A04_-_LONG_SOW_2022_8_5_22_v2_0001.pdf

Solicitation 140P2122R0035 – Amd 01

SCOPE OF WORK

INTERPRETIVE FILM (AV-142)

LONGFELLOW HOUSE-WASHINGTON'S HEADQUARTERS

NATIONAL HISTORIC SITE

MASSACHUSETTS

I. BACKGROUND & PURPOSE

Longfellow House-Washington's Headquarters National Historic Site (LONG) preserves the home of Henry Wadsworth Longfellow, one of the world’s foremost 19th century poets. The house also served as headquarters for General George Washington during the

Siege of Boston, July 1775 - April 1776.

At this site, people had differing versions of the American experience; there were seasons of slavery, war, and literary art. In 1759, John Vassall, Jr. built a mansion at what is now

105 Brattle Street in Cambridge, MA. The Vassall family accumulated wealth from the

Jamaican sugar industry. From this, there were two Vassall groups at this location (both white and African American). John Vassall, a supporter of Great Britain, left Cambridge in 1774 due to political tension which proceeded the American Revolution. It was at this time that people who were once enslaved took steps to secure their own freedom.

As the Revolutionary War began to heat up, this location became a key post. George

Washington, who served as General of the Continental Army before becoming the nation’s first President, choose the vacant Vassall house as his first headquarters. Here

Washington lived and worked for more than nine months and matured as a leader, standing up the Continental Army and planning out logistics that would ultimately lead to the evacuation of British soldiers from Boston, ending the Siege of Boston (the opening phase of the war). Washington’s experiences here stimulated personal growth and transformed him into a key figure of the early Republic.

After Washington spent nine months at this location, the poet Henry Wadsworth

Longfellow lived here for four decades. During this time, Longfellow played a key role in creating an American literary tradition, publishing works that would speak to American history. While Longfellow may be less known today, he was one of the nation’s earliest celebrities, whose name and work was known globally. For example, the phrase “ships in the night” comes from Henry Longfellow’s work. In 1972, the Longfellow family donated the entire estate, including the building and furniture, to the National Park

Service (NPS). In addition to its rich history, the site offers visitors the chance to explore

19th century literature and arts. In the warmer months, poetry readings and other programs help interpret the park history.

The park seeks to produce a 10- 11-minute, ultra-high-definition (UHD), surround-sound, interpretive film to educate and inspire viewers by communicating the purpose and significance of the site. The film shall immerse visitors in the most saliant historical antidotes that communicate the park’s significance.

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

The purpose of this contract is to provide all audiovisual services to create one 10-11 minute, ultra-high-definition (UHD), surround-sound interpretive film for Longfellow

House-Washington's Headquarters National Historic Site. Additional web shorts shall be focused on the Longfellow Family, Revolutionary War, and the idea of writing your own story, as OPTION CONTRACT LINE ITEMS (CLINs.) All programs shall be produced in 4K-ultra-high-definition (UHD) video.

Price proposals are required for all films, but the government has the option of awarding up to three of the short films. Be advised that the option line items may only be exercised at the discretion of the Government.

Products Length

Required Option CLINs

Main Interpretive Film (on site) 10-11 min x

Greater Boston Area (web) 4-5 min x

Longfellow Family (web) 4-5 min x

Kids’ film on Poetry (web) 3-7 min x

II. SCOPE AND OBJECTIVES

II.1 SCOPE OF WORK

The contractor shall provide all services, labor, materials, equipment, facilities, fees, research, licensing, and travel necessary to produce one 10-11-minute ultra-high-definition (UHD) interpretive film with audio description (AD) and open and closed

Subtitles for the Deaf and Hard of Hearing (SDH). In addition to the main film, the government has the option to award up to three short films intended for web distribution.

A. Requirements: The following shall be demonstrated and reflected in the

Treatment and Production Plan, and through all phases of the project.

http://www.nps.gov/long.

