SOW_-_Revised_8-26-21_0001.pdf

Solicitation No. 140P2121Q0044 ANTI - Interpretive Film and Video Wall Page 3 of 112

SCOPE OF WORK

INTERPRETIVE FILM AND VIDEO WALL

ANTIETAM NATIONAL BATTLEFIELD

I. BACKGROUND AND PURPOSE

Antietam National Battlefield (ANTI), located in Washington County, Maryland, preserves the site of the Battle of Antietam, where 23,000 soldiers were killed, wounded, or missing after twelve hours of combat on September 17, 1862 – the bloodiest day in American history. The Battle of Antietam was a major turning point in the American Civil War. The Union victory provided President Abraham

Lincoln the opportunity to issue the preliminary Emancipation Proclamation. From that time onward, the American Civil War had a dual purpose— to preserve the

Union and abolish slavery.

The park includes approximately 3,000 acres of the battlefield, the National

Cemetery, and a visitor center. The park attracts approximately 350,000 visitors annually, including many school groups. All visitors pass through the visitor center to pay an entrance fee, obtain orientation, and experience interpretive media and programs. The visitor center was built in 1962 and is currently undergoing rehabilitation. All interpretive media in the visitor center, including exhibits and audiovisual programs, are being completely replaced to provide updated content, themes, and perspectives (see Attachment J: ANTI Long-Range Interpretive Plan and Attachment K: ANTI Exhibit Design Package).

Antietam National Battlefield seeks to produce a new 20-23-minute Interpretive

Film that shall help visitors understand the purpose and significance of the park;

immerse visitors in the chaotic sights and sounds of the Battle of Antietam; and inspire visitors to reflect on the aftermath and contemporary relevance of the battle.

The film shall screen every 30 minutes in a 130-seat dedicated theater in the visitor center. The film shall also be available for nonprofit sale on Blu-ray and DVD.

In addition to the 20-23-minute Interpretive Film, the park also seeks to produce a

7-8-minute exhibit video (hereafter referred to as “Video Wall”) that will play on a nine-screen video wall in the lobby of the visitor center. This continuously looping program shall combine contemporary and historic images with stylized on-screen text (including keywords, statistics, and historic quotes about the battle), providing visitors with an impressionistic visual overview of the site’s history and legacy.

Solicitation No. 140P2121Q0044 ANTI - Interpretive Film and Video Wall Page 4 of 112

Both programs shall be produced in 4K ultra-high-definition (UHD) video. The 20-

23-minute Interpretive Film shall have a 5.1 surround soundtrack. The 7-8-minute

Video Wall shall be silent.

Additional information about the park is available at www.nps.gov/anti.

The purpose of this contract is to provide all audiovisual services to create one 20-

23-minute ultra-high-definition (UHD) surround-sound Interpretive Film with Blu-ray and DVD replication masters, and one 7-8 minute, ultra-high-definition (UHD) silent Video Wall for Antietam National Battlefield in Sharpsburg, Maryland.

II. SCOPE AND OBJECTIVES

II.1 SCOPE OF WORK

The project shall be the production of one 20-23-minute ultra-high-definition

(UHD) Interpretive Film with 5.1 surround sound; one Blu-Ray replication master with cover and discface artwork; one Digital Video Disc (DVD) replication master with cover and discface artwork; and one 7-8-minute UHD silent Video Wall for

Antietam National Battlefield in Maryland.

A. General Requirements

The contractor shall provide all services, including labor, materials, equipment, facilities, fees, research, licensing, and travel necessary to produce all audiovisual media in accordance with the specifications as detailed in this SOW and its attachments.

1. Interpretive Film (NPS Project Number AV-0097):

a. Specification Overview:

1) Video Format: 4K Ultra-High-Definition (UHD) 3840x2160 resolution

2) Length: 20 to 23 minutes

3) Audio: 5.1 surround sound and stereo

4) Music: An original score is required

5) Accessibility: Audio Description (AD), On-screen Subtitles for the Deaf and Hard of Hearing (SDH), and Closed Captions are required.

Solicitation No. 140P2121Q0044 ANTI - Interpretive Film and Video Wall Page 5 of 112

6) Historically accurate reenactments of Civil War battle scenes with no fewer than 100 costumed and outfitted reenactors including Civil War artillery, filmed in 4K UHD, are required.

7) Original 4K UHD footage of the National Battlefield and

National Cemetery in all four seasons, emphasizing the park’s historic landscape, cultural resources, and commemorative features, is required.

8) Special dynamic camera motion is required. This may include

Unmanned Aircraft Systems (UAS).

9) Computer-generated imagery (CGI) techniques are required to represent a larger army of soldiers than can be accomplished with live reenactors; to create visual effects such as fires, explosions, and artillery fire; and (as needed) to digitally remove modern intrusions such as power lines and roads from the historic landscape.

10) Three-dimensional (3-D) animated maps depicting troop movements and the geographic location of the battlefield are required.

11) Archival photographs, paintings, illustrations, newspaper headlines, documents, and other historic assets are required, including photographs taken by Alexander Gardner during his two trips to Antietam shortly after the battle.

12) Dramatic readings by professional voice actors from Civil War era letters, journals, and diaries are required.

