Questions_Addressed_08-26-21_0002.docx

140L6221R0035

AMD 002

Questions Addressed Solicitation: 140L6221R0035 NHTIC Create Battle of Red Butte Exhibit

1. Please provide a plan view of the proposed area for the exhibit.

a) Please see attached documents of NHTIC. The proposed area for the exhibit is primarily Room 129, the Multi-Use Room. Additional areas for the exhibit include outside hallway and wall spaces around the Multi-Use Room

2. What is the proposed square footage of the exhibit?

a) The Multi-Use Room is 928 Square Feet. It has a capacity of 62 people. An additional square footage of approximately 100-200 square feet in the hallway outside the Multi-Use Room is also available. This space is generally used to advertise or introduce exhibits in the Multi-Use Room.

3. Can you provide a budget, or budget range for this project?

a) Magnitude would be between $25,000.00 to $100,000.00.

4. Do all floor displays need to be movable?

a) As this is a temporary exhibit (will probably be displayed for 1-2 years) floor displays need to be ultimately movable to allow for future exhibits.

5. Does the BLM have any artifacts for the exhibit? If yes please describe.

a) The BLM does not possess any artifacts for the exhibit. The State and University of Wyoming may have artifacts related to this subject matter. Replicas of period artifacts are appropriate too.

6. Does the BLM have archival assets that may be used in the exhibit such as photographs, documents, etc.?

a) The BLM does not have significant archival assets germane to this exhibit. Numerous such materials do exist in various institutions and organizations in the region.

7. For any archival or other stock assets obtained by the contract, what rights are required? Are they to be term limited?

a) The rights obtained for the exhibits and film should generally not be term limited. If there is a unique situation involving a particular artifact or stock asset (such as a temporary loan from another institution) that might be allowable if appropriate. Coordination on this include the BLM.

8. Are electrical and lighting improvements the proposer’s responsibility?

a) Yes, electrical and lighting improvements will be the proposer’s responsibility.

9. Is guest seating the proposer’s responsibility?

a) Yes, guest seating will be the proposer’s responsibility.

10. Is AV equipment like projectors, speakers and control systems the proposer’s responsibility?

a) Generally, yes. The Multi-Use Room is currently outfitted with a projector, screen and small sound system. The proposer would be welcome to use these items, but it is likely they may not suffice for exhibit needs.

11. Does the AV need to be tied into the current show control system at the Trails Center?

a) No. The Multi-Use Room at the NHTIC has no “show system” and is not connected to the theatre.

12. Is the design of the exhibit to be similar to the current exhibit style at the Trails Center?

a) Yes, general aesthetics of the exhibit should match the current exhibit style of the Department of the Interior and the Trails Center.

13. With the shortened schedule proposers may not be able to photograph the Buttes in the conditions that the battle was fought. Is this a concern for the BLM?

a) After consideration, the schedule will be adjust to allow for filming and photography during the summer months of 2022.

14. Do you anticipate a need for tribal consultation on this project? If so, what responsibility will the vendor have?

a) The BLM is solely responsible for all tribal consultation for this project. The vendor will provide information on project when requested by BLM. The vendor will also use diverse sources for the exhibit and film, including tribal interviews and sources.

15. What is the last day/time questions can be submitted?

a) Please see solicitation questions must be submitted by 08/23/2021 10:00 AM MDT.

16. Please confirm that you expect the five tribes to be represented in the film and in the exhibits.

a) Tribal perspectives and sources, including all tribes associated with the historical events of exhibits and film, should be extensively represented.

17. Please confirm that an original music score is to be included in the proposal and budget.

a) Yes, an original music score is to be included in the proposal and budget.

18. Please confirm that 20 minutes is the desired length of the film.

a) Yes, the desired length of the film will be 20 minutes.

19. How many graphic panels and artifact cases should be priced into the budget?

a) The proposer and vendor should price into the budget an appropriate amount of 3-D artifacts, cases, and panels for the Multi-Use Room as described in the SOW.

20. Please describe the review team (# and makeup) for exhibit design and film approvals.

a) The BLM will comprise the review team, which will include the NHTIC Director.

21. Please provide the interpretative plan for this venue.

a) No recent formal interpretative plan for this venue exists. Original exhibit plans for the NHTIC are available from the National Historic Trails Center Foundation.