Overview of Technical Requirements

a. Film: Video Format: 4K (UHD) 3840x2160 resolution

b. Length: 10-11 minutes

c. Audio: 5.1 Surround Sound and Stereo

d. Music: licensed music or an original score are both acceptable.

e. Accessibility: Audio Description (AD), Closed and open Subtitles for the

Deaf and Hard of Hearing (SDH).

f. NPS Project Number: AV-142

Overview of Production Requirements

Refer to Section II.2.C. Production Phase for specifications.

a. Original 4K UHD footage of the park emphasizing its unique history, value, location, and national significance.

b. High-quality and cinematic interviews. No fewer than 14 people are to be filmed for on-camera interviews. They shall represent diverse voices and not all individuals are required to appear on camera.

c. Two dimensional (2-D) animations. See Attachment F: Two

Dimensional Graphic Standards for details on 2-D animation requirements.

d. Special dynamic camera motion (jib, dolly, Steadicam) giving a variety of on-location film footage with movement. No specific shot is required, but footage shall meet general project goals.

e. Landscape footage including time-lapse photography;

f. Music: an original score is required.

g. Archival material: archival material shall be required.

Overarching goals

Audiences shall experience an immersive and emotionally engaging experience when watching the film. Themes of war and art shall be key to the story with the most salient historical anecdotes used to communicate the site’s national significance. Themes shall be grouped in three pillars:

a. Vassalls & Slavery

b. War & Washington

c. Literary Art & Longfellow

4. Content

a. The 10-11minute Interpretive Film shall provide an inspirational overview about how the residents of this location shaped the future of their nation and community. The Longfellow story is a diverse mix of people and personalities, conflicts, complexities, and difficulties that characterized this site’s legacy. Topics shall include the lives, experiences, and impacts of the site’s early residents, Washington, and

Longfellow.

b. The park does not want to include reenactments in the film, so the contractor shall explore other creative approaches that bring the film to life. This includes use of archival material, graphics, interviews, landscapes, scenic, character focused verité scenes, and 2D-animations.

As much 30-40% of the final film visuals shall be 2-D animations. All visuals shall represent historical antidotes for each theme, giving audiences sufficient information to arrive at their own conclusion

(different from an explainer video).

5. Themes

a. 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) Vassalls & Slavery: A wealthy Vassall family builds this house, forming a family unit consisting of both white and enslaved people who share the same last name. After their oppressors flee back to

Great Brittan, the Black Vassalls choose to keep their name, but gain their freedom.

2) War & Washington: As the Revolutionary War heats up, George

Washington spends nine months standing up the Continental Army and planning out logistics from this location. He would go on to become president of these “United States” as a new nation explored the idea of self-governance and democracy.

3) Literary Art & Longfellow: In the post-war America, Longfellow played a key role in creating an American literary tradition, publishing works that influenced American history. We write so we may think, and to that end what is the broader value of poetry in the early American experience?

b. The scenes are still open for development by the contractor, and the following topics are open for exploration:

1) Early Colonialism

2) The Vassall Family (both white & African American)

3) Gaining Freedom

4) Washington Arrives

5) The Logistics of Winning the War

6) The American Experiment / A Nation is Formed

7) Longfellow's Arrival

8) An Example (examples) of Longfellow’s Poetry

9) Writing Your Own Story

c. The themes shall be discussed and determined in collaboration with park staff and the COR after award. Viewers will be onsite when watching the film, so the film shall interpret the broader historical forces at work, with a story that goes beyond the physical site location. Visitors shall experience a feeling that this location is interconnected to the broader national history.

6. Style & Approach

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

b. The film shall show (not just tell) and visually demonstrate core themes.

The film shall not tell viewers what to think about the subject matter; the location shall speak for itself. The film shall inspire curiosity as much or more than it provides answers.

c. The film shall provide an authentic window into LONG and people who feel connected to and inspired by the park, providing viewers an opportunity to develop their own connections and inspiration.

d. The stylistic treatment shall be evergreen and avoid techniques that will date the film.

e. The film shall create an immersive experience and sense of why this site matters.

f. The film shall feature rich and continuous sound design that is reflective of the place and activities represented.

g. Unless otherwise approved by the COR, the narrative shall be woven together with multiple diverse voices (at least 14) expressing their connection or insights on the park or history. Not all these individuals need to be seen on camera in the final film.

h. When selecting people for interviews, the contractor shall seek people with who are able to speak with candor and authenticity, and can make content accessible to a wide audience. The park is looking for individuals who have intellectual and emotional appeal.

i. These voices may be supplemented by narration, but narration is not required.

j. When selecting people to be in the film, special attention shall be given to diversity, including ethnicity, age, and gender

Honorariums

Any honorariums, travel, or other expenses for talent shall be the responsibility of the contractor.

