B09_Questions_and_Answers_for_140FF027Q0002_Amendment_2_0002.pdf

Questions and Answers for 140FF027Q0002 Part 2 – Oct. 29, 2026

Digital Films currently playing in the auditorium of the visitor center:

• Gives you a visual of the refuge and how vast we are and films we already offer for the public

• Journey of the Tiĝlax̂ — https://www.youtube.com/watch?v=oxsub-4N-vY

• Islands of Life — https://www.youtube.com/watch?v=ERZuh3aawnk

Virtual 3D visit to the visitor center:

https://alaskausfws.medium.com/virtual-alaska-9ea5ac19fe34

My link to video of cell phone footage of the seabird theater:

Video Behind the Scenes Video Front of Scenes

1. Q. Budget: The SOW says the design must fit a fixed project budget. Can the Government share the budget or a range?

1a. The budget is between $250,000-$500,000.

2. Q. Payment: Can the contractor invoice by phase or milestone (for example at each design submittal, at shop inspections, and at installation)?

2a. Yes

3. Q. Image rights CLIN: Section 12 describes a not-to-exceed CLIN for third-party image rights. What amount should offerors carry, and where should it appear on the price schedule?

3a. This should be broken out in CLIN 00010.

4. Q. Option timing: CLIN 00020 shows an anticipated exercise about 365 days after award, which falls after the 2027 sailing season. Can the additional film option be exercised before filming, or should offerors assume the second film uses footage from the base shoot?

4a. We are hoping all footage can be obtained during the summer of 2027 (May-Aug). The winter/spring of 2026/2027 everything should be planned out – type of filming, etc.

5. Q. R/V Tiĝlax̂: How many contractor berths are available, on which legs, and are meals and lodging aboard provided at no cost to the contractor?

5a. While onboard the ship, there are no fees for ship travel (food, water, berths, etc). There will be 3-4 spaces for film crew. We do not know at this time where the locations will be or exactly the time frame.

That will be determined by April 2027.

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• A: Likely 4, not looking for interviews, looking for bird footage. Would be on ship with other staff depending on timing. Food, etc supplied. Recommend people that can handle rough seas and not get too sick.

• From question and answer part 1: R/V Tiĝlax̂ Filming: Government-furnished support includes ship time only, as stated in C.12. The vessel carries 6 crew and up to 14 passengers and generally sails May- September. Specific arrangements for berths, meals, embarkation points, and equipment restrictions will be coordinated with refuge staff and the COR once the sailing schedule is finalized (typically late winter/early spring 2027), as noted in Section C.6. Bidders should plan for a multi-day voyage with standard maritime accommodations and confirm details with the COR post-award. While aboard the ship, food, bunks, bedding, restrooms, showers, etc are covered by the refuge. Any time on land to get to the site, may have additional costs not covered by the government (example: if boarding in Unalaska, crew is on their own for housing and food).

6. Q: Purpose of ship split between needs of film crew and research biologists?

6a. Depends on trip. There will be time for transit to the islands. Sometimes biologists go do their projects and film crew could do their thing (probably with a refuge staff handler). Flying into certain locations is possible as well.

7. Q: Drone filming: Will the refuge permit drone filming on refuge lands and in designated Wilderness, and who obtains the permit?

7a. Contractor will work with refuge staff on all details about drones (where they are permitted, etc). We have a staff member who is familiar with permitting. Drones have no permits needed if taking off and from the ship (weather dependent). Permitting shouldn’t be a problem.

8. Q: Captions: The SOW calls for closed captioning, while Attachment 4 requires open captions for programs shown in venues. Which applies to the theater film?

8a. We have to follow all accessibility requirements. If there is any audio, there should be closed captioning to allow us to automatically show them on the screen. Attachement 4 are guidelines from NPS. Page 29/30 from Attachment 4 offers good suggestions.

9. Q: Audio description: Does the Service have an existing audio description app for Wi-Fi streaming that content should be delivered into?