13) Professional voiceover narration is required.

b. Themes:

The following interpretive themes shall inform the development of the film’s treatment and script. The extent to which each theme is addressed in the Interpretive Film shall be discussed and determined in collaboration with park staff and the Contracting Officer's

Representative (COR) after award, beginning at the post-award meeting to be held at the park.

1) A Turning Point: The Maryland Campaign, which culminated in the Battle of Antietam, was a major turning point of the Civil

War and in American History.

2) The Single Bloodiest Day: The level of carnage, suffering, and human drama during and after the Battle of Antietam, the single bloodiest one-day battle in American history, has accorded it a prominent place in our national consciousness.

Solicitation No. 140P2121Q0044 ANTI - Interpretive Film and Video Wall Page 6 of 112

3) The Emancipation Proclamation and Abolition: The preliminary

Emancipation Proclamation, issued as a direct result of the battle, changed the conflict from a war to restore the Union to a war that would also transform the nation by abolishing slavery and committed the country to redefining the freedoms espoused in its founding documents.

4) Tactics, Terrain, and Technology: Tactics, terrain, technology, and leadership directly affected the outcome of the Battle of

Antietam.

5) Impact of the Battle on the Local Population: The Battle of

Antietam had a major impact on the local civilian population.

6) Legacy and Evolving Values: The varied and continuing efforts of commemoration by succeeding generations illustrate society’s evolving values regarding the Civil War and the legacy of the Battle of Antietam.

7) Revolution in Medical Care: Dr. Johnathan Letterman and other leaders in the medical corps created the foundation of modern battlefield medicine when faced with the immense number of casualties at Antietam including developing the American system of triage, the ambulance corps, and forward aid stations.

8) Soldier’s Experience: Individual soldiers were deeply impacted by their unique experiences from enlistment to battle and through homecoming and remembrance.

c. Content

The 20-23-minute Interpretive Film shall provide an inspirational overview of the bloodiest one-day battle in American history that led to President Lincoln’s issuance of the Emancipation

Proclamation. The Antietam story is a diverse mix of people and personalities and the conflicts, complexities, and difficulties that characterized combat, the Civil War, and its legacy. The film shall chronicle the key elements of the Maryland Campaign, the battlefield landmarks that were forever embedded as prominent places in our national consciousness, and the battle’s aftermath and legacy. Additional topics shall include the impact of the battle on the lives and experiences of soldiers, civilians, and the enslaved that were affected by this battle.

The film shall feature reenactments, filmed in the fall, of no fewer than 100 reenactors representing United States and Confederate

Solicitation No. 140P2121Q0044 ANTI - Interpretive Film and Video Wall Page 7 of 112 infantry and artillery soldiers as well as civilians. Scenes shall include:

1) Depiction of the horrific and chaotic fighting in “The Cornfield.”

2) Artillery that played a significant role in the battle.

3) Families who lived on the battlefield whose lives were directly affected by the battle.

4) The desperate fighting to hold and take the Sunken Road.

5) Alexander Gardner and wet plate photography.

6) The battle for Burnside Bridge.

7) President Lincoln and the issuance of the Emancipation

Proclamation.

8) Aftermath on the battlefield including medical care, burials, and the detritus of battle.

The key purpose of reenactment scenes is to capture the sights and sounds of Civil War combat, providing visitors with a sensory experience and a feeling of chaos, destruction, and confusion. The film shall create an emotional reaction and connection to the

Antietam story and critical battlefield resources.

d. Style and Approach

1) The Interpretive Film shall replace an existing 27-minute orientation film that was edited from a longer documentary, “Antietam,” produced in 2000. The original full-length production can be viewed at https://youtu.be/tse4pbQp9cs. The park seeks to produce a film that is shorter, less focused on military tactics, and more focused on the causes, consequences, and legacy of Antietam than the current film.

2) The film shall be interpretive in approach, drawing from technical, informational, scientific, historical, and cultural sources, and incorporating creative techniques that connect viewers emotionally and intellectually to the meanings and significance of park resources.

3) The Interpretive Film shall complement the park’s new exhibits

(see Attachment K – ANTI Exhibit Design Package) without duplicating their content or level of detail.

4) The Interpretive Film shall provide an immersive and emotionally engaging experience for viewers, with interweaving storylines which reveal connections between people, places, and events. An overview of the Maryland Campaign is desired;

https://youtu.be/tse4pbQp9cs

Solicitation No. 140P2121Q0044 ANTI - Interpretive Film and Video Wall Page 8 of 112 however, the primary focus shall be on the human aspects of the story rather than military tactics or blow-by-blow accounts of the battle.

5) The Interpretive Film shall not tell viewers “what to think” about

Antietam, but rather allow them to draw their own conclusions.

6) The Interpretive Film shall immerse viewers in the terror and chaos of the Battle of Antietam with realistic, historically accurate reenactments and rich, multilayered sound design.

7) The Interpretive Film shall tell the story from a first-person perspective whenever possible, using eyewitness accounts of the battle from both military and civilian perspectives as narrated by professional voice actors. Scripted narration by a professional narrator shall be used to weave the story together. Interviews with subject matter experts are neither required nor desired.

8) Not all content needs to be explicitly conveyed by quotes or narration but shall be visually or implicitly represented in the film. The soundtrack shall have ample breathing room for sound effects, music, and audio description.

9) The stylistic treatment shall be evergreen and shall avoid trendy, cable television-style direction, editing, sound effects, and graphics that would date the production.