22. Is the firm that developed the interpretative plan excluded from bidding on this RFP given that they may have test priced the exhibits?

a) No, the firm that developed the interpretative plan is not excluded from bidding on the RFP given that they may have test priced the exhibits.

23. Please provide clarification as to the scoring of submissions. In the opening section it seems that proposers submissions will be deemed acceptable or unacceptable. If the proposer is acceptable then pricing will be the deciding factor. However, later in the RFP there is much discussion and suggested weight to the past performance responses and some implied ranking to these as well. Please clarify these competing statements, and how they affect the decision process, and how pricing is factored into the final award.

a) See the evaluations of proposals technical portion. Each technical factor will be evaluated as acceptable or unacceptable. Price is a factor to determine once technical portion is evaluated whether acceptable or unacceptable. Based on the proposal a performance confidence rating will be provided. Technical factors when combined are significantly important than price.

24. What is the total budget for this project? Has BLM identified a ratio of costs for exhibit design/fabrication relative to media design/production and AV hardware? Can BLM approximate the square footage of the exhibition space and/or quantify or qualify the types and number of exhibit components that are desired in this space, in addition to the 20-minute film?

a) Magnitude would be between $25,000.00 to $100,000.00. Further budget breakdown will not be provided.

b) No

c) Please see attached blueprint drawings for square footage.

25. Are Past Performance Reviews required of subcontractors?

a) If prime vendor is relying on the subcontractors performance in completion of the work than the subcontractors past performance is also needed.

26. In reference to Past Performance, on page 11 of the Solicitation it states: "The offeror shall also list all in the past three years from issue date of this RFP that are of the same magnitude and complexity of this project.” Please provide more detail as to what the magnitude and complexity is of this solicitation. We understand the required depth of content knowledge and the requirement for final deliverables relative to media, but it is unclear what the magnitude of the exhibit components are.

a) Magnitude would be between $25,000.00 to $100,000.00.

27. Page 10 of the Solicitation references the required “submittal of sample plan(s)”. Please elaborate what types of plans you are looking for, specifically in the area of exhibit design (i.e., concept, schematic, construction drawings?)

a) Sample plans should be developed that meet industry standards for a project such as this.

28. The exhibit is envisioned as educating and interpreting for the viewer these events in a thought-provoking manner, while illuminating the history with artifact replicas, a short film and 2 and 3-D interactive exhibits. Can the BLM describe with some specificity what types of 2 and 3D interactive they are interested in? Specifically, are interactive exhibits in the category of flips/spinners/puzzles, touchscreens, or mechanical interactives?

a) The BLM expects that the exhibits should be contemporary in design, and similar in style to other recently developed DOI (BLM and NPS) interactive exhibits at places such as Grand Teton National Park.

29. Can BLM please provide more information about the artifact replicas? Will those be provided by BLM? If not, what types of replicas? How many?

a) The proposer and vendor will need to determine an appropriate amount of artifact replicas for this exhibit design. They will not be provided by BLM. Replicas might include various items of material culture, amongst other things, related to the history and significance of the events in focus.

30. The Solicitation describes an initial site meeting to include the following: "An initial site visit to view, measure, photograph, define and document spatial dimensions, visitor movement patterns, and exhibit audiovisual equipment needs; to document accessibility considerations, and to view and document lighting and display hardware characteristics of the designated exhibit display location within the National Historic Trails Interpretive Center.” While this will be a welcomed and wonderful kick off, is it possible to provide preliminary information that will offer insight around these topics in order to help Bidders provide a more refined response and proposal to BLM? Even a plan view of the room would be enormously helpful.

a) Please see answers to questions and attached plan views of room.

31. Page 13 of the Solicitation describes a scope requirement to create an “exhibit lighting plan” that will utilize existing track, but will also improve “switches” (among other things). Is it the expectation of the BLM that new electrical wiring will take place? If so, will the exhibit designer be expected to provide an electrical request plan in conjunction with the lighting plan, so the BLM will pull any required permitting and engage the electrical outside of this contract? On a related note, are we correct to understand that this contract requires the purchasing and installation of any lighting upgrades agreed to in the “exhibit lighting plan” and specifications drawings?

a) Lighting upgrades necessary for the successful implementation of the exhibit will be the responsibility of the vendor. Any such changes and upgrades will need to be shared with the BLM in a timely manner to ensure facility and safety obligations will be met.

