can set 6.00

FILM-TO-TAPE TRANSFER—HI-DEFINITION

NOVA HD Telecine samples all 3 channels of RGB at full color bandwidth at 4:4:4 and full raster. The NOVA uses the Digital Vision DVNR 2K Noise Reducer and Dirt and Scratch Removal. Primary and secondary color correction handled by daVinci 2K color corrector. Capable of all HD formats at 4:2:2 or 4:4:4 single link or dual link. Film gauges able to transfer to Hi-Definition are 35mm, S-35, S-16, 16mm, Liquid gate 16mm, 17.5mm, 28mm, 9.5mm, Super 8mm, and 8 mm.

HD Scene-to-Scene color correction, ½ hour minimum.

Supervised $650.00/hr.

Unsupervised………………………...

$650.00/hr HD Best-light correction; ½ hour minimum, $486 min. charge (4-5 Corrections per 1000’) Best-light unscheduled—35mm, per foot……………………………………..…………….……………….. .18

Best-light unscheduled—Super 16 or 16mm………………………………………. ……………………….. .45 HD One-light correction; ½ hour minimum, $325 min. charge (One initial setup per 1000’) One-light unscheduled—35mm, per foot……………………………………………………………… One-light unscheduled—Super 16 or 16mm………………………………………………………………… .30 Other formats such as 8mm, Super 8, 9.5mm, 17.5mm, and 28mm transfers are billed at fully corrected scene-to-scene rates; no gate rental premiums are charged. HDCam and HDCam SR tape stock prices apply.

Custom Framing of 16: 9 extractions from 4:3 film formats

(i.e., regular 16mm 4:3 or 35mm academy aperture) No additional charge

Tapeless Hi-Definition Transfers to Hard Drive (Bypass Tape Master)…………………………....$300.00/hr Video image will be stored on a house DDR (Digital Disk Recorder) then exported to customer-supplied hard drive.

NOTE: Fully uncompressed 10-bit 4:4:4 RGB HD transfers require the client to supply digital storage media capable of sustained transfer rates of 200 megabytes per second (equivalent to 1,600 megabits per second).

Downconvert to SD from HDCam or hard drive, stock additional………………………………….$100.00/hr Upconverts from SD to HDCam or hard drive, stock additional……………………………………$300.00/hr Hi-Definition Tape Stock

SONY HD Cam Tape Stock

BCT-6HD

39.92

BCT-12HD

43.41

BCT-22HD

45.27

BCT-32HD

54.17

BCT-40HD

65.32

BCT-64HDL

90.42

BCT-94HDL

130.35

BCT-124HDL

150.71 SONY HDCam SR Tape Stock

BCT-6SR

62.28

BCT-33SR

99.36

BCT-40SR

108.68

BCT-64SRL

141.52

BCT-94SRL

239.02

BCT-124SRL

333.27

FILM-TO-TAPE TRANSFERS–STANDARD DEFINITION, NTSC & PAL

Film-to-tape transfers are performed on 2 Rank Cintel MK IIICs and one URSA Enhanced Digiscan IV Flying Spot Scanners (two with 4:2:2 output and one with 4:4:4 output) featuring: enhanced pick-up tubes, digital component frame store, freeze frame, X/Y repositioning zoom, variable speed 16mm, 35mm, Super 8mm, 8mm, 9.5mm, 17.5mm, and 28mm formats with mag or optical sound, daVinci color correctors, Super 16 RTS Steadigates, Time Logic Controllers, and Peterson Wet Gate transfer system. All NTSC suites have Aaton KeyLink and Indaw digital audio work stations technology providing automatic syncing from Nagra T and DAT and keycode reading. Transfers are available to Digital Betacam, D3, D2, 1" type C, BetacamSP NTSC & PAL, MII, 3/4" BVU-950 SP, S-VHS, & PAL Digital Betacam, DVCam, Mini DV, PAL Mini DV, PAL DVCam.

NTSC—Scene-to-scene, color correction, 1/2 hr. min.

Supervised $385/hr Non-supervised $350/hr Includes specialized framing

NTSC Video Dailies—Best-light overall color correction, $324 min. charge (4-5 Corrections per 1000’) Best-light—35mm, per foot.

.15

Best-light—Super 16 or16mm, per foot .30

Reel changes, each $20.00

Includes specialized framing NTSC Video Dailies—One-light overall color correction, $205 min. charge (One initial Setup per 1000’) One-light unscheduled—35mm, per foot .11

One-light unscheduled—Super 16 or16mm, per foot .19

Reel changes, each…………………………………………………………………………………$20.00 Includes specialized framing Other formats such as 8mm, Super 8, 9.5mm, 17.5mm, and 28mm transfers are billed at fully corrected scene-to-scene rates; no gate rental premiums are charged. Standard definition tape stock is additional unless supplied by the client.

Transfers to DVD available. Fully color corrected broadcast quality transfers of home movies available.

