REVISED_-_A250_AVP_SOW_RFP_0003.docx

Solicitation Number 140P2123R0028 (Amd 0003)

REVISED - SCOPE OF WORK

INTERPRETIVE FILM FOR

THE NATIONAL PARK SERVICE

OFFICE OF COMMEMORATIONS AND ANNIVERSARIES

1. BACKGROUND AND PURPOSE

America’s National Parks, Inspiring a More Perfect Union.

We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable rights, that among these are Life, Liberty, and the Pursuit of Happiness.

– Preamble to the Declaration of Independence, July 4, 1776

In 2026, the National Park Service will join the nation in commemorating the 250th anniversary of the Declaration of Independence. The aspirational vision in the Declaration of Independence defines the ideals that have set this nation on a course of continued/unfinished work toward a more perfect union. Throughout the commemoration, the National Park Service will proudly serve the American people by embracing our mission to provide opportunities for the enjoyment, education, and inspiration of this and future generations. National Parks will inspire a more perfect union by providing opportunities for celebrating, commemorating, and contemplating the meanings of the words in the Declaration and their relevance to our lives today.

The National Park Service cares for many of the sites that both illustrate the nation’s highest ideals and provide reminders to its contradictions. National Park Service sites serve to tell accurate, honest, transparent history; provide opportunities for learning and discussing hard truths and their legacies; and develop a shared understanding of the struggles and triumphs of all Americans to identify common ground and inspire unity. We also care for some of the most beautiful and inspirational natural resources in the world – places that instill pride in our citizenry and honor the indigenous peoples who cared for the land long before the Declaration of Independence was written.

As a country we have set aside National Parks as touchstones of American identity. By experiencing authentic places and engaging with the complex American story, as individuals and a community, we can increase connection to place, history, and people, as well as empathy towards each other.

The Office of Commemorations and Anniversaries (OCA) seeks to produce a new interpretive film to support visitors finding meaning and connection in the natural and cultural places that we steward. Launching in 2026, the film shall be incorporated into NPS visitor centers across the country, in partner venues, and through other distribution channels. Unlike most park service productions, this film will not be tied to a single or small group of sites and provides a unique opportunity to pull together stories from across the park service to tell a broader story.

The purpose of this contract is to provide all audiovisual services to create an approximately 20-minute 4K UHD theater film; one 60-second 4K UHD trailer; and Sales and Theater Blu-Ray discs with custom artwork for the Office of Commemorations and Anniversaries (OCA).

1. SCOPE AND OBJECTIVES

II.1 SCOPE OF WORK

The project shall include the production of an approximately 20-minute 4K UHD theater film; one 60-second 4K UHD trailer; and Sales and Theater Blu-Ray discs with custom artwork for the Office of Commemorations and Anniversaries (OCA).

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. Note: the technical support and installation or distribution to the individual theaters is not part of this contract.

Overview of Technical Requirements Film:

Video Format: 4K Ultra-High-Definition (UHD) 3840x2160 resolution Length: 20 minutes (not including closing credits) Audio: 5.1 Surround Sound and Stereo Music: An original score is required Accessibility: Audio Description (AD), On-screen Subtitles for the Deaf and Hard of Hearing (SDH), and Closed Captions Foreign Language Subtitles: Spanish NPS Project Number: AV-165

Trailer:

Video Format: 4K Ultra-High-Definition (UHD) 3840x2160 resolution Length: 60 seconds Audio: 5.1 Surround Sound and Stereo Music: An original score is required Accessibility: Audio Description (AD), On-screen Subtitles for the Deaf and Hard of Hearing (SDH), and Closed Captions Foreign Language Subtitles: Spanish NPS Project Number: AV-166

Blu-ray Replicating Masters:

Sales Blu-ray Replicating Master Theater Blu-ray Replicating Masters and 1,000 discs Overview of Production Requirements

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

Original 4K UHD or higher footage of park units, including cultural and natural resources is required.

Stock UHD (4K UHD minimum) footage of park units across the U.S. is required. Stock footage shall match the production values and technical standards of the original footage unless otherwise approved by the COR.