32. Page 14 of the Solicitation references wall-mounted exhibit components that will utilize "shall be designed and produced to be displayed while suspended entirely and safely on the existing Arakawa rail and cable display system at the National Historic Trails Interpretive Center. “ Could you kindly share an image of this? We understand the specifications are indexed, although photos would be useful.

a) Please see attached designs.

33. This is an interesting project, however the allotted schedule is not adequate for the scope of work. Typically a design and fabrication scope like this would take 20 months at least; this project has approximately 8 months allotted under the current schedule. Can you please extend the schedule to a two-year timeframe from contract initiation, to allow sufficient time to create a quality exhibit package that meets your communication goals?

a) After consideration, the schedule will be extended an additional 9 months from the current time-frame.

34. Specifically, the historical events that are to be interpreted here took place in the summer months. On the current schedule any scenic or re-enactment footage for the film would have to be filmed in the winter months. We ask that you can extend the schedule so that filming can take place in the summer of 2022.

a) The schedule has been extended to allow for filming in the summer of 2022.

35. Is there a budget range for this project that you can share, so that we may propose the most appropriate exhibit and film for this project?

a) Magnitude would be between $25,000.00 to $100,000.00.

36. Does the Bureau of Land Management have preferred interview/film subjects, or will finding and evaluating potential interview subjects be part of our scope?

a) Finding and evaluating interview subjects is part of the scope. Perspectives of original participants of historical events should be included in film and exhibits.

37. Re-enactments would be appropriate and valuable to tell this story on film, however they are also a significant cost driver. Can you let us know if you are interested in re-enactments for this project, and/or if there is a budget allocation for the film, so that we can decide if re-enactments are within scope, and if so at what level of complexity?

a) Re-enactments can be effective tool interpretation for exhibits and film. They are within scope, but appropriateness of complexity and size is the professional discretion of vendor.

38. Can Past Performance Evaluations by references only be submitted from projects from the past 36 months (3 years) or from earlier projects?

a) No, submit what you feel is needed to support your proposal. Also, other past performance may be included in proposal as a reference.

39. We see that you have requested a minimum of two Past Performance Evaluations, is there a maximum?

a) No, there is not a maximum please provide what you feel is sufficient to support your proposal.

40. Can you provide the Past Performance Questionnaire (Appendix 1, pages 13-17) as a separate document to send to references?

a) Please see attached word document labeled past performance questionnaire.

41. Do all contracts performed in the past three years need to have a completed Past Performance Questionnaire?

a) No, provide past performance can be reference for what you feel is needed to support proposal. Past Performance Questionnaire can be provided by your customers.

42. Is there a preference for an original music score over a stock music library?

a) An original music score that is appropriate to the film is required.

43. How many days does the client team have to review each deliverable?

a) Please see SOW, or direct question to CO.

44. Are there one or more tribal councils or staff being consulted for the project? If so, will they be involved in the deliverable review process?

a) The BLM regularly consults with tribes on all projects, this one will be no exception.

45. You have included captions as part of the Fine Cut deliverable. Typically, we do not produce the captions until we have an approved Fine Cut. Would it be okay to deliver the captions with the On-line cut?

a) Yes the captions can be delivered with the on-line cut.

46. Regarding the rough cut deliverable, you state that it is due 120 days from the contract start date. Assuming contract award is September 1, 2021, that would put us roughly at January 1st. Taking into account client review periods, this is not enough time to have an approved script, conduct original filming, and edit the film. Is there flexibility in this schedule? If it’s based on business days that puts us at mid-February, can you please confirm if it’s calendar days or business days?

a) Dates have been extended, see above.

47. In the list of “Items to be included in cost proposal,” we do not see a line item for pre-production (research, scriptwriting, pre-production planning) or production (original filming expenses). This sections only lists items included in the post production phase (editing, sound/audio mixing, color correction captioning, audio description, archival licensing, Blu-ray files). Where should we include the pre-production and production costs?

a) Costs for said items should be included in estimate for entire project.

48. Do you want us to quote for Blu-ray disc and case design in addition to the request for a master duplication disc?

a) Yes, quote the Blue-ray disc and case design in addition to the request for a master duplication disc.