Production Team

a. The contractor shall provide a production team experienced at bringing historical topics into a contemporary and approachable format.

b. The contractor shall provide a style of production well suited for gathering interviews with subject matter experts and story stakeholders that makes the subject matter interesting to a wide audience. The contactor shall also provide a production team able to take historical material (photos, text, written work) and make it interesting and relevant to a wide audience. The production shall feature elegant aesthetics and shall be relevant in content and style to the park for many years to come.

Location Requirements

Securing locations beyond the park that are relevant to the story (and proposed in the approved treatment) is the responsibility of the contractor.

Other locations may also include locations for filming on-camera interviewees.

II.2: SPECIFICATIONS AND SUBMITTALS

This contract includes the following specifications and 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.

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 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, have headers, and page numbers.

c. Document file names shall include the park alpha code (LONG), deliverable description, version #, 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:

LONG_ProductionPlan_v2_date.

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

File Transfer Protocol (FTP) 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, 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 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 film 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 films.

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.

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 https://www.nps.gov/subjects/hfc/accessibility.htm 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

Officer (CO), 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 two-day Post-Award Meeting, taking place at locations at Longfellow National Historical Site and the greater

Cambridge/Boston area. The total meeting time distributed between the days shall be 10-14 hours. The Post-Award meeting shall be attended by a minimum of the Producer and Director 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, the park experience and specific resources to be addressed in the project;

2) Potential filming locations.

3) Review the Scope of Work, project schedules, 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

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 principle agreements reached 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 and review times, and closeout submittals. 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 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. If required, the contractor shall 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

a. No later than 30 business days after 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 film. 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 Treatment and

Production Plan. 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.

b. When proposing narrative approaches for the web shorts, the contractor shall abide by all the same guidance, however because these films are shorter in duration, Word documents can be 1-2 pages in length.

6. Treatment and Production Plan

Based on the approved Narrative Approach, the contractor shall prepare and submit a Treatment and Production Plan for the film. The Production Plan for this project shall play a large role in the success of the film. The Treatment and Production Plan shall align and shall demonstrate an understanding of contract requirements. Multiple drafts may be required until approved by the

COR. The contractor shall prepare and submit a written response to COR

a. Broadly, the Treatment shall reflect the following:

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

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) The contractor’s solutions and approach to visual storytelling.

4) The contractor’s approach to any 2D-animation.

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

6) Description of any proposed interview subjects or profiles, including biographical information and field of expertise for each.

7) Proposed style of filming for original material.

8) Sources for additional program/content research.

9) 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.

10) Description of proposed music.

11) Description of any proposed narration.

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

13) Estimated percentage of the program(s) that shall be comprised of original footage, on-screen participants, interviews, narration, and stock footage.

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

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) Proposed backdrop(s), style, “look”, and content intent for any interview or profile filming;

4) Proposed production techniques such as specialized cameras and equipment and special approaches (gimbals, cranes, dollies, sliders, jibs, camera mounts, slow-motion, time-lapse);

5) Proposed camera(s) with specifications;

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

7. First Draft Script

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) It should be apparent in the draft script that the themes are being addressed and that the film covers the required regions and geographical locations.

3) Narration and interview soundbites are not expected to be fully fleshed out, notations that convey the goal of the spoken content and how it advances the story are sufficient for the first draft.

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

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 narrative, 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. The contractor shall prepare and submit a written response to COR

C. PRODUCTION PHASE

Work performed during the Production phase centers on the acquisition of media and other supporting material. The contractor shall propose the timing and duration of the shoot windows as part of the Project Schedule.

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 and locations needed to fulfill the requirements of the contract.

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. Submittals during

Production Phase:

1. Submittals during the Production Phase:

a. Updated project schedule based on approved Treatment and Production

Plan.

b. Shoot Windows: Shooting Script, Filming Schedule, and Post-Shoot

Deliverables

2. Specifications during the Production Phase:

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 interviews to be acquired

3) The Filming Schedule shall include:

a) Number of film crew members

b) Film crew travel and lodging/camping 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 and contingency plans

h) General gear and equipment list

b. Cinematography

Specifications:

1) Footage shall originate in Ultra-High-Definition (4K UHD), using a professional camera.

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

3) 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 lock-downs themselves; and ensure lenses are free from dirt and dust.

4) 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;

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

COR.

6) 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.

7) Lighting and (or) light modification shall be required for interior filming.

c. Camera Motion

1) Given the accessibility of this park’s location, larger and more high-end tools shall be used to create motion, to engage the audience, and to reflect a high production value.