PAL—Scene-to-scene, color correction, per hour / 1 hr. min.

Supervised $400.00

PAL ONE-LITE TRANSFERS ARE NOT AVAILABLE

Standards Conversion to PAL, D-Beta, BCSP, & VHS / min. charge—1/2 hour / plus stock

30 min.

$140.00 60 min.

$210.00

The following services carry a minimum charge of 1 hour:

Keycode reading, per hour $50.00

Recording to Digital Betacam, D3, MII, per hour $80.00

Recording to additional 1" or Betacam machines, per hour $80.00

Audio transfer & syncing on Nagra T/DAT Smart slate or clap slate/beeper, per hour $80.00

Audio transfer & syncing via Aaton KeyLink system, add, per hour $80.00

Simul DAT, per hour $80.00

Transfer via Peterson Wet Gate, per hour $150.00

Transfer from 16mm or 35mm mag track mono, stereo, 3 or 4 track, per hour $80.00

DAT to 16mm mag, video, audio cassette, per hour, plus stock $80.00

Simultaneous recording onto 3/4" or 1/2", per hour (stock additional) $35.00

Assemble/Insert Edit, each $35.00

FLEX Files diskettes, each $2.50

CDs, each $20.00

Tape-to-Tape Preservation and Time Code Dubbing (hourly rates)

From D-Beta $80

From DV Pro (stock additional) $80

From Betacam $80

From 3/4" $35

From 2” Quadruplex..……………………$285

DVD Prices from Film or Video Format

1-5 minutes $34.80

6-20 minutes $43.20

21-30 minutes $46.80

31-40 minutes $58.80

41-60 minutes $70.80

Up to 2 hours $94.80

DVD Copies, each:

Up to 10 copies $8.50

11to 20 copies $7.90

21 to 30 copies $7.50

31 to 50 copies $7.20

51 to 100 copies $6.90

Standard Definition Tape Stock

SONY SD Cam Tape Stock Digital Betacam

BCT-D12

46.55

BCT-D22

52.25

BCT-D32

57.00

BCT-D40

59.85

BCT-D64L

75.05

BCT-D94L

117.80

BCT-D124L

150.37

Betacam SP

BCT-10M SP

25.65

BCT-20M SP

26.98

BCT-30M SP

28.50

BCT-60ML SP

40.37

BCT-90ML SP

63.25

Mini-DV

Mini-DV60 11.90

Mini-DV80 15.50

DV Cam

PDV 34N

22.98

PDV 64N

26.12

PDV 94N

33.41

PDV 124N

38.52

VHS - 1/2” Broadcast (Color Plus)

T-15 4.60

T-20 Album 7.55

T-30 Album 7.55

T-60 Album 8.56

T-120 Album 10.06 All orders are accepted subject to these terms & conditions:

COLORLAB CORPORATION shall not be liable to customers or others for loss of any kind whatsoever due to delays or failure in performance caused directly or indirectly by “force majeure” or any cause whatsoever, including loss or damage to/from COLORLAB.

COLORLAB respectfully points out that prices are never proportionate to the value of the materials entrusted to it. Customers’ films and tapes are received, developed, printed, transferred, and stored by COLORLAB only at the customers’ risk, and COLORLAB does not accept responsibility for any loss or damage to such film or tapes from any cause whatsoever, including negligence by COLORLAB technical or administrative staff.

Any loss of camera original or tapes, preservation originals, or any client property will not be reimbursed by any manner such as cash or return of new rawstock. COLORLAB will have no liability for loss or damage for jobs shipped to a third party subcontractor.

Camera films, tapes, negatives and positives and customers’ other property delivered to COLORLAB are accepted on the express condition that same are insured by the owner thereof, with waiver of subrogation for the full amount of all risk, possible damage and loss. COLORLAB holds a lien thereon for the general balance from time to time due COLORLAB by the customer in respect to processing, printing, storage charges, or otherwise. COLORLAB has the right to charge late fees on balances not paid in 20 days and has the right to pass of to collection any and all bills not paid in a timely manner. The Customer is responsible for legal fees incurred by COLORLAB in the collection of said debts, which is customarily 35% to 50% of the collected debt. Debt collected in this manner then generally increased to 35% to 50% greater than the original amount owed.

COLORLAB may require any customer to retake possession of any and all materials held in its vaults. COLORLAB, after 30 days’ written notice to Customer’s last known address sent via USPS 1st class mail, may send same to a public warehouse with the Customer then responsible for incurred storage fees, or may destroy such materials, or may store the same at the Customer’s expense. All such charges are to be secured by customer’s rights in and to such materials. At COLORLAB’s discretion, Customer’s films/tapes remaining at COLORLAB after 30 day notification has been given, may become the property of COLORLAB including all copyrights and entitlements. Customer’s films, negatives, and positives received for the safekeeping, developing, printing, processing, or handling are subject to the terms and conditions herein.