2. Blu-ray and DVD Replication Masters (NPS Project Number AV-

0097):

a. Replication masters shall feature the 20 to 23-minute Interpretive

Film, the Promotional Trailer (see Section II.2.E.1.c – Promotional

Trailer) navigation menu, user-selectable sound settings (5.1 or stereo), user-selectable subtitles, and user-selectable audio description.

b. Original artwork is required for DVD and Blu-ray sleeves and disc faces.

c. See Section II.2.E.2 – DVD and Blu-ray Replication Masters and

Packaging Design for exact specifications.

3. Video Wall (NPS Project Number AV-0098):

a. Specification Overview:

1) Video Format: 4K Ultra-High-Definition (UHD) 3840x2160 resolution

Solicitation No. 140P2121Q0044 ANTI - Interpretive Film and Video Wall Page 9 of 112

2) Video shall be formatted for display on a video wall consisting of nine video monitors arranged in a 3x3 grid (three screens wide by three screens high) with a 16:9 overall aspect ratio. The size of the individual monitors has not yet been determined but will likely be 43 to 55 inches diagonal. All hardware shall be provided by others and is not included in this scope.

3) Length: 7 to 8 minutes, continuously looping

4) Audio: Silent

5) Accessibility: Audio Description (AD) is required.

6) Original 4K UHD footage of the National Battlefield and

National Cemetery in all four seasons, emphasizing the park’s historic landscape, cultural resources, and commemorative features, is required.

7) Special dynamic camera motion is required. This may include

Unmanned Aircraft Systems (UAS).

8) Original 4K UHD aerial footage of the park is required in at least one season.

9) Archival photographs, paintings, illustrations, newspaper headlines, documents, and other historic assets are required, including photographs taken in 1862 by photographer Alexander

Gardner and his assistant James Gibson during their two trips to

Antietam shortly after the battle.

10) Animated text and motion graphics are required.

b. Themes, Content, Style, and Approach:

1) This continuously looping program shall play on a nine-screen video wall in the lobby of the visitor center and shall combine contemporary and historic images with stylized on-screen text to provide visitors with an impressionistic visual overview of

Antietam’s history and legacy.

2) The program shall take full advantage of the nine-screen canvas with images constantly alternating between a single large display across all screens, separate images on each screen, and images on various subsets of the grid (two adjacent screens, three adjacent screens, etc.)

3) The program shall include a minimum of five visual “mashups” in which historic photographs are seamlessly merged with contemporary views of the same location to form visual connections between Antietam’s past and present.

Solicitation No. 140P2121Q0044 ANTI - Interpretive Film and Video Wall Page 10 of 112

4) The program shall be divided into five “chapters” that echo the five themes of the new visitor center exhibits: Conflict, Terror, Survival, Freedom, and Memory (see Attachment K: ANTI

Exhibit Design Package).

5) The program shall be non-linear in nature with no beginning, middle, or end. A chronological narrative of the battle is not desired; the video shall be more thematic and impressionistic than story driven.

6) The program shall include views of the park in all four seasons and in dramatic “golden hour” light. The program shall also include aerial footage in at least one season. Footage shall focus on scenic landscapes, historic structures (exteriors and interiors), and cultural resources (cannons, monuments, fences, cemetery, etc.). Shots of visitors shall be avoided.

7) On-screen text shall include keywords (Conflict, Terror, Survival, Freedom, Memory), statistics about the battle, and quotes about Antietam from a variety of perspectives and time periods. Text shall be animated and/or progressively revealed rather than static.

8) On-screen text and graphics shall use fonts, colors, and design cues from the exhibit graphics package (see Attachment L:

ANTI Exhibit Graphics Package).

9) The images shall be multilayered at times, combining contemporary footage, historic photographs, period maps, period documents, and other visual assets in an ever-changing tapestry. Elements from the 20-23-minute Interpretive Film such as reenactment footage and animated maps can be used as background elements as appropriate.

B. Filming Locations, Compliance, and Safety

1. Due to the sensitive nature of the park’s natural and cultural resources, filming of reenactments in the park shall be limited to scenes featuring iconic resources such as Burnside Bridge, Bloody Lane, and Dunker

Church which cannot be easily replicated elsewhere. Specific filming locations within the park shall be determined at the Post-Award

Meeting. For budgeting purposes, assume that Burnside Bridge, Bloody

Lane, and Dunker Church shall be the only approved locations within the park for filming reenactments. The contractor shall film all other reenactment scenes on non-NPS property.

Solicitation No. 140P2121Q0044 ANTI - Interpretive Film and Video Wall Page 11 of 112

2. Filming of non-reenactment scenes—such as shooting “B-roll” of the park’s scenic landscapes, historic structures, and cultural resources

(cannons, monuments, fences, cemetery, etc.)—is allowable on NPS property with a crew of four people or less. Any requests for exceptions shall be noted in the Production Plan and approved by the COR.

3. The contractor shall research and follow all safety and resource protection rules and regulations of the park and obtain any required permits and other permissions. For filming on NPS property, the park shall issue a Special Use Permit to the contractor for the length of the project. The permit fee, as well as the park entrance fee, shall be waived by the NPS for the duration of the project.

4. The contractor shall coordinate with non-NPS sites and landowners for filming on their property, both for exterior and interior filming. All required permits and fees for filming on non-NPS land shall be the responsibility of the contractor.