2) When showcasing the LONG site, the contractor shall be prepared to reveal the location with a perpetually moving camera. This means jib, Steadicam, dolly, and/or other tools approved by the COR shall be utilized to create movement at this location.

3) All footage from specialized dynamic camera motion shall be fluid, moving, and stabilized.

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 or access.

d. 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).

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 contractors shall position microphones to minimize extraneous noise sources.

e. Interviews

1) The contractor shall arrange and conduct any interviews based on the approved treatment and production plan. Interview audio shall be recorded using a boom microphone lavalier backup microphone, with an audio feed into the camera and a second recorder or other approved redundant system.

2) A high production quality is required for on-camera interviews. See

Attachment G: Interview Cinematography Standards for details on cinematography requirements for interviews. If the contractor proposes a style of production where they follow characters with a verité style, the contractor may depart from these standards with

COR approval.

a) On-site rooms may not be suitable for filming interviews, so the contractor shall be prepared to find interview locations or studio spaces that serve the project needs.

b) All exterior interviews shall be done in locations that are quiet and free from human-made noise or loud natural sound.

c) The Contractor shall be responsible for all honorariums and fees, including travel costs, associated with conducting the interviews, except as noted for tribal representatives.

d) The contractor shall prepare and submit transcriptions of all interviews to the COR.

f. Stock and Archival Footage and Photographs

1) Archival material is required for this project.

2) All archival material shall be scanned or sourced at a resolution that is clear, sharp, and detailed.

3) Imagery less detailed (but the only material available and important to the story) may be approved by the COR.

4) All stock and archival footage and photographs proposed for use shall be pre-approved by the COR.

5) The contractor shall submit footage and photos for review in a digital format pre-approved by the COR.

6) Stock footage shall have originated in a film format that is comparable to original footage required by this contract.

7) All stock footage shall be available for use in its native format.

8) All stock footage shall meet the aesthetic and technical specifications for original footage included in this contract.

9) The contractor shall be responsible for paying all fees related to the use of stock and archival footage and photographs in accordance with the use rights required by this contract for non-original material.

Refer to Section II.2.A.3, NPS Release Forms and License

Agreements for additional information.

g. Post-shoot deliverables

After each shoot the following Production Package submittals are required unless otherwise agreed to by the COR:

1) Field Documentation: Submit by email and digital file transfer, include a copy on the hard drive:

a) The approved Shooting Script and Filming Schedule

b) Timed transcriptions for any interviews, as a Word document and synced to audio through service such as Temi.com or equal.

c) A 10-minute highlight reel/stringout demonstrating the quality, style, and content of the footage. The reel shall include representative samples of interviews, interiors, and other footage of the site, time lapse, etc. Reel shall not have music and shall include actual sound when possible. Reel shall have infield LUT applied.

d) A minimum of 10 production stills and 10 behind-the-scenes photos for marketing materials. Include a word document with a caption for each photo that includes names for people and locations, and what is happening. Refer to Section II.2.C.4.g:

Press Kit Resources.

e) Release forms

f) Software generated PDF Report with thumbnails and metadata for each shot, including at minimum: file name, file size, date created, resolution, codec, fps, duration, audio specs, and multiple thumbnails (using software such as Shotput Pro 6, TrueCheck, Foolcat, or equal).

g) Footage and audio logs that correspond to the generated PDF report. Logs shall include:

i. date of filming

ii. location of filming

iii. description of scenes including any discrete scene numbers, take information if relevant

iv. camera(s) used, relevant camera settings, and Look Up

Tables (LUT) information

v. type of audio recorded

vi. detailed notes for syncing multi-camera shoots and separate audio recordings

vii. other information pertinent to identifying the footage, including any limitations on rights

viii. Identification of anyone speaking on screen or any talent requiring a release

2) Source Material: Submit by hard drive only:

a) All original video files from all shoots in native camera file format. All files shall have unique file names, and the naming convention shall contain the park alpha code.

b) Audio files both sync and wild in their native format 48K 16bit.

c) Look Up Tables (LUTs). If using multiple cameras, specify which LUT goes with which camera file. If shooting raw, include the DP report to show what raw settings were intended to be used.

d) Proxy files (produced synchronously in-camera or using a post-process, in 1080 or 720, for playback using standard office software. No burned-in timecodes.)