9a. No, we currently do not have this set up here. Others sites (USFWS, NPS, etc) do use UniDesign for descriptions of brochures, etc. We could connect to this if desired.

10. Q: Translations: Which translations, if any, should offerors assume (for example Unangam Tunuu)?

10a. At this point, we do not expect any translations are needed. Unangam Tunuu is not spoken regularly by folks. 95+% of our audience speaks English.

11. Q: Demolition: The SOW excludes demolition from production but lists it as a deliverable. Should demolition be priced within CLIN 00010?

11a. Yes

12. Q: Electrical: Is relocating the equipment rack and connecting exhibit electrical in the contractor's scope, or will refuge facilities staff handle it?

12a. Moving the Crestron tower of electronics is part of this contract. Staff do not have expertise in this.

13. Q: Period of Performance: The SF 1449 shows 12/01/2026 to 06/30/2028 and CLIN 00010 shows 09/01/2026 to 06/01/2028. Which governs?

13a. The Period of Performance is 12/01/2026 to 06/30/2028

14. Q: Conflict of interest: Did any firm assist in preparing this SOW or its attachments, and will that firm be eligible to compete?

14a. No firm assisted in preparing this SOW. The firm that compiled the prescription from 2019 (West Office Exhibition Design) is able to bid.

15. Q: The 2019 interpretive prescription identifies visitor confusion about the refuge’s geography.

Since that study, have staff observed additional visitor questions or misconceptions that you would particularly like the new experience to address?

15a. Anything specific to the seabird theater – no not off hand. Since then, we as a staff work hard at giving a welcome and orienting summer visitors to where we are and where the refuge is located. We have a large map in another room that helps orient as well.

However, if a movie focuses on a certain spot – maybe all the filming was on Kiska (for example), a brief map on the movie to show location could be helpful.

16. Q: For the new 3-5 minute film, do staff envision visitors generally watching from beginning to end, or entering and leaving throughout a continuous loop?

16a. A: I would guess most visitors would watch the whole thing. The films in the auditorium play a 9 and 14 min films, the audience tends to stay the entire time. Being that the film is short and hopefully comfortable to be there, people should stay. For locals who come all the time (off season), they will come and go as they chase their kids throughout the visitor center.

17. Q: Are there elements of the existing multisensory experience – such as the seabird soundscape, scent, or wildlife models – that staff have found especially effective and would like to see retained or reinterpreted?

17a. The existing model birds are great but people can’t see them. The scents are great too but hard to reach so we change the scent beads out monthly in the busy season. Sounds are also great but having a mute button is also great! Open to new ideas!

18. Q: How do we envision balance of different types of experiences? Currently mostly a theater, but are we thinking of interactives, tactile experience, etc?

18a. A: Probably mostly theater type of exerpeince – rest of VC has birds, science, etc. Intro to refuge and getting feel for being on refuge is intent of theater. Love having the bird models, would probably want to keep, but depends on design. Open to ideas!

19. Q: Do we envision a complete gutting of the space and starting from scratch, or more of a renovation leaving existing components in place? Looking at it from a funding lens.

19a. We don’t have unlimited funds but we are open to ideas. Thinking maybe retaining some pieces, but definitely removing the back wall and screens and lighting. Get rid of high projectors. We like the scents but need them to be functional.

20. Q: Request for some means for comparing apples to apples given that different bids may have drastically different ideas. Create even playing field.

20a. A: Thanks for comment, will assess.

21. Q: Technology now is much improved – do we really need to save and move Crestron?

21a. Yes, everything else in visitor center exhibit is run off of that system.

22. Q: Can they have copy of the ppt?

22a. Yes. It will be an attachment in Amendment 2.

23. Q: What’s the guest experience overall vs the seabird theater? At what point do they enter it and what else do they learn? Order of VC experience.