Original or stock UHD (4K minimum) shall also include underwater footage, aerial footage, wildlife footage, timelapse photography, and night sky time-lapse photography unless otherwise approved by the COR.

All footage shall have high production value, including extensive use of dynamic camera motion: examples include gimbal, jib, dolly, and Unmanned Aircraft Systems (UAS).

Extensive sound design, sound effects, and an original score is required.

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

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.

Title graphics are required.

Animations, graphics, dramatic readings by voice actors, narration, and reenactments are not required, but specifications are included for reference if they are part of a contractor’s proposed approach.

Interviews and on-camera talent are anticipated, the quantity and approach shall be included in the contractors proposed approach.

Overarching goals The film shall:

0. Explore the impacts and influence of the Declaration of Independence through authentic stories illustrated by a representative range of NPS units and programs, all of which are set aside as touchstones of American identity.

Reflect National Park Service sites that both illustrate the nation’s highest ideals and provide reminders to its contradictions.

Highlight parks that feature some of the most beautiful and inspirational natural resources in the world – places that instill pride in our citizenry and honor the indigenous peoples who cared for the land long before the Declaration of Independence was written.

Inspire a more perfect union by providing opportunity for celebrating, commemorating, and contemplating the meanings of the words in the Declaration and their relevance to our lives today.

Explore how the aspirational vision in the Declaration of Independence defines the ideals that have set this nation on a course of continued work toward a more perfect union.

Provide insight into the way in which the Declaration of Independence has served as an instrument to both uplift the rights of some and deny the rights of others.

Vividly bring to life a diversity of people, places, landscapes, and stories and provide an immersive and emotionally engaging experience for viewers that promotes connection and empathy.

Be engaging and feel relevant and provide context to all park visitors, regardless of the park and venue in which they watch the film.

Contribute to a more empathetic and understanding citizenry.

Equip the next generation of citizens with historical context and relevancy to envision the future of democracy and citizenship.

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

Encourage viewers to embrace visiting and connecting with parks as a reflection of American identity.

Be nuanced, and explore areas of tension, contradiction, and juxtaposition. Be unflinching and from a place of compassion.

Content The following elements shall be woven into broader storylines and themes. Not all content needs to be explicitly covered by narration or dialogue but shall be visually or implicitly represented in the film. The extent to which each theme is addressed shall be discussed and determined in collaboration with NPS staff and the Contracting Officer's Representative (COR) after award, beginning at the post-award meeting.

The film shall:

0. Showcase the nation’s natural and cultural history.

Elevate the voices of people and communities, using first person perspectives where applicable.

Be nationally relevant and representative of the entire country by featuring a diversity of voices, faces, stories, perspectives, and imagery, including biodiversity and landscapes.

Highlight the role of National Parks as places that contribute to understanding, healing, and happiness.

Explore the importance of parks and public spaces in democracy. What services and benefits to the nation to parks provide?

The Film shall NOT:

Focus solely on the ‘Revolutionary War’ parks.

Be a linear historical account.

Have a ‘host’ or be dominated by narration.

Feel like a news piece or ‘made for TV’ (it should feel like a cinematic experience) Be specific to the 250th Anniversary. The film will be released during the anniversary but shall be evergreen and relevant for many years to come.

Provide an idealistic or jingoistic view of America, but rather a 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.

Be limited in scope and only relevant to particular types of park units.

Location and Representation Requirements To represent the diversity of the National Park Service, footage is required from the following locations unless otherwise approved by the COR. Footage shall highlight the diversity of American natural and cultural resources. The areas below are listed by regions and type of park, for every location there will be overlap between these two lists. The contractor shall provide and work with a location advisor / historian familiar with the park service.