5. Filming on park property shall be done in accordance with NPS Black

Powder Safety Guidelines. The contractor shall work closely with the park-provided Black Powder Safety Officers who will be on-site during re-enactment filming to ensure compliance with Black Powder regulations.

6. All filming shall be performed in strict accordance with all compliance requirements and regulations imposed by the federal or state government, or private landholders per the National Historic

Preservation Act (NHPA) and the National Environmental Policy Act

(NEPA) in regard to accessing a proposed filming location(s), such as a culturally sensitive landscape or historic property, or the proposed use of specialized filming equipment at a specific location(s), such as constructing dolly track on the battlefield.

7. The contractor shall adhere to Leave No Trace principles at all times while in the park. See Leave No Trace Principles online at https://lnt.org/learn/7-principles.

8. The Production Plan shall include specific information discussed during the post award on-site visit pertaining to all compliance requirements.

https://lnt.org/learn/7-principles

Solicitation No. 140P2121Q0044 ANTI - Interpretive Film and Video Wall Page 12 of 112

C. Park Assistance and Resources

1. The park shall assist the contractor with securing permits and campsites to be used when filming on NPS property. All ANTI permit and camping fees shall be waived.

2. The park shall assist with UAS permits if proposed. All ANTI UAS permitting fees shall be waived.

3. The park shall assist with identifying potential Civil War reenactment groups to participate in filming, but the contractor shall be responsible for recruiting, coordinating, and (as needed) compensating all reenactors.

4. The park can provide digital scans of Andrew Gardner’s 1862 photographs of Antietam for use in rough cuts and fine cuts, but the contractor shall be responsible for acquiring these and all other archival assets at full resolution suitable for 4K production.

D. Reenactors and Reenactment Coordinator

1. Historically accurate reenactments of Civil War battle scenes with no fewer than 100 costumed and outfitted reenactors and artillery are required.

2. The contractor shall be responsible for all necessary compensation

(travel expenses, meals, etc.) for the reenactors.

3. The contractor shall provide a Reenactment Coordinator with experience on comparable Civil War reenactment films. The

Reenactment Coordinator shall lead efforts to recruit, screen, coordinate, and direct all reenactors to ensure that uniforms, equipment, accoutrement, and physical characteristics (age, body type, hairstyle, facial hair, etc.) are historically accurate. The Reenactment Coordinator shall also ensure that troop movements, battle tactics, and military protocols depicted on screen are historically accurate.

4. The contractor shall conduct a casting process for all actors playing featured roles as identified in the contractor’s approved Treatment. The number and identities of featured characters shall be proposed by the

Solicitation No. 140P2121Q0044 ANTI - Interpretive Film and Video Wall Page 13 of 112 contractor in the Treatment, but for budgeting purposes bidders shall assume a minimum of eight featured characters. Note: Scripted dialogue shall be a relatively minor element in the film; the narrative shall be driven primarily by voiceover narration and dramatic readings of historic quotes. Featured characters shall be cast primarily based on their physical resemblance to the character being portrayed (if known) and their ability to accurately and convincingly carry out the actions in the script, although some ancillary dialogue may be recorded during filming. The contractor shall provide videotaped auditions for review and approval by the COR from at least three qualified actors for each featured character in the Treatment. The contractor shall be responsible for negotiating and paying all stipends, travel expenses, and other compensation for featured actors.

II.2: SPECIFICATIONS AND SUBMITTALS

This contract includes the following specifications and required submittals as detailed below:

A. OVERALL SPECIFICATIONS:

1. Project Management

The contractor shall assign a Project Manager to oversee the contract. The

Project Manager shall:

a. Be the primary point of contact between the contractor and the

Contracting Officer (CO) and the Contracting Officer’s Representative

(COR).

b. Have full authority to act for the contractor on all matters.

c. Provide quality control to ensure that all elements of project work meet the requirements of the contract specifications as follows:

1) Provide routine inspections of ongoing work.

2) Inform the COR of any issues that could affect work quality or schedule.

3) Ensure that all work not acceptable or compliant with the specifications is corrected prior to review by the COR.

d. Track work progress to ensure that the project is completed according to the schedule. Coordinate and confirm the dates for all submittals and meetings with the COR.

Solicitation No. 140P2121Q0044 ANTI - Interpretive Film and Video Wall Page 14 of 112

e. Ensure that contractor staff adhere to the communication protocol set forth by the Contracting Officer (CO), as follows:

1) The contactor shall only communicate with the Contracting Officer and COR.

2) Unless otherwise specified by the COR, no direct contractor-to-park communication is permitted except during phone calls, meetings, or site visits arranged and attended by the COR.

f. Initiate, participate, and provide the agenda for monthly telephone conference progress meetings with the COR and, as needed, other

National Park Service (NPS) and contractor staff. The contractor shall provide a toll-free conference number for the calls. The contractor shall submit meeting notes to the COR no later than five business days after each meeting.

2. Format and Method for Submitting Deliverable Documents and Film

Edits

a. All documents shall be submitted to the COR electronically via email, unless otherwise approved by the COR.

b. All documents shall be created in the latest version of Microsoft Word.

Documents shall be dated, with headers and page numbers.

c. Document file names shall include the park alpha code (ANTI), deliverable description, version number, and date submitted. File names shall use camel case when needed. Per best practices, no spaces or punctuation other than underscores shall be used.

