Sol_140P2122R0029_Amd_0001.pdf

(x)

140P2122R0029 x x

1 copies of the amendment; (b) By acknowledging receipt of this amendment on each copy of the offer submitted ; or (c) By separate letter or electronic communication which includes a reference to the solicitation and amendment numbers. FAILURE OF YOUR ACKNOWLEDGEMENT TO BE

RECEIVED AT THE PLACE DESIGNATED FOR THE RECEIPT OF OFFERS PRIOR TO THE HOUR AND DATE SPECIFIED MAY RESULT IN REJECTION OF YOUR

OFFER. If by virtue of this amendment you desire to change an offer already submitted , such change may be made by letter or electronic communication, provided each letter or electronic communication makes reference to the solicitation and this amendment, and is received prior to the opening hour and date specified.

x

PHF

Harpers Ferry WV 25425 IDC Building 67 Mather Place DOI, NPS, HFC - Acquisition Managem

PWA

Denver CO 80225 P.O.Box 25287 MS WCP NPS, WASO - WCP Contracting

07/14/20220001

13. THIS ITEM ONLY APPLIES TO MODIFICATION OF CONTRACTS/ORDERS. IT MODIFIES THE CONTRACT/ORDER NO. AS DESCRIBED IN ITEM 14.

12. ACCOUNTING AND APPROPRIATION DATA (If required) is not extended.is extended, Items 8 and 15, and returning

Offers must acknowledge receipt of this amendment prior to the hour and date specified in the solicitation or as amended , by one of the following methods: (a) By completing

The above numbered solicitation is amended as set forth in Item 14. The hour and date specified for receipt of Offers

11. THIS ITEM ONLY APPLIES TO AMENDMENTS OF SOLICITATIONS

FACILITY CODE CODE

10B. DATED (SEE ITEM 13)

10A. MODIFICATION OF CONTRACT/ORDER NO.

9B. DATED (SEE ITEM 11)

9A. AMENDMENT OF SOLICITATION NO.

CODE

8. NAME AND ADDRESS OF CONTRACTOR (No., street, county, State and ZIP Code)

7. ADMINISTERED BY (If other than Item 6)CODE 6. ISSUED BY

PAGE OF PAGES

4. REQUISITION/PURCHASE REQ. NO.3. EFFECTIVE DATE2. AMENDMENT/MODIFICATION NO. 5. PROJECT NO. (If applicable)

1. CONTRACT ID CODE

AMENDMENT OF SOLICITATION/MODIFICATION OF CONTRACT

06/30/2022

CHECK ONE A. THIS CHANGE ORDER IS ISSUED PURSUANT TO: (Specify authority) THE CHANGES SET FORTH IN ITEM 14 ARE MADE IN THE CONTRACT

B. THE ABOVE NUMBERED CONTRACT/ORDER IS MODIFIED TO REFLECT THE ADMINISTRATIVE CHANGES (such as changes in paying office, C. THIS SUPPLEMENTAL AGREEMENT IS ENTERED INTO PURSUANT TO AUTHORITY OF:

D. OTHER (Specify type of modification and authority) appropriation data, etc.) SET FORTH IN ITEM 14, PURSUANT TO THE AUTHORITY OF FAR 43.103(b).

E. IMPORTANT: Contractor is not is required to sign this document and return __________________ copies to the issuing office.

ORDER NO. IN ITEM 10A.

14. DESCRIPTION OF AMENDMENT/MODIFICATION (Organized by UCF section headings, including solicitation/contract subject matter where feasible.)

The purpose of Amendment 01 is to incorporate completed Requests for Information (RFIs).

Additionally, the Scope of Work (SOW) has been updated to reflect format changes in the payment schedule as well as language in the Past Performance evaluation section.

All other terms and conditions of this solicitation remain unchanged.

END OF AMENDMENT

16A. NAME AND TITLE OF CONTRACTING OFFICER (Type or print)15A. NAME AND TITLE OF SIGNER (Type or print)

15C. DATE SIGNED 16B. UNITED STATES OF AMERICA 15B. CONTRACTOR/OFFEROR 16C. DATE SIGNED

(Signature of person authorized to sign) (Signature of Contracting Officer)

Tavis Salas

STANDARD FORM 30 (REV. 11/2016)

Prescribed by GSA FAR (48 CFR) 53.243

Previous edition unusable

Except as provided herein, all terms and conditions of the document referenced in Item 9 A or 10A, as heretofore changed, remains unchanged and in full force and effect .