49. Can you expand on the 2 and 3-D interactive exhibits referenced on page 2 of the SOW? Are these physical or digital interactives?

a) It will be the discretion of the vendor which is most appropriate for this project. It is the expectation of the BLM that exhibits will meet current film and museum design trends for Department of the Interior (BLM and NPS) exhibits.

50. Costs associated with the Audiovisual Production Plan are required as part of the deliverable, see below for reference. If this is a Firm-fixed price contract, why is the following needed?

a) Page 14 SOW: The Audiovisual Production Plan shall include a listing of the Contractor’s proposed recording schedule and all costs associated with the pre-production and production of the video component of the subject exhibit.)

51. If there is a discrepancy between the Scope of Work and the Solicitation, which one is primary?

a) The solicitation provides clauses and Statement of Work provides the scope. Both are to be followed. ‘

52. Is there a budget breakdown form that we should use?

a) Please see schedule of values on page 23 of the statement of work. Make sure to review evaluation of proposal for items to be included in cost proposal.

53. Is there a requirement for Audio Description of the film?

a) There is a requirement for audio captions only.

54. Is there an order of magnitude budgetary range that can be shared for this contract?

a) Magnitude would be between $25,000.00 to $100,000.00.

55. What is the exhibit space square footage? Are there any floor plans, renderings or elevations available?

a) Please see attached. The exhibit is planned for the Multi-Use Room, which has a total of 928 Square Feet. Additional square footage for exhibit could be used in hallways outside. The attached plans indicate ceiling heights.

56. Page 2 of the Statement of Work includes the following line:The exhibit is envisioned as educating and interpreting for the viewer these events in a thought-provoking manner, while illuminating the history with artifact replicas, a short film and 2 and 3-D interactive exhibits.Could you please offer further detail into what kind of 2 and 3-D interactive exhibits you imagine? Are these physical interactives or media interactives that will fall under the contractor’s scope? If they are media interactives, could you please offer a brief content description and let us know how many programs/stations are imagined?

a) Numerous options exist for 2 and 3-D interactive exhibits as the SOW describes. The appropriateness and extent of said exhibits for the Multi-Use Room fall under the contractor’s scope.

57. Please confirm that the only media required under this contract is a 20-minute interpretive film to be projected on a 120-inch surface area.

a) The only media technically required is a 20-minute interpretive film. This film should be able to “stand-alone”- meaning that should be able to be used on BLM digital education and interpretation interfaces- and not just in the Multi-Use Room.

58. Could you please provide greater detail on the projection surface the interpretive film will be displayed upon? Will the film simply be projected onto a wall surface or will there be some kind of material to be projected upon? What are the dimensions of the wall to be projected upon? Do you know at this stage whether it will be a ceiling mounted projector and if so what limitations exist in relation to perforating the ceiling?

a) A ceiling mounted projector and screen already exist in the Multi-Use room. The film will be shown on the internet and several other venues, it should not be created only for use as part of the wider exhibit.

59. Will the film be stereo or 5.1 surround sound?

a) The film will be 5.1 surround sound.

60. What licensing permissions are required? Worldwide in perpetuity/for life of project? Exhibit only and/or web?

a) In perpetuity is required, for unique items such as artifact loans or the like that may be more temporary those should be considered in coordination with the BLM for a minimum of three years. The Film’s rights shall be in perpetuity, as it will exist on the website and be shown to school and special groups for years to come by the BLM. Please see FAR clause 52.227-14 for copyright and licensing within solicitation.

61. Will this be the first film for the National Historic Trails Interpretive Center? If the center already has films, can you indicate what they are, and how they are displayed?

a) The NHTIC has an introductory 3-D film that welcomes visitors that has its own theatre. This will be the first film created for the NHTIC outside this one, long-term use for the film for this project is expected to include display on BLM YouTube channels and other educational and interpretive venues both in-person and online.

62. Is the final film to be HD, 4K or another format?

a) Please see Statement of Work, page 14.

63. Does the BLM client have an existing collection/repository of archival material that may be used by the contractor for the creation of the short film required? If so, what percentage of the material required by the film does your collection cover? Also, is this material licensed or would the contractor need to license and/or acquire the material from this collection?

a) The BLM does not have a repository of archival material. Please see other answers for rest of question.