0. The film shall include footage (original or stock) from National Park Units within each of the Department of Interior’s Unified Regions, including:

Region 1: North Atlantic-Appalachian Region 2: South Atlantic-Gulf (Includes Puerto Rico and the U.S. Virgin Islands) Region 3: Great Lakes Region 4: Mississippi Basin Region 5: Missouri Basin Region 6: Arkansas-Rio Grande-Texas-Gulf Region 7: Upper Colorado Basin Region 8: Lower Colorado Basin Region 9: Columbia-Pacific Northwest Region 10: California-Great Basin Region 11: Alaska Region 12: Pacific Islands (American Samoa, Hawaii. Guam, Commonwealth of the Northern Mariana Islands)

A map of the regions can be found here:

https://www.nps.gov/media/photo/collection-item.htm?pg=7347320&cid=305fb7af-a71b-469b-941e-a98b439c882f&id=3b65f32a-30fc-407f-b634-13c5e31ff4b3&sid=56d5810041ef49bf9e0157f2c8fb441b&p=1&sort=relevance The following types of park units shall be represented. To learn more about each, visit: https://www.nps.gov/aboutus/national-park-system.htm:

National Battlefields / Battlefield Parks / Battlefield Sites / Military Parks National Historic Sites / Historical Parks / International Historic Sites National Lakeshores National Memorials National Monuments National Parkways National Parks / Preserves / Reserves National Recreation Areas National Rivers / Wild and Scenic Rivers and Riverways National Scenic Trails National Seashores Style & Approach General style requirements. The film shall:

0. 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 service stories.

Immerse viewers in unique and captivating views of park units and sweeping views of diverse American landscapes/landmarks.

Immerse viewers in the story with relatable and engaging characters. When applicable, the film shall tell the story from a first-person perspective. Including interviews that are warm and authentic and demonstrate vulnerable and joyful connections. Tribal representation shall allow people to express their culture in their own words.

Provide an immersive and emotionally engaging experience for viewers, with interweaving storylines that reveal connections between people, places, and events.

When applicable, include historic assets and primary sources, such as archival photographs, film/video footage, audio recordings, paintings, illustrations, newspaper headlines, and documents.

Have a soundtrack with ample breathing room for rich, multilayered sound design, music, and audio description.

Provide a rich ‘sense of place’.

Be visually rich and use visual density to quickly communicate big concepts and weave together different ideas and create meaning and connection.

Not tell viewers what to think, but rather allow them to draw their own conclusions.

Be honest and open with struggles, while being inspiring and hopeful at the core.

Incorporate an inviting and disarming sense of lightheartedness and humor through the edit, even when the subject matter is serious.

Emotional and Intellectual Response It is the intent of this film to elicit a strong emotional response from the viewer, regardless of where they are watching the film.

The film shall:

0. Avoid an emphasis on blame, shame, and guilt.

Provoke viewers to feel empathy; to feel hope; and to feel inspired.

Provoke viewers to feel pride in the natural resources, landscapes, and biodiversity owned by all Americans.

Provoke viewers to consider experiences and viewpoints that differ from their own.

Encourage viewers to reflect on the meaning of freedom, patriotism, and democracy.

Production team

0. The contractor shall provide a production team experienced with successfully working on sensitive topics and supportive of diversity and inclusion.

The contractor shall provide a diversity and inclusion coordinator who shall inform the development of film content and approach through all phases of the project. Note: the term “diversity” means the practice of including the many communities, identities, races, ethnicities, backgrounds, abilities, cultures, and beliefs of the American people, including underserved communities.

The contractor shall provide a historian with documented expertise in research, publication, and public discourse on American history, including an emphasis on Indigenous, African American, and Women’s history. The historian shall inform the development of themes, key messages, and specific content to connect the film and park service to the larger historical narrative and how that informs how we move forward.

Native American coordination

0. The NPS will be working with an NPS-appointed task force for some phases of review. Additional review times may be required for some phases, such as the Pitch Deck and Rough Cut, and these will be discussed prior to developing the overall schedule.

The reviews are required to ensure that all communication and media content produced or collected is respectful and accurate.

The park service will coordinate the task force and consolidate all comments.

Honorariums

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

Compliance

0. The contractor shall research and follow all safety and resource protection rules and regulations for all park units and obtain any required permits and other permissions.

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.

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).

The contractor shall adhere to Leave No Trace principles at all times while in the park.

The Production Plan shall include specific information pertaining to all compliance requirements.

NPS Branding & Content Framing The film shall:

0. Reflect responsible use of the outdoors.

Reflect best practices for safety.