Solicitation No. 140P2122R0029

SCOPE OF WORK (Revised a/o July 14, 2022)

INTERPRETIVE FILMS FOR

MOUNT RUSHMORE NATIONAL MEMORIAL

I. BACKGROUND AND PURPOSE

Mount Rushmore National Memorial (MORU), located in the Black Hills of South Dakota, commemorates the founding, expansion, preservation, and unification of the United States by preserving, protecting, and interpreting an iconic mountain sculpture in its historic, cultural, and natural setting while providing for the education, enjoyment, and inspiration of the public.

The park’s central feature is a massive sculpture carved into the granite face of Mount Rushmore. Completed in 1941 under the direction of artist Gutzon Borglum and his son Lincoln, the sculpture's roughly 60-ft.-high granite faces depict U.S. presidents George Washington, Thomas Jefferson, Theodore Roosevelt, and Abraham Lincoln. Encompassing the triumphs, struggles, and evolution of the country, the presidents remind visitors of the political, social, and cultural histories of the past and the relevancy of America’s spirit and ideals today.

The idea for a commemorative sculpture in the Black Hills came from Doane Robinson, the state historian of South Dakota. With his vision to attract tourists to the state, Robinson worked with state and national politicians to carve out a portion of the Black Hills for this project. The land was set aside in 1925, and the U.S. Congress began appropriating funds for the project in 1927. Gutzon Borglum worked with more than 400 local workers to carve the monumental faces. He passed away in 1941 after 14 years of dedication to the project. His son, Lincoln Borglum, became the first superintendent of the memorial when Congress declared the sculpture complete in October 1941.

Mount Rushmore came under the stewardship of the National Park Service (NPS) in 1933. Since that time, NPS has managed the natural and cultural resources within the 1,278-acre memorial, including large stands of old growth ponderosa pine forest, granite peaks, historic buildings, archeological sites, streams, wetlands, and flora and fauna representing five different biomes. The memorial has witnessed an increase in visitation, reaching over two million visitors in recent years. The national and international visitors reflect the success of the vision of Doane Robinson and the power of the messages found within the memorial.

Mount Rushmore National Memorial seeks to produce several new interpretive films to enhance visitor understanding, enjoyment, and meaningful experiences at the memorial. A 20-minute Amphitheater Film shall play nightly in the park's outdoor amphitheater in late May through late September as part of an inspirational evening program focusing on the presidents, patriotism, and the nation's history. A 15-minute Visitor Center Film focusing on the history, design, and carving of the sculpture shall play continuously in the Lincoln Borglum Visitor Center. A series of five 3–5-minute Web Videos shall explore Native American perspectives, the evolution of the memorial’s design, the never-completed Hall of Records, ongoing preservation efforts, and a behind-the-scenes look at park operations. The Visitor Center Film and Web Videos shall be packaged for retail sale in DVD and Blu-ray Disc formats with custom artwork and 30 minutes of bonus features. All programs 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.

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

The purpose of this contract is to provide all audiovisual services to create one 20-minute 8K UHD (ultra-high-definition) Amphitheater Film; one 15-minute 4K UHD Visitor Center Film; five 3–5-minute 4K UHD Web Videos; one DVD Replication Master with custom artwork and 30 minutes of bonus features; and one Blu-ray Disc Replication Master with custom artwork and 30 minutes of bonus features for Mount Rushmore National Memorial in South Dakota.

II. SCOPE AND OBJECTIVES

II.1 SCOPE OF WORK

The project shall be the production of one 20-minute 8K UHD Amphitheater Film with 5.1 surround sound; one 15-minute 4K UHD Visitor Center Film with 5.1 surround sound; five 3–5-minute 4K UHD Web Videos with stereo sound; one DVD Replication Master with custom artwork and 30 minutes of bonus features;

and one Blu-ray Disc Replication Master with custom artwork and 30 minutes of bonus features for Mount Rushmore National Memorial in South Dakota.

http://www.nps.gov/moru

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. Amphitheater Film (NPS Program Number AV122):

a. Specification Overview:

1) Video Format: 8K Ultra-High-Definition (UHD) 7680x4320 resolution

2) Length: 20 minutes (without national anthem and closing credits)

3) Audio: 5.1 surround sound and stereo

4) Music: An original score is required for the main body of the film; licensed copyrighted music is required for the end of the film.

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

6) Original 8K UHD footage of the memorial in at least three seasons (summer, fall, and winter) emphasizing the sculpture, the surrounding landscape, the park’s natural and cultural resources, and park visitors.