Example: ANTI_ProductionPlan_v2_date.

d. All film edits shall be submitted digitally via the Harpers Ferry Center

Microsoft Teams site unless otherwise approved by the COR.

3. NPS Release Forms and License Agreements

The contractor shall obtain all rights and permissions from the owners/holders of restricted copyrighted materials for use in the films under this contract. The contractor shall submit an inventory of all copyright agreements for all assets used in the final films as part of the completion report. All license agreements and release forms shall be approved by the

COR prior to use.

a. The use of the National Park Service Release Form is mandatory for all

“Talent” (including interview subjects, actors, reenactors, narrators, musicians, and music composers) appearing in or providing content for

Solicitation No. 140P2121Q0044 ANTI - Interpretive Film and Video Wall Page 15 of 112 all media produced. Refer to Attachment A – NPS Individual Release

Form and Attachment B – NPS Materials Release Form.

b. For restricted, copyrighted material used in the production, the contractor shall clear and negotiate price, terms, and conditions of all elements for use, including all rights with publishers and copyright holders; and pay all costs and fees. Refer to Section XXIV – Clauses by

Reference, 52.227-17 Rights in Data - Special Works.

c. Licenses with indemnification clauses signed on behalf of the National

Park Service shall not be accepted. Refer to Attachment C – NPS

Amendment to License Agreement for an example amendment to standard license agreements.

d. All acquisitions of restricted material shall have documented signed agreements in the name of the National Park Service.

e. The following use rights shall be required: All uses, all media, all locations, in perpetuity.

4. Accessibility

a. The completed films shall meet all NPS accessibility guidelines, which can be found at: https://www.nps.gov/subjects/hfc/accessibility.htm

b. Contractor shall produce Audio Description (AD), Subtitles for the Deaf and Hard of Hearing (SDH), and Closed Captions for the Interpretive

Film.

c. Contractor shall produce Audio Description (AD) for the Video Wall.

d. Contractor shall pace all scripts and edits to accommodate a secondary

AD narration track. The writer and editor shall incorporate natural pauses (where no narration or interviews occur) into the script.

B. DEVELOPMENT AND PRE-PRODUCTION PHASE

Work performed during the Development Phase centers on ensuring that the project is logically structured, and its goals are understood and realistically attainable within the contractor’s budget, schedule, and other specified parameters. For each deliverable, multiple drafts may be required until approved by the COR. The contractor shall prepare and submit written response to COR review comments, including any questions or points for clarification. Work in this phase shall include:

1. Post-Award Conference Call

The contractor (at a minimum, the Producer and Project Manager) shall participate in a one-hour post-award teleconference with the Contracting https://www.nps.gov/subjects/hfc/accessibility.htm

Solicitation No. 140P2121Q0044 ANTI - Interpretive Film and Video Wall Page 16 of 112

Officer, COR, and park staff. Time and date shall be determined between the COR and contractor after award.

2. Post-Award Meeting

The contractor shall attend a Post-Award Meeting at the park. The meeting shall consist of two consecutive eight-hour days. The Post-Award meeting shall be attended by a minimum of the Producer, Director, and Writer listed as Key Personnel. Schedules and dates shall be determined by the contractor and COR after award.

a. The on-site Post-Award meeting shall include:

1) Orientation to key team members and the park.

2) A tour of the park and potential filming locations.

3) Review the Scope of Work, project schedule, and table of deliverables.

4) Review and discuss program content, interpretive themes, goals, and objectives.

5) Review all accessibility requirements for the project.

6) Review requirements for use rights in relation to acquisition of materials.

7) Review park resources and materials for possible inclusion in the programs or for background research.

8) Identify additional sources for research and materials.

b. Within 10 business days of the meeting, the contractor shall submit a

Post-Award Meeting Report to the COR. The report shall include:

1) Brief outline of what occurred (including people and locations).

2) Brief outline of information provided by any Subject Matter Experts

(SMEs).

3) Project brief summarizing the results and key decisions made during the meeting.

c. Prepare and submit written response to COR review comments.

3. Project Schedule

The contractor shall produce a detailed, complete overall Project Schedule listing all submittals, review times, and final deliverables. Review times shall account for multiple revisions. The goal of this schedule is to map out broad time windows for each stage of the process. The project schedule shall

Solicitation No. 140P2121Q0044 ANTI - Interpretive Film and Video Wall Page 17 of 112 be submitted via email in the latest version of Microsoft Word or Excel to the COR for review and approval no later than 15 business days after the

Post-Award Meeting. The contractor shall update the approved schedule and resubmit to the COR as needed over the life of the project.

4. Research

The contractor shall be responsible for performing content research. The contractor shall also be responsible for researching, acquiring, and licensing all elements not originally produced such as graphics, artwork, photographs, archival and historic photographs and footage, stock footage, music, and sound effects in order to create the final production. This is not a separate submittal, but shall be required for successful completion of treatments, scripts, rough cuts, and other project submittals.