23a. Majority enter through entrance into lobby and come down the stairs. Bird models overhead, large map of AK showing where refuge is, staff at desk to greet visitors and describe refuge. Immediately after that is the seabird theater – comes alive with noise and screens. From there, go to history of refuge, early settlers, fox trapping, WWII. (Visit the 3D visitor center interactive to see it)

24. Q: How long do people stay in the theater [currently]?

24a. On avg, maybe 30 seconds. Very few stay longer, very few sit on benches. Some people are overwhelmed by sensory stuff (loud birds).

25. Q: Flooring? Mimic sandy beach?

25a. Concrete, heated throughout. In lobby, shells, etc are incorporated into floor. It’s actually really rough in the seabird theater and unsure whether we may need another option in there after demo. And we don’t know what’s underneath the cliffs when they get ripped out. See 3D virtual walkthrough link that Lora shared.

26. Q: Switch to laser front projectors, but given footprint geometry, are you open to exploring other alternatives to projectors?

26a. We are unfamiliar with the various options, so yes we are open to things that fit within budget and are easy to fix. (Joni add on) If you have different concepts, present them and include price for each. Put your best foot forward. We are not media experts.

27. Q: Can you talk about change in ceiling condition between front end and back end?

27a. Within seabird theater, goes straight up to lighting. Not as tall as lobby. Behind the scenes, there’s some sort of mesh, maybe for dust abatement.

28. Current Video Content Is there a link to the video currently being shown in the theater that you could share with us? If not, could you describe the type of footage it includes (e.g., birds in flight, nesting behaviors, or other refuge wildlife and habitats)? Approximately how long is the video?

28a. Current seabird theater film is seabirds flying next to cliff maybe 20 sec long in 3 different videos. See included links to the videos played in the auditorium.

o Journey of the Tiĝlax̂ — https://www.youtube.com/watch?v=oxsub-4N-vY o Islands of Life — https://www.youtube.com/watch?v=ERZuh3aawnk o Virtual 3D visit to the visitor center:

https://alaskausfws.medium.com/virtual-alaska-9ea5ac19fe34

29. Desired Visitor Dwell Time: You mentioned that the current average dwell time is approximately 30 seconds, with some visitors staying for up to 10 minutes while others leave much sooner. What would your ideal visitor dwell time be for this experience?

29a. Within the visitor center, summer visitors tend to vary from 10 min to 1 hour. I would say the average would be 20-30 min. It is all based off weather. Everyone spends a lot longer here on bad weather days – rain, wind, etc (everything else gets cancelled and we are a large building with indoor spae)

• Off season: We get very few out of town visitors and when we do they are visiting family locally or from AK. They are here about 20-30 min. Locals are our main audience in the off season and they are here 30-60 min as they are here for a safe warm indoor location (no ice, snow, wind, etc) for the kids to play.

30. Other Theater Films Would you be able to share the scripts for the two other theater films? Reviewing them would help us understand the messaging, themes, and stories being communicated elsewhere in the center and identify opportunities to complement those experiences.

30a. See #28.

Visitor Demographics and Motivations Could you tell us more about the types of visitors who typically visit the center (e.g., families, couples, retirees, or nature enthusiasts)? What motivates their visits? For example, are they visiting as part of a larger trip to Alaska, or are they primarily birders and wildlife enthusiasts with a specific interest in seabirds and the refuge?

31a. Summer (May – Sep): Majority of our visitors are here then. We see about 40,000 visitors throughout the year at the visitor center. During the summer, we have folks who saved their whole lives to have 1 trip to Alaska - often retired couples or with the whole family (3 generations), RV’ers who drove up here (a lot less in 2026 due to gas prices), etc. People who make it to the visitor center often don’t know where they are – they see free visitor center and walk in the door. Most walk in knowing nothing about NWRs, USFWS, or AK Maritime NWR.