D. POST-PRODUCTION PHASE

The following tasks shall be required during this phase. 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. Revised Script

Contractor shall submit a Revised Script that reflects any changes made and footage collected during the production phase.

2. First Rough-Cut Edit and Edit Script

Contractor shall submit a First Rough-Cut Edit and corresponding Edit Script in accordance with the following requirements:

a) First Rough-Cut Edit shall include enough of the structure and content to evaluate the validity of the approach and to determine if changes are needed to enhance the clarity and strengthen the goals and objectives of the program. Narration is not required, however if narration is being used it shall be included in the script and as a scratch track during this stage.

b) The First Rough Cut Edit Script shall be updated to match the edit and include any relevant notes or clarifications for elements to come.

3. 2D Graphics in First Rough Cut

a) The level of detail of the 2D-animations shall coincide with the post-production phases; increasing in the level of detail as the film goes through post-production process.

b) In the first rough cut, the contractor shall include any use of proposed

2D-animations using storyboards (black and white thumbnail frames that walk through the narrative) in combination with style frames (fully illustrated frames from the storyboard with the purpose of establishing the look and style of the 2D animations) to effectively communicate how these areas will work in the final film.

4. Second Rough-Cut Edit and Edit Script

Contractor shall submit a Second Rough Cut Edit and corresponding Edit

Script in accordance with the following requirements:

a) Address comments and incorporate the required, agreed upon changes from the previous version.

b) Second Rough-Cut Edit shall include all interview sound bites, visuals, archival music comps, and a scratch track of any narration.

5. 2D Graphics in Second Rough Cut

a) In the second rough cut, the contractor shall increase the level detail in the animation using ‘roughs’ to ensure the scene work of animation is playing out appropriately.

b) At the second rough cut, the animated areas shall be paced appropriately and additional detail from the first rough cut shall be required.

6. Resource Samples and Rights Packages

The resource samples and rights packages shall be developed concurrently with the other production tasks. The contractor shall sub-divide these tasks on the project schedule based on the requirements of the approved treatment.

a) Music Samples

Music performed by professional musicians is required. The contractor shall work with the COR to determine appropriate music styles and instrumentation for the music bed.

1) For original scores: Submit, electronically via email, music samples from a minimum of five professional film composers in MP3 or

WAV format. All samples shall be appropriate to the tone, mood, style, and pacing of the film.

2) Original music produced under this contract becomes the property of the government.

b) Stock Footage, Photographs, Artwork, Archival Assets, and Sound

Effects

1) Prepare and submit an inventory with thumbnail images (where applicable) that accounts for the sources of all copyrighted and public domain elements (images, video, film footage, artwork, graphics, animations, maps, music, sound effects) proposed for use in the film that shall be procured and obtained by the contractor.

2) Acquisition of high-resolution images of any proposed photographs, artwork, illustrations, maps, or other graphics to be used in the films shall be the responsibility of the contractor.

c) Lower-Thirds and Other On-Screen Text

1) Samples of the proposed font and design style for any lower-third name identifications, graphics, credits, and any other on-screen text.

2) Samples of proposed font and placement for SDH and Foreign

Language subtitles.

3) Samples shall be submitted electronically via email.

d) NPS Release Forms, License Agreements, and Contracts for Material

Used in Productions

1) Contractor shall submit, electronically via email, scanned copies of all NPS Release Forms for talent (narrators, interviewees, and other acquired material); and scanned copies of all License Agreements and Contracts acquired by the contractor for copyrighted and restricted material being used in the production concurrent with the submission of the Final Fine Cut.

e) Narrator and Audio Description Narrator Samples

1) Voiceover narration is not required. For any narration proposed, the contractor shall submit four male and four female voice samples from professional narrators for the main narration, and four voice samples from professional voice actors for each proposed character voice.

2) The contractor shall submit two male and two female voice samples from professional narrators for the audio description narration.

3) Voice samples shall be submitted electronically via email in MP3 format. The COR shall make a selection prior to the Second Fine Cut submittal.

7. First Fine Cut Edit and Edit Script

Contractor shall submit the First Fine Cut Edit and corresponding Edit Script in accordance with the following requirements:

a) First Fine Cut edits and edit scripts are required and shall include a selection of stock or approved composer’s music, sound effects, best resolution archival images or footage, and any on-screen text and graphics (excluding credits).

8. 2D Graphics in the First Fine Cut

Contractors shall submit the First Fine Cut with an increased level detail from the second rough cut, including addition any color, sound, movement, textures, transition points, and a fulling working and functional 2D animation.