7) Original 8K UHD helicopter aerial footage of the memorial is required in at least two seasons (summer and fall).

8) Original 8K UHD footage in at least five other locations across the U.S. is required. Footage shall include interviews, people at work and play, and landscapes.

9) Stock UHD (4K minimum) footage – including aerial footage – of iconic landscapes and landmarks across the U.S. is required.

Footage shall highlight the diversity of American natural and cultural resources from coast to coast including New England, Mid-Atlantic, South/Southeast, Gulf Coast, Midwest, Rocky Mountain region, Southwest, West Coast, Pacific Northwest, Alaska, and Hawaii.

10) Special dynamic camera motion is required. This may include jib, dolly, and Unmanned Aircraft Systems (UAS) photography.

11) Daytime and nighttime time-lapse photography of the memorial in at least two seasons is required.

12) Stylized and animated on-screen text is required for the main title of the film, and to accentuate key themes and quotes throughout the film.

13) Archival photographs, film footage, paintings, illustrations, newspaper headlines, documents, and other historic assets are required.

14) Raster graphics editing and motion graphics (e.g., Photoshop and After Effects) are required to digitally clean, enhance, and animate historic photos and other archival assets.

15) Professional voiceover narration is required.

16) An alternate version with closing credits is required. This version shall be identical to the Amphitheater Film but with a credit sequence, approximately 60 seconds in length, at the end of the film.

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 Amphitheater 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) Mount Rushmore National Memorial is a place that reveals the contrast of cultural ideals and the reality of the American experience.

2) Mount Rushmore National Memorial stands as a tribute to the successes, setbacks, and perseverance of visionary leaders and common people who shaped the country’s past and laid plans for our future.

3) Mount Rushmore, carved to represent the birth, growth, preservation, and development of the nation, is valued as a public work of art intended to evoke thoughts of freedom and democracy in viewers.

4) Mount Rushmore National Memorial is a place where visitors can celebrate and contemplate the individual and collective essence of patriotism.

5) The Black Hills are considered sacred and of great importance to many American Indian tribes.

c. Content

1) The Amphitheater Film shall:

a) Provide a thought-provoking exploration of freedom, patriotism, and democracy in the U.S., and what these ideals – and Mount Rushmore itself – mean to a wide range of Americans.

b) Spotlight people or groups from a variety of backgrounds and perspectives to reveal both the contrasts and commonalities of the American experience.

c) Explore the symbolism of the memorial, including how these four presidents were selected to represent the birth (Washington), growth (Jefferson), preservation (Lincoln), and development (Roosevelt) of the nation.

d) Acknowledge that the American experience has had both successes and setbacks, and that the pursuit of our founders’ ideals has been a long journey that is not yet complete.

e) Encourage viewers to be active participants in democracy—not just bystanders.

f) Elicit emotional responses from viewers. The park seeks a film that provokes visitors to applaud; to cry; to feel pride;

to think; to feel inspired; to consider viewpoints that differ from their own; to consider the meaning of freedom, patriotism, and democracy; and to actively participate in the democratic process.

2) The Amphitheater Film shall NOT:

a) Focus on Gutzon Borglum or the design and sculpting of the memorial. These topics can be introduced in this film but shall be covered in much greater detail in the Visitor Center film.

b) Focus on the life stories and accomplishments of the four presidents. Instead, the film shall focus on the reasons they were selected for the memorial and the ideals they represent. The amount of screen time devoted to the presidents shall be relatively brief, and the presidents themselves shall be portrayed not as flawless heroes but as human beings with both strengths and imperfections.

c) Provide an idealistic or jingoistic view of America, but rather a realistic, balanced view of our successes and challenges, and an acknowledgement that the American experience means different things to different people. The film shall celebrate our commonalities without sugarcoating our differences.

d. Style and Approach

1) The Amphitheater Film shall replace an existing 23-minute film (“Freedom: America’s Lasting Legacy”) that was produced in 2001. The existing film can be viewed at AmericasLastingLegacy_AmphitheaterFilm.mpg. The park seeks to produce a film that is slightly shorter, less focused on monument construction and the four presidents, and more representative of the entire country by featuring a diversity of voices, faces, perspectives, and imagery.

2) The Amphitheater Film will be rear-projected onto a large outdoor screen in an amphitheater that seats approximately 2,000 people. The film is part of an evening ceremony focusing on the presidents, patriotism, and the nation’s history. The program begins with a ranger talk, continues with a screening of the film, and culminates with the lighting of the memorial and a flag retreat ceremony during which veterans are invited to the stage. The program is held nightly from late May through the end of September, and typically attracts a capacity crowd of visitors from across the U.S. and around the world. A video of the evening ceremony (shot by a visitor) can be viewed at https://www.youtube.com/watch?v=ff7xJAG3TpQ.