64. Does the BLM client have a list of suggested libraries/repositories from which the contractor can research and acquire archival material?

a) No. Several exist, it will be discretion of contractor’s which to appropriately prioritize and use.

65. The RFP mentions interviews as a potential aspect of the interpretive film required under the scope of this contract. Does the BLM client have a list of potential interviewees that will be shared with the awarded contractor? Does this list include descendants of those involved in the Platte Bridge and Red Buttes battles? Have you already established contact with, or worked with the descendants on other exhibits? If possible, could you share a version of this list with us now?

a) The BLM has not started this project. It will the responsibility of contractor to determine descendants and contact them. Previous scholarship has explored these questions extensively.

66. Will all interviews necessary for the production of the interpretive film take place in Wyoming? Or, will the contractor need to account for travel to various cities for the filming of these interviews?

a) The answer to this question will depend upon contractor’s design and work. The tribes involved in the historical events in question do not all exclusively live in Wyoming.

67. For tribal member interviews, what will be the process for establishing and maintaining communication? Will the BLM have a tribal liaison or will the production company be communicating directly with tribal representatives? Will the production company be traveling to reservations to conduct interviews, or will tribal interviewees be filmed onsite?

a) The production company will be responsible for communicating with tribal representatives for this project. The production company will have to determine best organizational method to conduct interviews, they are not required to be on location at the NHTIC.

68. How many interviews do you imagine will need to be originally produced for the purposes of this film? How many interviews will be for the film, and how many for audio only elements?

a) An appropriate number of interviews will be determined by contractor.

69. Could you please offer greater detail on the content and style imagined for the interpretive film? Are there specific video samples you could share with us that offer an accurate example of what is imagined?

a) Style should match contemporary aesthetics of Department of Interior (BLM and NPS) interpretive products. Numerous examples exist for this style, including recent exhibits at Grand Teton National Park amongst others.

70. Performance Item #2 indicates “Contacting and interviewing stakeholders and subject matter experts, to create video and audio-recorded conversations that will enhance exhibit content and provide a connection for viewers to the present day.” Do you envision having audio only exhibit elements in addition to the film?

a) The organization of exhibit- how different audio components interact- will be Contractor’s decision.

71. Do you imagine 2D or 3D animation to be included as part of the scope of the interpretive film? If so, what percentage of the 20-minute video do you imagine will be taken up by animation sequences that are 2D? What percentage will be 3D animation?

a) 2D or 3D animation shall be used in the film, it will be the discretion of the Contractor to determine extent of sequences and the best utilization in the film.

72. In regards to the music to be included as part of the interpretive film, do you have a preference for original composition over a stock library music source?

a) Music should be originally matched to the film.

73. Do you require captioning and/or the video’s narration in any other language aside from English? Do you require Audio Description in any other language than English?

a) English only.

74. Is there a reason for the April delivery?

a) Schedule has been altered.

75. What are the dimensions for the door entryways into the exhibit room?

a) Please see attached map for dimensions of entry ways and rooms.

76. Given the question period has been extended and the uncertainty when all questions will be answered we would ask for a one week extension for the proposal submission.

a) Response due date will be September 10, 2021 2:00 PM MDT.

77. The budget details that are requested only deal with filmmaking processes. How should costs for exhibit design, fabrication, installation, AV hardware, lighting systems, and other anticipated costs be accounted for?

a) It is a fixed fee, it is at the contractor’s discretion how different costs are broken down.

78. There seems to be a heavy emphasis on the film portion of this RFP. If one is to consider an overall budget that includes the film and exhibits what in the BLM’s estimation is the larger portion of spent dollars, the movie or the exhibits?

a) Budget breakdown will not be provided. Magnitude of project is between $25,000.00 to $100,000.00.

79. The evaluation of proposals seems to lack how the physical design and exhibits will factor in as to being Acceptable or Unacceptable. Please clarify. What type of credentials are needed for the exhibit design and fabrication?

a) Please see solicitation evaluation factors 1.1-1.5 on page 9 and 10.

80. All Benchmark Completion dates shall be updated to the following:

a) 35% Completion Benchmark shall be completed on or before May 8, 2022.

b) 65% Completion Benchmark shall be completed on or before October 17, 2022.

c) 95% Completion Benchmark shall be completed on or before March 4, 2023.

d) 100% Completion Benchmark shall be completed on or before April 14, 2023.