5. Proposed Narrative Approaches

Based on the Post-Award Meeting and research, the contractor shall prepare and submit a minimum of three different proposed approaches for the narrative storyline and style of the 20-23-minute Interpretive Film, and a minimum of three different proposed approaches for the content and style of the 7-8-minute Video Wall. Each of these shall be submitted as Word documents, two to three pages in length. The proposals shall include a brief synopsis and outline different creative approaches (style) and different narrative approaches (story) based on the contractor’s understanding of the project. These approaches shall provide enough information to give a sense of the style of the production and shall cover, in less detail, the information listed in Section II.2.B.6 – Treatment and Production Plan. Links or files of existing films/excerpts can be included as examples for illustrating style ideas. The purpose of this phase is to explore multiple creative options early on before investing time and effort in the more detailed Treatments and

Production Plans. Multiple drafts may be required until approved by the

COR. The contractor shall prepare and submit a written response to COR review comments, including any questions or points for clarification.

6. Treatment and Production Plan

Based on the approved Narrative Approaches, the contractor shall prepare and submit a Treatment and a Production Plan for both the Interpretive Film and the Video Wall. The Production Plans for this project shall play a large role in the success of the project. The Treatments and Production Plans shall align and shall demonstrate an understanding of contract requirements. Care shall be taken in this stage to ensure a feasible plan to overcome any

Solicitation No. 140P2121Q0044 ANTI - Interpretive Film and Video Wall Page 18 of 112 production challenges and risks identified during the post-award meeting.

Multiple drafts may be required until approved by the COR. The contractor shall prepare and submit a written response to COR review comments, including any questions or points for clarification.

a. Broadly, the Treatment shall reflect the following:

1) The contract requirements, especially Section II.1.A. – General

Requirements.

2) The in-depth discussions between the contractor, COR, and any park staff, park partners, consultants, or advisors during the on-site post award meeting.

3) The contractor’s research.

4) A creative approach that is appropriate for a broad range of viewers of all ages, ethnicities, and abilities.

5) A creative approach that is “evergreen” and that does not include content or production techniques that date the film.

6) A separate Treatment is required for each program.

b. Specifically, the Treatment shall include the following:

1) Narrative overview of the proposed creative approach to the storyline and storyteller(s) and how this meets the goals of the film.

2) Description of the proposed story threads and visual highlights.

3) Description of any proposed on-screen participants (including the role each plays in the film’s narrative).

4) Proposed style of filming for original material.

5) Sources for additional program/content research.

6) Description of proposed scenes and locations, with sufficient detail to provide a sense of the proposed production, including narrative on how this meets the content and location requirements.

7) Description of proposed original musical score.

8) Description of proposed narration.

9) Stock footage and images (with descriptions and sources) proposed for the production.

10) Estimated percentage of the program(s) that shall be comprised of reenactments, original scenic footage, archival assets, CGI, animation, stock footage, narration, character voices, and other elements.

11) Links or files of existing films/excerpts can be included as examples for illustrating style ideas.

Solicitation No. 140P2121Q0044 ANTI - Interpretive Film and Video Wall Page 19 of 112

c. The Production Plan shall include the following:

1) Proposed schedule for pre-production, production, and post-production, including the number of days of filming (this shall be an expanded version of the Project Schedule).

2) Identification of all filming locations, including information about any required permits, a rationale for each location, proposed production techniques for each location, and logistics and safety report for each location.

3) Description of proposed approach for reenactment filming.

4) Description of proposed approach for any aerial filming.

5) Description of proposed approach for computer generated imagery

(CGI).

6) Description of proposed approach for animated maps.

7) Description of proposed approach for producing, editing, and mastering content for the Video Wall.

8) Proposed production techniques such as specialized cameras and equipment and special approaches (examples: UAS, gimbals, cranes, dollies, sliders, jibs, camera mounts, slow-motion, time-lapse).

9) Proposed camera(s) with specifications.

10) Acknowledgement and plans to address the unique production challenges, compliance requirements, and known risks specific to this project.

7. Draft Scripts (Interpretive Film)

a. The Contractor shall develop a draft script based on the approved treatment and production plan.

1) The first draft script shall demonstrate the proposed storyline, narrative arc, and pacing.

2) Narration and character quotes are not expected to be fully fleshed out in the first draft script; notations that convey the goal of the spoken content and how it advances the story are sufficient at this point.

3) Subsequent drafts shall be fleshed out with narration, dialogue, character quotes, and other details based on client feedback, additional research, and footage collected during the production phase.

b. The contractor shall develop and submit all scripts in accordance with the following requirements:

Solicitation No. 140P2121Q0044 ANTI - Interpretive Film and Video Wall Page 20 of 112

1) The first draft script may be in a two-column format or a single-column screenplay format.

2) During the production phase, all scripts shall be presented in a two-column format with numbered scenes, visual information, and cueing in the left column, and narration, dialogue, and sound effects in the right column.

3) Script shall be submitted in the latest version of Microsoft Word.

4) All pages shall be numbered.

5) The script cover shall contain the program title, production number, date, client organization and address, and the Contractor’s name, address, and telephone number.

c. Multiple drafts may be required until approved by the COR. The contractor shall prepare and submit a written response to COR review comments, including any questions or points for clarification.

8. Storyboard (Interpretive Film)

a. Prior to filming the reenactments, the Contractor shall develop a storyboard for all reenactment sequences, animations, and CGI/visual effects sequences based on the approved script.

1) The storyboard shall consist of illustrations or images displayed in sequence for the purpose of pre-visualizing the film. The storyboard shall convey the proposed camera shots, visual effects, and map animations as they are to appear in the final film.

2) Storyboard images can be drawings, photographs, or digital illustrations of the proposed scenes and shots.