3) The Amphitheater Film shall feature original 8K UHD footage of the memorial, filmed in at least three seasons (summer, fall, and winter), emphasizing the sculpture, the surrounding landscape, the park’s natural and cultural resources, and park visitors. Special dynamic camera motion is required; this may include jib, dolly, and Unmanned Aircraft Systems (UAS) photography.

https://doimspp.sharepoint.com/:v:/r/sites/PublicSharing/Shared%20Documents/General/MORU/AmericasLastingLegacy_AmphitheaterFilm.mpg?csf=1&web=1&e=Efepwi https://www.youtube.com/watch?v=ff7xJAG3TpQ

4) The Amphitheater Film shall feature original high-resolution daytime and nighttime time-lapse photography of the memorial in at least two seasons to be determined after award.

5) The Amphitheater Film shall feature original 8K UHD helicopter aerial footage of the memorial in at least two seasons (summer and fall).

6) The Amphitheater Film shall include six “spotlight” segments, filmed in 8K UHD, featuring people or small groups that represent a broad diversity of perspectives and demographic groups such as Native Americans, African Americans, Latinos, farmers/ranchers, teachers, blue collar workers, military veterans, artists, recently naturalized U.S. citizens, etc. The people or groups to be featured shall be determined after award in consultation with the COR and park. The contractor shall be responsible for locating candidates across the U.S. who meet the park’s desired criteria and whose stories are emblematic of a diverse American experience. For budgeting purposes, offerors shall assume six shoots in five different locations in the contiguous U.S: two in the Midwest region (including one in the Black Hills) and one each in the East Coast, South, Mountain, and West Coast regions. (Actual locations may vary, but offerors shall use these locations for the cost proposal.)

Each shoot shall be a minimum of two days and shall have very high production values (including the use of jibs, dollies, drones, etc.). Each spotlight segment shall be approximately 60-90 seconds in length.

7) In addition to the spotlight segments, the Amphitheater Film shall include the faces, voices, and perspectives of a wide range of people that shall be woven throughout the film to create an inspiring, intricate, and beautifully crafted tapestry depicting the diverse American experience: people from all walks of life working, playing, celebrating, volunteering, and enjoying life in a free and democratic society. UHD (4K minimum) stock footage can be used to fulfill this requirement. Any stock footage used shall match the production values and technical standards of the original footage as closely as possible.

8) Also woven throughout the film shall be scenic footage (including aerial footage) of iconic landscapes and landmarks across the U.S. Scenic footage shall highlight the diversity of American natural and cultural resources including landscapes and/or landmarks in New England, Mid-Atlantic, South/Southeast, Gulf Coast, Midwest, Rocky Mountain region, Southwest, West Coast, Pacific Northwest, Alaska, and Hawaii. UHD (4K minimum) stock footage can be used to fulfill this requirement. Any stock footage used shall match the production values and technical standards of the original footage as closely as possible.

9) Archival photographs, film footage, paintings, illustrations, newspaper headlines, documents, and other historic assets shall be used to visualize the history and construction of the memorial, and to (briefly) depict key moments in the lives of Presidents Washington, Jefferson, Lincoln, and Roosevelt to illustrate why they were selected for the memorial.

10) The Amphitheater Film shall feature stylized and animated on-screen text for the main title of the film and to accentuate key themes and quotes throughout the film.

11) The Amphitheater film shall feature both an original music score and licensed music. The original score shall be uniquely American in tone and instrumentation and shall incorporate a musical thread or melodic theme interwoven throughout the film to help connect all elements and scenes into a cohesive work of art. Licensed music is envisioned for the end of the film and shall include an iconic American song performed by a popular American musician (such as “America the Beautiful” by Ray Charles). The song shall be selected after award in consultation with the COR and park based in part on availability and cost of the required use rights.

12) The Amphitheater Film shall conclude with an instrumental recording of the national anthem. The anthem shall not count as part of the film’s 20-minute run time. Visuals shall be relatively simple for this portion of the film (black screen with subtitled lyrics only) so as not to detract from the memorial itself, which is lit immediately before the anthem plays. The anthem shall be an existing recording licensed from a U.S.

military band or similar source.