• Off season: We get very few out of town visitors and when we do they are visiting family locally or from AK. They are here about 20-30 min. Locals are our main audience in the off season and they https://www.youtube.com/watch?v=oxsub-4N-vY https://www.youtube.com/watch?v=ERZuh3aawnk are here 30-60 min as they are here for a safe warm indoor location (no ice, snow, wind, etc) for the kids to play.

• Summer 2025 stats (June – Aug):

Domestic 87%

• AK 19%

• Lower 48 79%

International: 13%

32. Q: Role of the Theater in the Overall Visitor Experience: During our Zoom meeting, we didn't fully establish the theater's intended role within the overall visitor experience. What is its primary purpose within the center? For example, is it intended to introduce visitors to the refuge, deepen their understanding of specific topics, inspire a connection to the natural environment, or provide a more immersive experience?

32a. This is a combo of intro to the refuge (what it looks like, birds, etc) and an immersive experience. It gives a visual to the remote refuge. The majority of visitors (99.9%) will never see or go to the refuge.

We want to showcase the number of birds, cliffs, etc.

33. Q: Priorities for the Theater Experience To help us better understand the exhibit's objectives and desired outcomes, could you rank the following three approaches in order of priority?

a. Immersive Experience: Visitors are surrounded by the sights, sounds, and scents of different refuge habitats, creating the feeling of having experienced these environments firsthand. The content runs on a continuous loop, with no set beginning or end. This approach would build on the existing experience while improving its functionality and impact.

b. Interactive Educational Experience: Visitors explore topics and areas of the refuge at their own pace through large-format digital displays featuring educational content and imagery. The experience is self-guided, allowing visitors to choose what interests them.

c. Narrative Storytelling Experience: Visitors watch a scripted program exploring specific topics or stories related to the refuge. The experience follows a defined sequence, with a clear beginning, middle, and end, and a fixed running time.

We recognize that these approaches can overlap and that the final concept may incorporate elements of all three. However, understanding your primary priorities will help us determine the most appropriate space layout, technology, content strategy, operational requirements, and budget allocation.

33a. So far, it was an immersive experience, as we can do upgrades and technology is more user friendly, available, and affordable hopefully it is giving an educational experience. So far we weren’t able to give other videos, talks, etc in that space. Long term, I would love that space to be usable for other videos to plug in, be interactive, etc. We don’t know what we can afford for this space. Starting with one upgraded video is the plan.

34. Key Visitor Outcomes: What are the top three things you want visitors to learn, understand, feel, or take away from their time in the theater?

34a. See #32. Give a small clips/videos of the refuge/birds, etc.

35. Peak Visitor Capacity: What visitor capacity do you anticipate needing to accommodate during peak periods?

35a. In 2026, we have 3 days with about 700-710 people in about 9 hours. People will naturally space themselves out within the visitor center. Summer visitation is typically 250-600/day.

Can the Government share the magnitude or independent estimate range for the film and media kit components of CLIN 00010?

36a. No

37. 35. Is funding currently available for award, and what is the funding source?

37a. Yes, funding is set aside for this contract already. It is ready to go on the government end as soon as it is awarded. Funds from federal government not a private source.

38. Will the Government accept milestone billing tied to the 30/60/90% film submittals, or is payment on final acceptance only?

38a. Yes

39. Is the Seabird Theater film a continuous loop or visitor-triggered, and does the Refuge have a target run length within the 3 to 5 minute range?

39a. We hope to have a visitor-triggered to wake up the theater. In the off season we don’t want it running non stop when 5 people come in over 4 hours. In the summer, it could either start when someone walked in or press a button. That is something to figure out when contract is awarded and we discuss everything.

40. For CLIN 00020, is the second film expected to be produced from footage captured during the base contract field season, or does the Government anticipate additional field work?

40a. We expect the film crew to have TONS of footage for a 3-5 min film. A second film should be easy to put together. Say 3-4 days of footage on the ground = 3-5 min should be easy.