9. Second Fine Cut and Edit Script

Contractor shall submit Second Fine Cut edit and corresponding Edit Script, and a document with final production credits in accordance with the following requirements:

a) Second Fine Cut edit and edit script are required and shall address comments and incorporate the required, agreed-upon changes from the

First Fine Cut stage.

b) Final version of 2D animations with final audio shall be included.

c) Final narration, original music, and production credits shall be included.

10. Script for Closed Captions (CC) and Subtitles for the Deaf and Hard of

Hearing (SDH)

a) Submit electronically via email a script in the latest version of Microsoft

Word. Script shall include time code that corresponds to each line. Script shall meet all recommendations in the NPS Accessibility Guidelines, which can be found at:

https://www.nps.gov/hfc/accessibility/guidelines/#h.k70w2su9qa0a

b) Upon approval by the COR, the contractor shall apply the SDH to the approved Second Fine Cut or Online mix and submit to COR for review.

1) Submit a copy with on-screen (open caption) SDH in English.

2) Submit a copy with closed captions (online through youtube.com or equal) to demonstrate the English SDH as closed caption files that can be turned on and off).

11. On-Line Edit, Sound Design and Mix, and Color Correction

Submit On-Line edit with corresponding edit script. On-Line edit shall have final sound design, sound sweetening, stereo mix, 5.1 mix, and color correction.

12. Audio Description

Audio description describes visual content important to understanding the content and context of a program. People who are blind or have low vision are the primary audience, but audio description can also be used by people who have print disabilities or auditory learning styles. Audio description provides the viewer with information that further describes the visual content not provided in the primary audio track and is a separate audio track synchronized with the program’s primary audio track. Audio Descriptions shall meet all recommendations in the NPS Accessibility Guidelines, which can be found at:

https://www.nps.gov/hfc/accessibility/guidelines/#h.k70w2su9qa0a

a) Submit electronically via email, scripts in the latest version of Microsoft

Word. Scripts shall include time code that syncs the audio to the correct visuals.

b) Submit revised scripts reflecting COR requested changes prior to narration recording.

c) Submit an MP3 file electronically via email of the edited audio description tracks for review.

d) Upon approval by the COR, the contractor shall transfer the final edited

AD tracks to the approved Second Fine Cut or online mix and submit to

COR for review.

e) The contractor shall prepare and submit written response to COR review comments.

https://www.nps.gov/hfc/accessibility/guidelines/#h.k70w2su9qa0a https://www.nps.gov/hfc/accessibility/guidelines/#h.k70w2su9qa0a

E. CLOSE OUT AND FINAL DELIVERABLES

Upon completion of the project, the following program media shall be submitted to the COR:

1. Hard Drive Specifications

For final deliverables, completion report, and post-production project files, three identical hard drives or hard drive sets are required. Interim deliverables may require separate sets of hard drives (see interim deliverable section for guidance). Hard drives shall meet the following requirements:

a. Industry standard USB 3, USB C, or faster connection.

b. Spinning disk hard drives shall be 7200rpm (revolutions per minute) or higher.

c. Total space used shall not exceed 75% percent of the drive’s capacity. (Example: a 10Tb drive shall contain a maximum of 7.5Tb of data.)

d. All power and connector cords shall be included.

e. File systems:

i. Apple Hierarchical File System Plus (HFS+) for all Mac-formatted spinning hard drives

ii. Apple File System (APFS) for all Mac-formatted solid-state drives Microsoft New Technology File System (NTFS) for all

Windows-formatted drives

f. Encryption is required on all hard drives.

i. Encryption software shall be approved by the COR prior to compiling the drives. (COR shall check with IT on the latest approved encryption processes.)

ii. Two of the three hard drives shall be encrypted for Mac using

FileVault.

iii. One of the three hard drives shall be encrypted for Windows using Bitlocker.

f. Hard drives and packaging shall be physically labeled as follows:

i. Park Alpha code

ii. AV number(s)

iii. Drive sequence number (i.e., 1 of 3)