13) Closing credits shall run after the national anthem. The credit sequence shall:

a. Be approximately 60-90 seconds in length.

b. Have no music.

c. Be relatively simple in design (such as white text on a black background) so as not to detract from the lighting of the memorial.

14) Broadcast or feature film quality production values are required. Mount Rushmore is one of the most iconic and heavily visited NPS sites in the U.S., and the Amphitheater Film is viewed by as many as 2,000 visitors per night during the summer season. The film shall appeal to all ages and backgrounds, with production values that meet or exceed what viewers are accustomed to seeing on national television networks and theatrical releases.

15) 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.

16) The film shall provide an immersive and emotionally engaging experience for viewers, with interweaving storylines that reveal connections between people, places, and events.

17) The film shall not tell viewers what to think about Mount Rushmore, but rather allow them to draw their own conclusions.

18) The film shall immerse viewers in the story with relatable and engaging characters, unique and captivating views of Mount Rushmore, sweeping views of diverse American landscapes/landmarks, and rich, multilayered sound design.

19) The film shall tell the story from a first-person perspective whenever possible, using interviews from a wide range of Americans to form the core of the narrative. Scripted narration voiced by a professional narrator shall be used to weave the story together.

20) The soundtrack shall have ample breathing room for sound effects, music, and audio description.

21) 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. Visitor Center Film (NPS Program Number AV123):

a. Specification Overview:

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

2) Length: 15 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.

6) Original 4K UHD or higher footage of the memorial in at least three seasons (summer, fall, and winter) emphasizing the sculpture, the surrounding landscape, the park’s natural and cultural resources, park visitors, and NPS preservation efforts.

(Note: Original 8K footage shot for the Amphitheater Film can be used to fulfill the requirement for seasonal footage of the memorial.)

7) Original 4K UHD or higher helicopter aerial footage of the memorial is required in at least two seasons (summer and fall).

(Note: Original 8K aerial footage shot for the Amphitheater Film can be used to fulfill this requirement.)

8) Interviews with subject matter experts are required.

9) Special dynamic camera motion is required. This may include jib, dolly, and Unmanned Aircraft Systems (UAS) photography.

10) Time-lapse photography in at least two seasons is required.

11) Stylized and animated on-screen text is required for the main title of the film, and to accentuate key themes and quotes throughout the film.

12) Archival photographs, film/video footage, audio recordings, paintings, illustrations, newspaper headlines, documents, and other historic assets are required.

13) Raster graphics editing and motion graphics (e.g., Photoshop and After Effects) are required to digitally clean, enhance, and animate historic photos and other archival assets.

14) Dramatic readings by professional voice actors from historic speeches and writings are required.

15) 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 Visitor Center 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) Mount Rushmore National Memorial is a place that reveals the contrast of cultural ideals and the reality of the American experience.

2) Mount Rushmore National Memorial stands as a tribute to the successes, setbacks, and perseverance of visionary leaders and common people who shaped the country’s past and laid plans for our future.

3) Mount Rushmore, carved to represent the birth, growth, preservation, and development of the nation, is valued as a public work of art intended to evoke thoughts of freedom and democracy in viewers.

4) The Black Hills are considered sacred and of great importance to many American Indian tribes.

5) The sculptor Gutzon Borglum and the workers, through vision, struggle, and perseverance, created an inspirational icon on Mount Rushmore that is recognized throughout the world.

6) The changes to the natural landscape at Mount Rushmore National Memorial have evoked emotions regarding the impacts of human endeavors.

7) Creating a massive sculpture in the Black Hills was the dream of Doane Robinson, state historian, as a method of tourism development in South Dakota.

c. Content

1) The Visitor Center Film shall:

a) Provide an engaging and entertaining look at the history, design, construction, and legacy of Mount Rushmore National Memorial.

b) Explore the symbolism of the memorial, including how these four presidents were selected to represent the birth (Washington), growth (Jefferson), preservation (Lincoln), and development (Roosevelt) of the nation. The amount of screen time devoted to the presidents shall be relatively brief, and the presidents themselves shall be portrayed not as flawless heroes but as human beings with both strengths and imperfections.

c) Highlight the vision, struggle, and perseverance of Borglum and the workers to create a monumental and enduring work of art that is recognized around the world.

d) Explore some of the geological features of the mountain that influenced the design, and briefly highlight some of the design features such as the Entablature and the Hall of Records that were never realized.

e) Feature the voices of carvers and others who worked on the memorial. (All of the workers are now deceased, but oral history interviews are available in the park’s archives.)