The customer assumes all liability under the copyright laws and under any other laws, both federal and state, arising out of the fulfillments by COLORLAB of any such services for the account of the customer, who agrees to indemnify and hold COLORLAB free and harmless of any and all suits, claims, damages, liabilities, and expenses (including, but not limited to, attorney’s fees) which may arise directly or indirectly from the performance of such services by COLORLAB for the customer. COLORLAB will endeavor to keep its customers advised concerning the exposure, photographic quality and physical condition of the negative films received from them for processing, but shall not be held responsible for failure to do so.

All prices are subject to change without notice.

COLORLAB has net 20-day credit accounts available, with approved credit. COLORLAB requires customers to have on file authorization for credit-card usage by COLORLAB for amounts that are over 30 days past the invoice date. Colorlab accepts American Express, MasterCard, Visa, and Discover. For clients without approved 20-day credit accounts, COLORLAB requires that all jobs valued at $2,000 or more must be secured with half payment when the work is ordered.

Preservation Services TAPE PRESERVATION SERVICES: Video tape preservation is performed on an as-needed basis. Not every ¾” U-Matic tape from the 1970s, for instance, needs to be baked; in fact, most do not.

Tape Preservation Services ........................................................................................ $80.00/hour

In the interest of keeping the hourly price down and enabling the preservation of as much material as possible, we have a 2-tier pricing structure. When there are oxide destruction problems and each tape needs individual attention, the hourly rate is $80.00 for as long as it takes to get re-recordable originals.

Tape Baking...................................................................................................................$93.00/hour When the tapes play, the rate is a straight hourly rate to include a source deck and 2 record-to decks on a one-to-one basis. For instance, ¾” to BCSP and simultaneous VHS is $80.00/hour (tape is billed separately). In the case of ¾” source decks, our engineer has assembled two sets of 1970s and 1980s vintage Sony ¾” decks with the Sony-recommended Time Base Correctors (the BVT 800).

DeStik Treatment

Colorlab developed the DeSTik Treament procedures to provide clients with nitrate originals that are exhibiting active decomposition (up to and including Stage Three) with an alternative to destroying the nitrate in an incinerator. Not only are we able to unblock welded-shut rolls preparatory to performing full Film Preservation, but we are also able to stabilize rolls so they are rendered chemically neutral (free of decomposition) and so can be safely returned to long-term cold storage. (NOTE: Our above-stated claim is based on ongoing research, which currently points to the treated rolls being chemically neutral; our testing regimen is rigorous and future data will be shared with our customers.)

Most importantly, the treated rolls that were slated to be destroyed are suddenly available for full reproduction via liquid gate full immersion contact printing or optical printing. Our system provides for as few frames to be lost as possible. Frames on either side of the affected frames remain. When the decomposition is so severe as to have consumed the base of the film, usually where the film appears to be welded together, just those frame sections (usually once a wrap) are lost. We find in a typical 2,000’ Stage Three roll of camera 35mm nitrate negative, 4 or 5 spots of active decomposition is enough to render the roll unusable and unsafe to be stored with its unaffected neighbors. We are able to bring such a roll back to life with a typical loss of footage being from several frames to fewer than 50 feet of original material (NOTE: Careful testing of the ph of each roll prior to treatment is performed to ensure against wholesale picture loss).

The second step of our procedure is the ReWash Treatment that consists of a non-chemical three-stage countercurrent wash, followed with a non-formaldehyde photo-flo stabilizer. This step finalizes our treatment and also anneals emulsion side scratches, lessens crazing, and overall provides a clean-up usually not affected by Ultrasonic cleaning in perchloroethylene alone and optical liquid gate printing. This ReWash Treatment should happen before any Film Preservation step, regardless if the roll is being treated for decomposition or not.

The cost for DeStik Treatment is:

0 – 999’ 35mm B/W nitrate negative or positive, per reel $300.00

1,000 – 2,000’ 35mm B/W nitrate negative or positive, per reel $400.00

ReWash Treatment for 35mm nitrate or acetate, per foot $0.25

There is an $80.00 per hour fee for Film Inspection after the ReWash Treatment for re-splicing, re-framing, leadering, and generally getting the roll ready for timing and re-mastering.

A Typical Quote for a 1,000’ Roll of Nitrate Camera Original

We recommend when printing from 35mm camera negatives to first make the fully timed answer print, then go to the Fine Grain master. This provides the chance to correct timing plus have a brilliant looking first-generation B/W positive print for conferences, instead of a third-generation positive print off the dupe neg.

1,000’ B/W 35mm single strand liquid gate answer print $.93 $930.00

1,000’ 35 FGM liquid gate contact from nitrate camera original $1.08 $1,080.00

[1,000’ 35FGM optical liquid gate if original material is shrunken $1.82 $1,820.00]

1,000’ 35mm Dupe neg contact $1.35 $1,350.00