41. May the film crew board and disembark the R/V Tiĝlax̂ at a port mid-voyage (e.g., Dutch Harbor, Adak, St. Paul), or is ship time limited to a full leg from Homer?

41a. Typically, the ship leaves Homer in mid-May and returns in mid-July to refuel and get supplies for all the field camps (fresh fruit, veggies, etc). It is unknown at this time when the film crew would get on this ship. Typically, they wouldn’t leave from Homer. Homer doesn’t have any close by huge colonies of birds. One example would be board the ship in Adak (we would probably have the housing there) and travel to Kiska and back to Adak. There would be several islands and locations for filming. But again, the calendar for the ship has not been determined.

42. How many passenger berths will be available to the film crew on the Tiĝlax̂, and does that number vary by leg?

42a. Probably 3-4 but it will vary based on what else the ship is doing.

43. Are there colonies, islands, or species the Refuge specifically wants represented in the film, or any it wants excluded?

43a. No. But we will work as a team with contractors, visitor services team, biologists, managers to look at the ship schedule and determine where the ship will be at certain times with open spaces to see where the film crew should go. The biologists know of “good” and “easy” spots to see the huge colonies, good access, etc.

44. What footage and photography does the Refuge catalog contain that the Contractor may draw from, and approximately how much is usable at 4K?

44a. We have a government drive with photos and videos over the years. Most are from staff with limited skills and cameras (cell phones and non professional equipment). Over the years, we do have limited footage from Ian Shive and Nathaniel Wilder that is high quality but it is limited. We have used that footage a lot. Don’t understand 4K question.

45. Are there elements of the existing exhibit that you’d like to retain? Is re-use of the existing rockwork sections flanking the entrance to the Seabird Theater considered desirable? Do you have any interest in reusing the seal models? Are the existing animal models durable enough to withstand touching?

45a. As per the SOW, we would like to salvage any of the bird, harbor seal, etc we can from the existing exhibit, whether it is used the remodel or we use it elsewhere.

Yes the models are extremely durable – I don’t know the material but 10,000s of people touch the large sea lion in the lobby every year and no issues.

46. Does the scope of work include the area directly outside the Seabird Theater?

46a. No.

47. What graphics do you envision to support the film? Does the panel outside the theater need to be redone? Are there other graphics needed?

47a. I don’t know. I am assuming for the film that there would be limited text introducing or something about where/what the film is. The panel or anything outside the seabird exhibit is not part of this contract.

48. The RFP asks for the exhibit to incorporate tactile displays, tactile maps, audio description and similar accessibility features as the budget allows. We like the idea of incorporating a tactile map, but since this is a costly item, would it be acceptable to include the pricing for it as an add-alternate? Do you have a suggested location for a tactile map?

48a. I don’t think a tactile map would be appropriate in this space. The refuge is too large and the focus is a bird cliff, seabirds, etc for this space.

49. Could you provide additional information about the power layout in the space? Do you anticipate the need for an upgrade or extension to the existing electrical system? If so, would this work be by the Contractor or by the Refuge?

49a. As of now, there are only power outlets behind the scenes. A plug of some kind to allow someone to present (if that is an option you’re presenting) would be great. I would not want outlets for visitors to plug into.

• I don’t know what is in the ceiling with the lights.

50. Could you provide additional information about the existing lighting system? Would it be possible to get an equipment list with manufacturers and models? Are any elements of the existing lighting system reusable?

50a. I don’t know enough about lighting to know what is good and reusable. Assume it is all 25 years old. I will look for the structural design of the lights but I will take time for me to find it. I don’t know how to read lighting on a design.

51. Could you provide a photo of the flooring in the area where it transitions from concrete to textured concrete with pebbles?

51a. The lobby, hallway and seabird theater is all the textured floor. Once the cliff wall is removed, I don’t know what it will look like under it. I provided photos to see where something in the exhibit was removed and it looks different on the floor. Photos below.

52. What is the ceiling condition change from the visitor theater side to the current behind the screen side? Is there a difference in height or finishes? Can the site provide some site photos or architectural drawings?