f) Feature interviews with a variety of subject matter experts (historians, Native Americans, geologists, engineers, sculptors, park rangers, Borglum descendants, NPS staff, etc.) to provide a balanced view of the memorial from multiple perspectives.

g) Highlight efforts by NPS and the Mount Rushmore Society to preserve and protect the Mount Rushmore sculpture.

d. Style and Approach

1) The Visitor Center Film shall replace an existing 14-minute film (“The Shrine”) that was produced in 1985. The existing film can be viewed at TheShrine_TheaterFilm.mpg. The park seeks to produce a film that appeals to visitors of all ages and backgrounds, provides updated views of the memorial in 4K UHD or higher resolution (including aerial and time lapse photography), is less focused on the four presidents, and provides a wider and more diverse range of voices and perspectives.

2) The Visitor Center Film will play year-round in two separate theaters in the Lincoln Borglum Visitor Center. Each theater will play the film three times per hour with staggered start times to accommodate as many visitors as possible. Each theater has a seating capacity of approximately 124 people.

https://doimspp.sharepoint.com/:v:/r/sites/PublicSharing/Shared%20Documents/General/MORU/TheShrine_TheaterFilm.mpg?csf=1&web=1&e=Pd8eLs

3) The Visitor Center Film shall feature original 4K or higher UHD footage of the memorial, filmed in at least three seasons (summer, fall, and winter), emphasizing the sculpture, the surrounding landscape, the park’s natural and cultural resources, park visitors, and NPS preservation efforts. Special dynamic camera motion is required; this may include jib, dolly, and Unmanned Aircraft Systems (UAS) photography. (Note:

Original 8K footage shot for the Amphitheater Film can be used to fulfill the requirement for seasonal footage of the memorial. Original footage acquired specifically for the Visitor Center Film shall be shot in 4K UHD. See Section II.2.C.2.b, Principal Photography, for additional details.)

4) The Visitor Center Film shall feature original high resolution time-lapse photography of the memorial in at least two seasons to be determined after award.

5) The Visitor Center Film shall feature original 4K UHD or higher helicopter aerial footage of the memorial in at least two seasons (summer and fall). (Note: Original 8K aerial footage shot for the Amphitheater Film can be used to fulfill this requirement.)

6) The Visitor Center Film shall feature original 4K UHD interviews with a variety of subject matter experts (historians, Native Americans, geologists, engineers, sculptors, Borglum descendants, NPS staff, etc.) to provide a balanced view of the memorial from multiple perspectives. See Section II.2.C.2.d, Interviews, for additional information.

7) The Visitor Center Film shall feature archival photographs, film/video footage, audio recordings, paintings, illustrations, newspaper headlines, documents, and other historic assets to illustrate the history, design, and construction of the memorial, and to (briefly) depict key moments in the lives of Presidents Washington, Jefferson, Lincoln, and Roosevelt to illustrate why they were selected for the memorial. The park has an extensive archive of construction-related assets that shall be made available for use in this project, including all of the historic film footage and photos seen in the current film. The contractor shall re-scan or up-res park assets as needed to achieve 4K UHD resolution. The contractor shall be responsible for researching, acquiring, and licensing any archival assets that are described in the contractor’s approved treatment but not available from the park. The contractor shall utilize raster graphics editing and motion graphics software (e.g., Photoshop and After Effects) to digitally clean, enhance, and animate historic photos and other archival assets as needed to achieve the look described in the contractor’s approved treatment.

8) The Visitor Center Film shall feature stylized and animated on-screen text for the main title of the film and to accentuate key themes and quotes throughout the film.

9) The Visitor Center Film shall feature an original music score.

The original score shall be uniquely American in tone and instrumentation and shall incorporate a musical thread or melodic theme interwoven throughout the film to help connect all elements and scenes into a cohesive work of art. The original score from the Amphitheater Film shall not be re-used or repurposed for the Visitor Center Film, but the same composer can be used.

10) Broadcast quality production values are required. Mount Rushmore is one of the most iconic and heavily visited NPS sites in the U.S., and the Visitor Center Film is viewed by approximately one million visitors per year. The film shall appeal to all ages and backgrounds, with production values that meet or exceed what viewers are accustomed to seeing on national television network programming.

11) 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.

12) The film shall provide an immersive and emotionally engaging experience for viewers, with interweaving storylines that reveal connections between people, places, and events.

13) The film shall not tell viewers what to think about Mount Rushmore, but rather allow them to draw their own conclusions.