3) Storyboards shall include the proposed narration, dialogue, and character quotes for each shot or scene.

b. The contractor shall develop and submit the storyboard in accordance with the following requirements:

1) Storyboard shall be delivered as a PDF file in a standard storyboard template with no more than nine frames per page.

2) Each frame shall include the scene number, shot number, a narrative description of the action in the shot, and any proposed narration, dialogue, or quotation for that shot.

3) All pages shall be numbered.

4) The storyboard cover shall contain the program title, production number, date, client organization and address, and the contractor’s name, email address, and telephone number.

Solicitation No. 140P2121Q0044 ANTI - Interpretive Film and Video Wall Page 21 of 112

c. Multiple drafts may be required until approved by the COR. The

9. Storyboards (Video Wall)

a. The Contractor shall develop a draft storyboard based on the approved treatment and production plan.

1) The first draft storyboard shall demonstrate the proposed content, visuals, text, grid layouts, and pacing.

2) Visuals are not expected to be final or full resolution in the first draft; placeholder images that convey the design intent are sufficient for the first draft.

3) On-screen text (keywords, statistics, quotes, etc.) shall be proposed, as shall the fonts, colors, sizes, and grid placements.

4) Subsequent drafts shall be fleshed out with visuals, on-screen text, and other details based on client feedback, additional research, and footage collected during the production phase.

b. The contractor shall develop and submit all storyboards in accordance with the following requirements:

1) Storyboards shall be delivered as color PDF files with gridlines to indicate the location of the video wall mullions. The overall grid and individual tiles shall have a 16:9 aspect ratio to match the final formatting.

2) Proposed text shall appear in the storyboards and shall also be delivered in a Word document for ease of review and markup.

3) All pages shall be numbered.

4) The storyboard cover shall contain the program title, production number, date, client organization and address, and the Contractor’s name, address, and telephone number.

c. Multiple drafts may be required until approved by the COR. The contractor shall prepare and submit a written response to COR review comments, including any questions or points for clarification.

C. PRODUCTION PHASE

Work performed during the Production phase centers on the acquisition of media and other supporting material. The work submittals shall be phased by

Solicitation No. 140P2121Q0044 ANTI - Interpretive Film and Video Wall Page 22 of 112 seasonal shoot windows; the filming can start with any season. The contractor shall propose the timing and duration of the shoot windows (approximately 3 months each) as part of the Project Schedule. Battle reenactments shall be filmed in early fall (ideally mid-September) to match the weather and foliage conditions of the actual battle.

The contractor shall also propose the total number and length of any shoots during the window. The use of a shoot window instead of a particular number of shoots is intended to allow flexibility in the schedule, while providing a benchmark for submittals, approval, and payment. The contractor shall determine the number of shoots needed to fulfill the requirements of the contract.

The contractor shall provide and work with a Reenactment Coordinator to assist with planning, logistics, and recruitment. All field shoots shall minimize the impact to natural and cultural resources, and this shall be reflected in the crew size and gear selection. For each task, multiple drafts may be required until approved by the COR. The contractor shall prepare and submit a written response to COR review comments, including any questions or points for clarification.

1. Submittals during the Production Phase:

a. Updated Project Schedule based on approved Treatment and Production

Plan.

b. Video Audition Reels for featured actors.

c. Wardrobe and Prop Plan.

d. Reenactment Shoot(s): Shooting Script, Filming Schedule, and Post-

Shoot Deliverables.

e. Winter Shoot(s): Shooting Script, Filming Schedule, and Post-Shoot

Deliverables.

f. Spring Shoot(s): Shooting Script, Filming Schedule, and Post-Shoot

Deliverables.

g. Summer Shoot(s): Shooting Script, Filming Schedule, and Post-Shoot

Deliverables.

h. Fall Shoot(s): Shooting Script, Filming Schedule, and Post-Shoot

Deliverables.

2. Specifications during the Production Phase:

Solicitation No. 140P2121Q0044 ANTI - Interpretive Film and Video Wall Page 23 of 112

a. Shooting Script and Filming Schedule

Prior to each shoot the following submittals are required unless otherwise agreed to by the COR:

1) Develop and submit a Shooting Script and Filming Schedule for each location shoot no later than 21 calendar days prior to the start of filming.

2) The Shooting Script shall include:

a) Scenes to be filmed at each location, with script references

b) Any narration, dialogue, or quotations proposed for each scene

3) The Filming Schedule shall include:

a) Number of film crew members

b) Film crew travel and lodging information

c) Daily crew call times

d) Location(s) and time(s) for filming

e) Contractor’s emergency contact information

f) Copies of permits if shooting in restricted locations or with restricted equipment

g) Safety, contingency, and compliance plans

h) General gear and equipment list

b. Video Audition Reels for Featured Actors

1) The contractor shall conduct a casting process for all actors playing featured roles as identified in the contractor’s approved script.

2) At least 30 calendar days prior to the start of reenactment filming, the contractor shall submit video audition reels in .mp4 format from at least three qualified actors for each featured character in the script.

3) Multiple audition reels may be required until approved by the COR.

c. Wardrobe and Prop Plan

1) At least 30 calendar days prior to the start of reenactment filming, the contractor shall submit a PDF document with photographs and descriptions of all uniforms, accoutrement, and weapons proposed for use by featured actors; and all major set pieces, props, and artillery proposed for use in reenactments.