1. Brief description of contents (organized by file structure guidelines).

2. The COR shall provide file naming conventions after contract award. Files:

Master Files

1 Video Master Files: 4K UHD MOV files, 3840 x 2160, Apple ProRes 4444

a. Clean master (no captions or AD) with 5.1 mix

b. Clean master (no captions) with 10 channels of audio as follows:

i. Channels 1-6: 5.1 mix

ii. Channels 7-8: Stereo mix

iii. Channel 9: Mono mix

iv. Channel 10: Mono AD

c. Captioned master with open Subtitles for the Deaf and Hard of Hearing (SDH), without AD, with 5.1 mix

d. Textless master without captions, titles, lower-third graphics, credits, or other on-screen text, with 5.1 mix

2 Audio Mixes: WAV files, minimum 16bit/48kHz, timecode-synced and identical in length to video master files

a. 5.1 – Narration/voice only

b. 5.1 – Effects only

c. 5.1 – Music only

d. 5.1 – Full Mix without AD

e. 5.1 – Full Mix with AD in center channel

f. Stereo – Full Mix without AD

g. Stereo – Narration/voice only

h. Stereo – Effects only

i. Stereo – Music only

j. Stereo – Split track mix with AD (mono program audio on left channel and mono

AD narration on right channel)

k. Stereo – Full Mix with AD (stereo program audio and AD narration on both channels)

l. Mono – AD narration only

3 Closed Caption Files:

a. SRT caption file to match English SDH open captions

b. SCC caption file to match English SDH open captions

Web Files

1 Video Files, 4K UHD: H.265/HEVC (High-Efficiency Video Coding) codec, digital video file in MP4 format. Resolution shall be 3840 x 2160p. Target bitrate 35-60 Mbps, or as approved by COR.

a. Stereo – Uncaptioned, no AD

b. Stereo – Uncaptioned, with AD (stereo program audio with AD on both channels)

c. Stereo – With open SDH captions, no AD

d. Stereo – With open SDH captions, with AD (stereo program audio with AD on both

2 Video Files, High Definition (HD): H.265/HEVC (High-Efficiency Video Coding) digital video file in MP4 format. Resolution shall be 1920 x 1080p. Target bitrate shall be 16-20 Mbps, or as approved by COR.

a. Stereo – Uncaptioned, no AD

b. Stereo – Uncaptioned, with AD (stereo program audio with AD on both channels)

c. Stereo – With open SDH captions, no AD

d. Stereo – With open SDH captions, with AD (stereo program audio with AD on both

3 Closed Caption Files:

b. SRT caption file to match English SDH open captions

c. SCC caption file to match English SDH open captions

4 Thumbnail images: JPEG format, 16:9 aspect ratio, at least 1920 x 1080 px

a. Representative image with no text or people

b. Representative image with people

c. Image with title graphic or marketing text

5 Metadata information: Word doc (used when uploading to databases such as

NPGallery and Extensis Portfolio)

a. Title of show

b. Description of show (512-character max)

c. Credit/ author

d. Date created

e. Recommended tags

Installation Files:

1 Video Files: 4K H.265/HEVC (High-Efficiency Video Coding) codec, digital video file in MP4 format. Resolution shall be 3840 x 2160p. Target bitrate 35-60 Mbps, or as approved by COR based on compatibility with current AV system installed at the park.

Accepted surround sound audio container format is Dolby Digital (AC3).

a. 4K UHD with 5.1 mix and open SDH captions

b. 4K UHD stereo mix and open SDH captions

2 Audio Description File: WAV audio file, minimum 16bit/48kHz, timecode-synced and identical in length to video file, with mono program audio on left channel and mono audio description (voice only) on right channel

B-roll

1 The contractor shall produce a 10-minuite b-roll reel consisting of unedited, textless, color-graded footage from the project. The length and subject matter of the B-roll reel shall be defined by the COR, but examples landscapes, historic structures, recreational activities, park employees and interview excerpts. The B-roll reel shall meet the following requirements:

a. Each shot shall have unrestricted use rights.

b. Each shot shall be a minimum of four seconds in length.

c. Action shots shall have “handles” of at least two seconds before and after any critical action.

d. Each shot shall be color graded.

e. Each shot shall have synced audio or natural sound without music or crew chatter.

Slow-motion, aerials, and time-lapse shots can be silent.

f. Slow motion and time-lapse shots shall be conformed to the same frame rate as primary footage.

g. The edited reel shall be delivered in the following versions:

a. Apple ProRes 4444 in MOV format - Highest resolution available based on SOW

b. HD (1920 x 1080) H.265 digital video file in MP4 format

Completion report:

1 Completion Report (Attachment D LONG AV Completion Report)

a. Licenses, Release Forms, and…