14) The film shall immerse viewers in the story with relatable and engaging interviews, unique and captivating views of Mount Rushmore, creative incorporation and treatment of archival assets, and rich, multilayered sound design.

15) The film shall tell the story of Mount Rushmore from multiple perspectives, using interviews from a wide range of subject matter experts to form the core of the narrative. Scripted narration voiced by a professional narrator shall be used to weave the story together.

16) The soundtrack shall have ample breathing room for sound effects, music, and audio description.

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

3. Web Videos (NPS Program Numbers AV125-129):

a. Specification Overview:

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

2) Length: 3-5 minutes each (some may be longer, and some may be shorter, but the combined run time shall be approximately 25 minutes)

3) Audio: Stereo

4) Music: Stock music from a production music library is acceptable. Original music repurposed from the Amphitheater Film and/or the Visitor Center Film is also acceptable.

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

6) Original 4K UHD or higher footage of the memorial is required. (Note: Original 8K footage shot for the Amphitheater Film can be used to fulfill this requirement.)

7) Original 4K UHD interviews with subject matter experts are required.

8) Special dynamic camera motion is required. This may include jib, dolly, and Unmanned Aircraft Systems (UAS) photography.

9) Archival photographs, film/video footage, audio recordings, illustrations, newspaper headlines, documents, and other historic assets are required.

10) Raster graphics editing and motion graphics (e.g., Photoshop and After Effects) are required to digitally clean, enhance, and animate historic photos and other archival assets.

11) Professional voiceover narration is optional depending on the contractor’s proposed treatment; Web Video narratives shall be based primarily on interviews.

b. Content: The contractor shall produce five Web Videos based on the following topics:

1) Native American Perspectives (AV125): This video shall feature interviews with members of the park’s affiliated tribes and give voice to Native American perspectives on the memorial. Topics shall be determined in consultation with the tribes but may include Native American history in the Black Hills and the story of the Six Grandfathers.

2) Evolution of the Design (AV126): This video shall explore how the design for the memorial changed over time due to geological and other factors. Possible topics include Doane Robinson’s original idea for the memorial, Gutzon Borglum’s early designs (including the Entablature), and how the geology of Mount Rushmore influenced the final design. The video could also answer a commonly asked question: Can additional faces be added to the sculpture?

3) Hall of Records (AV127): This video shall explore Borglum’s plan to create a large chamber within the mountain to hold important American historical documents and artifacts such as the Constitution and the Declaration of Independence. The video shall explain why that plan never materialized, and shall take viewers behind the sculpture to see the only tangible evidence of Borglum’s grand scheme: an unfinished 70-foot tunnel that was started in 1938 and halted in 1939. The video shall also reveal the contents of a teakwood box that was placed in a vault in the floor of the tunnel in 1998.

4) Preservation (AV128): This video shall highlight efforts by NPS and the Mount Rushmore Society to preserve and protect the memorial. Viewers will get a closeup look at “key granite blocks,” fractures, and monitoring systems on the sculpture, and hear from experts about steps being taken to ensure that the sculpture remains intact for generations to come.

5) Behind the Scenes at Mount Rushmore (AV129): This video shall give viewers a behind-the-scenes tour of Mount Rushmore to see what it takes to run one of the most popular national parks in the U.S. On-the-job footage and interviews with park rangers (both interpretive and law enforcement), scientists, maintenance staff, curators, concessioners, administrators, and others reveal the monumental effort required to operate, manage, and care for this “shrine of democracy.”

c. Style and Approach

1) The Web Videos are intended for use on the park’s website and shall also be bundled with the retail sales DVD/Blu-ray Disc.

They may also be used in future exhibits at the Lincoln Borglum Visitor Center.

2) The Web Videos shall leverage the original 8K and 4K UHD footage of the memorial shot for the Amphitheater Film and Visitor Center Film. Additional 4K UHD footage shall be required to address specific topics in the Web Videos such as Native American perspectives, Mount Rushmore’s geological features, the Hall of Records, preservation efforts, and footage of park employees on the job. For budgeting purposes, offerors shall assume that the additional footage for the Web Videos shall be shot at or within a 60-mile radius of Mount Rushmore.

3) The Web Videos shall leverage interviews shot for the Amphitheater Film and Visitor Center Film. Additional interviews shall be required to address specific topics in the Web Videos such as Native American perspectives, the evolution of Mount Rushmore’s design, geological features, the Hall of Records, preservation efforts, and park employees on the job. See Section II.2.C.2.d, Interviews, for additional information.