2) Multiple drafts may be required until approved by the COR.

Solicitation No. 140P2121Q0044 ANTI - Interpretive Film and Video Wall Page 24 of 112

d. Principal Photography

Specifications:

1) Footage shall originate in Ultra-High-Definition (4K UHD, 3840 x

2160 resolution) using a professional camera and lenses pre-approved by the COR.

a) Minimum of 13 stops of dynamic range

b) Minimum sensor size of “Super 35” or 35mm Full Frame

c) Camera raw file format(s)

2) The contractor shall use a minimum of two 4K UHD cameras when filming reenactments, with the cameras mounted in separate positions to capture different angles and perspectives.

3) The contractor shall produce low-resolution proxy files (either synchronous in camera or by using a post-production process) for playback by COR using the latest version of QuickTime Player.

4) The frame rate shall be 23.97P unless shooting time-lapse or slow-motion.

5) The contractor shall adjust camera exposure and white balance according to lighting, location, and time of day; ensure all footage is in sharp focus; provide camera moves that are smooth and at a speed that minimizes camera blur; ease in and out of pans and tilts so that starts and ends can be used as lockdowns themselves; and ensure lenses are free from dirt and dust.

6) Scenes shall be aesthetically framed; horizons shall be level; scenes shall be shot during ideal lighting conditions for the subject matter, with a special emphasis on golden hour for scenic shots.

7) Special effects filters shall not be used unless pre-approved by the

COR.

8) All cameras shall be mounted on a sturdy tripod with fluid head, Steadicam, gimbal, slider, or other stabilizing device. Handheld camerawork shall only be approved by the COR if specifically called for in the script and deemed appropriate to the program.

9) Lighting is required for interior filming.

e. Sound Recording

1) Wild and sync sound shall be recorded throughout filming and shall be included in the final edited production when appropriate.

2) All audio shall be digitally recorded with a sampling rate of 48kHz

(kilohertz) or better and a bit rate of 24 bits or better.

3) Sound shall be recorded on a professional digital recorder (if not recorded on camera).

Solicitation No. 140P2121Q0044 ANTI - Interpretive Film and Video Wall Page 25 of 112

4) Audio shall be recorded synchronous to the camera, and on multiple separate channels.

5) Microphones shall be isolated on separate channels.

6) Recordings shall be at the optimum levels, so the volume is neither too low nor peaking.

7) The contractor shall position microphones to be non-visible to the camera and to minimize extraneous noise sources.

f. Reenactments

1) Historically accurate reenactments of Civil War battle scenes with no fewer than 100 costumed and outfitted reenactors and artillery are required.

2) Reenactment scenes shall vary in complexity and shall portray realistic battle scenarios and characters.

3) Battle reenactments shall be filmed in early fall (ideally in

September) to match the weather and foliage conditions of the actual battle.

4) The highest degree of historical accuracy and attention to detail is mandatory in the reenactments. The contractor shall be responsible for ensuring that everything captured on camera—including actors, reenactors, uniforms, accessories, weaponry, props, sets, military protocols, troop movements, and battle tactics—is historically accurate.

5) All reenactors shall be clothed in historically accurate uniforms with historically accurate accoutrement, weapons, equipment, and hairstyles (including facial hair).

6) The majority of reenactors shall be thin and young, appearing to be in their twenties. The use of eyeglasses by the reenactors shall be kept to a minimum.

7) All artillery shall be representative of early Civil War and be in operational condition.

g. Aerial Filming

1) Aerial footage of the park is required.

2) Aerials shall demonstrate the scenic beauty and scale of the landscape and battlefield.

3) Aerials are primarily intended for the Video Wall, but can also be used in the Interpretive Film if approved by the COR.

4) Aerial footage shall be acquired using a gyro-stabilized mount such as Cineflex or equal.

Solicitation No. 140P2121Q0044 ANTI - Interpretive Film and Video Wall Page 26 of 112

5) For the purpose of this Statement of Work, unmanned aircraft systems (UAS) shall fall under the category of “Specialized

Dynamic Camera Motion” rather than “Aerial Filming.”

6) The National Park Service shall assist with creating a Minimal

Requirement Analysis Report and Compliance Report, required for all flights.

7) A minimum of one morning and one evening total of aerial filming in the park is required. Aerial filming shall occur in the fall season at a minimum, during peak fall color.

8) Aerial filming shall occur during early morning and late afternoon

“golden hour” light.

9) Images shall be steady, smooth and free of aircraft vibrations.

10) Pans and tilts shall be avoided during takes.

11) Images shall be free of obstructed views such as the aircraft structure, insects, dirt, water drops, and sun flares.

12) Shots shall be artistically composed to create a dynamic and dramatic look and feel while documenting the subject. Elements such as lighting and framing shall be taken into consideration to achieve this goal.

h. Specialized Dynamic Camera Motion

1) Footage from specialized dynamic camera motion shall be fluid, moving, and stable.

2) Motion shall be engaging, reflect a high production value, and help tell the story.

3) Examples of specialized dynamic camera motion equipment include gimbals, Steadicams, sliders, cable cams, and unmanned aircraft systems (UAS).

4) Any equipment proposed shall be listed in the production plan for approval by the COR. The contractor shall work with the park on any required permitting, especially for production in culturally sensitive areas.

5) If the contractor proposes operating a UAS, the NPS shall assist with permitting and approval.