52a. Photos below. The ceiling behind the exhibit has a black mesh/screen to probably prevent dust. I can’t see the actual ceiling.

53. It appears the current theater screens and modeled rocks do not go to the ceiling. Is that correct?

53a. See images below. No the rocks do not go to the ceiling.

54. What requirements do you have for film timing? Should it play on loop, educator/guide controlled, timed showings? Would the site like control to provide any or all of these?

54a. It should play automatically if a person is there (we don’t want it playing nonstop in the off season).

If you plan to have a interactive design where people press a button to watch a film then maybe it wakes up when a person walks in, encouraging them to choose a video, etc. This will probably be a discussion with the team once contract is awarded.

55. Please describe the site’s current technology solution for Assistive Listening and Audio Description.

Do you use LISTEN Technologies, other? Do you check out AL and AD hardware at the desk, do visitors use their own phones + app?

55a. We don’t have anything like that. I have written out audio scripts for people to read.

56. It’s unusual to ask for As-built drawings. Can these be priced as an add-alternate?

56a. Yes

57. Please provide additional information about the second 3-5 minute HD film for FWS use listed as an Optional Line Item.

57a. What would it cost you to make a second film that is 3-5 min in length? If you have footage already from the trip. See #40.

58. The under-seat lighting implies that the seating will be fixed and may need to be custom. Would it be acceptable to include the pricing for it as an add-alternate?

58a. Yes

59. We understand that there’s an archive of high-quality still photography available. Do you also have existing, high- quality video footage? If possible, please provide links and/or describe the contents of these archives.

59a. See #44

60. The description of the theater program in Attachment 2 suggests that the video includes scenic audio and short statements, but not narration. Is this still the thinking? Note that the Solicitation requires at least four samples per voice role for the narrator. If narrated, do you envision the film being narrated, or is the story told with interviews with scientists/refuge staff, or a combination of both?

60a.This is something the contractor and team will determine for sure once the contract is in place. I don’t forsee lots of narration. We have those films already.

61. What drone restrictions are in place?

61a. See #7.

62. Are there any filming restrictions or considerations that we should be aware of?

62a. Nothing I am aware of.

63. Can you confirm that the ship voyage would be up to 7-days long (Assuming no weather delays)?

63a. I can’t confirm anything until there is a calendar for the ship. I would assume 5-7 days.

64. Is there any special gear that our crew members would need to provide for themselves for the ship voyage?

64a. Specifically on the ship no. We have all the travel and safety gear to and from the islands (cold weather dry suits). I would highly recommend good rain gear and boots for rain/sand. Xtra toughs are the boots most Alaskans use. Camera gear should have their basic shipping containers that withstand bumps and weather.

65. How critical is it to capture footage at either St Paul, St Lazaria, or Chiswell Islands? Since filming at each one would be an additional cost for crew, equipment, and travel, should we include them as budget options?

65a. You wouldn’t go to the Chiswells. There is no landing area or easy access for the birds. I doubt St.

Lazaria – we can get similar footage in the Aleutians except for trees. We only have a few islands with trees – tree footage is not what we are looking for. St. Paul is a possibility. We will have to discuss it once a contract is determined and we know what the ship schedule and location plan is.

66. Can you provide a list of existing audiovisual equipment? Would it be possible to provide additional information about the Creston show controller, including make, model, capabilities, etc.?

66a. Assume it is 25 years old. See images below of Crestron controller.

67. Do you desire a 3-screen or ultra-wide screen configuration, or would you consider a standard single screen projection to simplify the equipment and simplify the ability to show other programs?

67a. Not my area of expertise. Depends on price, simplicity, etc.

68. Can you describe more about what you envision for the optional interactive? What are your goals for it? What content would it show (images, video, text, etc)? How many pages? Would the contractor be providing interpretive content or would the refuge?