4) The Web Videos shall feature archival photographs, film/video footage, audio recordings, illustrations, newspaper headlines, documents, and other historic assets as needed, primarily for AV126 (Evolution of the Design) and AV127 (Hall of Records). The park has an extensive archive of construction-related assets that shall be made available for use in this project, including all of the historic film footage and images seen in the current film. The contractor shall re-scan or up-res park assets as needed to achieve 4K UHD resolution. The contractor shall be responsible for researching, acquiring, and licensing any archival assets that are described in the contractor’s approved treatment but not available from the park. The contractor shall utilize raster graphics editing and motion graphics software (e.g., Photoshop and After Effects) to digitally clean, enhance, and animate historic photos and other archival assets as needed to achieve the look described in the contractor’s approved treatment.

5) Broadcast-quality production values are required. The Web Videos shall appeal to all ages and backgrounds, with production values that meet or exceed what viewers are accustomed to seeing on national television network programming.

6) The Web Videos 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.

7) The Web Videos shall provide an emotionally engaging experience for viewers, with interweaving storylines that reveal connections between people, places, and events.

8) The Web Videos shall feature relatable and engaging interviews, unique and captivating views of Mount Rushmore, creative incorporation and treatment of archival assets, and rich, multilayered sound design.

9) The Web Videos shall use interviews with subject matter experts to form the core of the narrative. Scripted narration voiced by a professional narrator can be used as needed to weave the story together.

10) The Web Video soundtracks shall have ample breathing room for audio description.

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

4. DVD Replication Master (NPS Program Number DVD835) and Blu-ray Disc Replication Master (NPS Program Number BD032):

a. The contractor shall produce one DVD and one Blu-ray Disc Replication Master. Each Replication Master shall include:

1) The 15-minute Visitor Center Film (in stereo and 5.1 surround)

2) The five Web Videos

3) 30 minutes of Bonus Features as follows:

a) Bonus Features shall consist primarily of interviews that were shot for the Visitor Center Film and Web Videos but not used in the final products. The “bonus” interviews shall represent a variety of perspectives and shall be indexed by topic on the disc menu. Each topic shall include a variety of short interview clips edited together in a “mini-documentary.” Topics and lengths of each segment shall be determined after contract award, but for budgeting purposes, assume six segments at five minutes each.

b) Each Bonus Feature shall include an opening title graphic and lower-third identifiers for each interviewee.

c) Bonus Features shall include B-roll footage and archival assets leveraged from the Amphitheater Film, Visitor Center Film, and Web Videos. The Bonus Features do not need to be as heavily “produced” as the Web Videos but shall include B-roll footage and archival materials as needed to illustrate what the interviewees are talking about, and to cover edits within interviews.

d) Bonus Features shall be produced in stereo.

e) Bonus Features shall include music, which can be repurposed from the Visitor Center Film score or sourced from a production music library.

f) Bonus Features shall be subtitled and audio-described.

g) Bonus Features shall be embedded in the DVD and Blu-ray

Disc Replication Masters, and also delivered as standalone MP4 files as described in Attachment G, Final Deliverables, MORU_AV124.

4) Attract loop and navigation menu

5) User-selectable audio settings for Visitor Center Film (5.1 or stereo)

6) User-selectable English subtitles for all programs

7) User-selectable audio description for all programs

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

c. See Section II.2.E.3, DVD and Blu-ray Disc Replication Masters and Packaging Design, for additional specifications.

B. Filming Locations, Compliance, and Safety

1. 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 parking lot fee, shall be waived by the NPS for the duration of the project.

2. 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.

3. 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).

4. 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.

5. The Production Plan shall include specific information discussed during the Post Award Meeting pertaining to all compliance requirements.

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:

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

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.

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 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 (MORU), 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: MORU_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 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 XVI, Clauses Incorporated 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.

f. Offerors shall include an allowance of $15,000 for use rights/licensing fees for the required piece of copyrighted music at the end of the Amphitheater Film as described in Section II.1.A.1.d.11. If the contractor is unable to secure the required use rights within the available $15,000 budget, the contractor shall seek guidance from the COR and Contracting Officer on acceptable alternatives. If the contractor secures the required use rights for less than $15,000, the Total Award Amount shall be reduced accordingly.

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 all programs.

c. 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.

5. American Indian Collaboration

a. Collaboration with American Indian Tribal representatives is required to ensure that all communication and media content produced or collected is respectful and accurate. The National Park Service shall facilitate communication with tribes and pay all consultation fees.

b. All collaboration and communication between the contractor and Tribal representatives shall be coordinated through the COR.

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.