68a. This could be a way for visitors to interact and select a video to watch. Long term we could add videos on to this. We would want videos – this would be boring to watch text. A maximum of 40 pages for the technical proposal. The first team meeting with the contract and refuge will review the interpretive content.

69. 50% calculation: Does the requirement refer to more than 50% of the total contract dollar value, direct labor costs, or the physical/technical scope of work?

69a. As stated in response to Question 15, the prime contractor must perform more than 50% of the requirement. Consistent with FAR 52.219-14 (Limitations on Subcontracting) as applied to this services acquisition (NAICS 541850), this is a dollar-value test: the prime may not pay more than 50% of the amount the Government pays under the contract to subcontractors that are not similarly situated entities (i.e., not small businesses under this set-aside). It is not based on direct labor hours or physical/technical scope alone.

70. Subcontracting arrangement: Would a prime contractor performing project management, oversight, quality assurance, and contract administration be eligible if specialized subcontractors perform the majority of the technical production and installation work?

70a. Not unless those specialized subcontractors are similarly situated entities (i.e., also small businesses qualifying under this set-aside). If they are similarly situated, their work counts toward the prime's compliance with the 50% limitation. If they are not similarly situated, their share of the contract value counts against the 50% limit, and a prime performing only management/oversight/QA/administration functions would likely fail the limitation on subcontracting. Offerors should structure their team and identify subcontractor status accordingly, and note this in their submission per the response to Question 15.

71. Applicable clauses: We noticed that FAR 52.219-14 (Limitations on Subcontracting) appears unchecked in the amended solicitation, while FAR 52.219-33 (Nonmanufacturer Rule) is checked.

Could you confirm which subcontracting restrictions apply to this acquisition and whether work performed by similarly situated small-business subcontractors may count toward the stated requirement?

71a. This acquisition is classified under NAICS 541850, a services code, and the limitation on subcontracting for services under FAR 52.219-14 does apply, consistent with the response to Question

15. The clause-checking discrepancy noted will be corrected by amendment 2 to reflect 52.219-14 as applicable. Work performed by similarly situated small-business subcontractors does count toward the prime's compliance with the 50% requirement.

72. Proposal documentation: Is there a specific format or breakdown the Government would like offerors to provide to demonstrate compliance with the prime contractor performance requirement?

72a. Offerors should include a brief breakdown in their proposal identifying: (1) the prime contractor's proposed share of total contract value, (2) each subcontractor's proposed share and whether it qualifies as a similarly situated entity, and (3) a statement confirming the prime will perform more than 50% of the requirement, consistent with the instruction in the response to Question 15. No separate compliance matrix template is required.

Attached Photos:

Image 1 : Floor from exhibits into the seabird theater. Floor at the bottom right of the image is the main flow of the visitor center and upper left is within the seabird theater.

Image 2: Example of where something was removed from within the visitor center and it leaves a mark on the floor. This is not in the seabird theater. I think there was a barrel or something here at one time and it was removed.

Image 3: Floor behind the seabird theater. Pebbled concrete a few feet in and then smooth concrete to the back edge.

Ceiling:

Image 4: Image highlighting the ceiling outside of the seabird theater.

Image 5: Ceiling within seabird theater – cleaning lights on so exhibit is not running.

Image 6: Lights and ceiling above seabird theater.

Image 7: Lights and one of the projectors above the seabird theater.

Image 8: Ceiling above seabird theater.

Image 9: Seabird theater – exhibits don’t go to the ceiling but are a few feet above the screen.

Image 10: Ceiling behind the exhibit. White screen is the back of the screen showing the birds and the black at the top is the “screen” of black cover preventing dust (possibly – very little dust behind the scenes compared to the rest of the building).

Crestron Machine:

Image 11: top part of the machine

Image 12: Mid section with the brightsign players.

Image 13: wires from Crestron machine

Image 14: bottom of the machine

Light:

Image 15: Example of one of the ceiling lights (one not in use)