Reflect respect for the resources.

Reflect the value of parks.

Reflect diversity and cultural sensitivity.

Ensure inclusive, accurate and up-to-date terminology when describing people, backgrounds, and identities. Recognize that with each step in history, language will change, and that words are important because they can reveal unintended bias.

Not endorse or advocate for a commercial brand.

Resources:

0. The following subject websites highlight different park stories and may be helpful as preliminary research:

https://www.nps.gov/subjects/tellingallamericansstories/index.htm https://www.nps.gov/subjects/tellingallamericansstories/whoweare.htm https://www.nps.gov/subjects/tellingallamericansstories/strugglestriumphs.htm https://www.nps.gov/subjects/tellingallamericansstories/adventures-in-history.htm https://www.nps.gov/articles/publications-diverse.htm https://www.nps.gov/articles/000/making-a-democracy.htm https://www.nps.gov/subjects/teachingwithhistoricplaces/index.htm https://www.nps.gov/subjects/heritagetravel/discover-our-shared-heritage.htm www.nps.gov/subjects/labor/index.htm www.nps.gov/subjects/womenshistory/women-s-stories-of.htm Attachment H – WASO Vision for the 250th, provides background information about the National Park Service’s vision for the 250th broadly, not specific to the film. When available, the NPS will provide access to updated resources that provide additional information about the agency’s overall vision for the 250th. This is not a content outline for the film.

0. Attachment I – AASLH Field Guide, is ‘The Field Guide for the Semiquincentennial – Making History at 250” published by the American Association for State and Local History. This document is not specific to the National Park Service, but the themes are relevant. Note that the film shall be evergreen and not directly about the 250th Anniversary.

Government Furnished Property

0. The park service has a limited selection of 4K footage that can be provided for use in this project. See Attachment G - HFC 4K Footage Log for additional information.

Production Budget

0. For this project, the offeror shall design to a budget of $450,000 to $520,000, which shall include a stock and archival license allowance of at least $32,000.

Offerors shall include an allowance of $32,000 for use rights/licensing fees for archival and stock media. If the contractor is unable to secure the required use rights within the available $32,000 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 $32,000, the Total Award Amount shall be reduced accordingly. (Based on their proposed approach, the contractor may set a higher allowance in their proposal, and the above will apply to that amount).

II.2: SPECIFICATIONS AND SUBMITTALS

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

1. OVERALL SPECIFICATIONS:

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

Be the primary point of contact between the contractor and the Contracting Officer (CO) and the Contracting Officer’s Representative (COR).

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

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

Provide routine inspections of ongoing work.

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

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

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.

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

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

Initiate, participate, and provide the agenda for monthly telephone conference progress meetings with the COR and as needed, other National Park Service (NPS) and contractor staff. The contractor shall provide a toll-free conference number for the calls. The contractor shall submit meeting notes to the COR no later than five business days after each meeting.

Format and Method for Submitting Deliverable Documents and Film Edits

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

All documents shall be created in the latest version of Microsoft Word. Documents shall be dated, have headers, and page numbers.

Document file names shall include the park alpha code, deliverable description, version #, and date submitted in YEARMODA format. File names shall use camel case when needed. Per best practices, no spaces or punctuation other than underscores shall be used. Example: WASO_ProductionPlan_v2_20240127.

All film edits shall be submitted digitally via the Harpers Ferry Center File Transfer Protocol (FTP) site, unless otherwise approved by the COR.

NPS Release Forms, License Agreements, and Copyright

0. 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.

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. Updated release forms may be provided by the NPS during the performance of the contract.

If using Attachment B – NPS Materials Release Form, the agreement must include:

The below-referenced National Park Service Project Future National Park Service Projects Unlimited Rights 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 XVII – Clauses by Reference, 52.227-17 Rights in Data - Special Works.

Licenses with indemnification clauses signed on behalf of the National Park Service shall not be accepted.

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

The following use rights shall be required: All uses, all media, all locations, in perpetuity.a Contractor shall register and assign to the U.S. Government copyright in all data first produced in the performance of this contract pursuant to FAR 52.227-17(c)(1).

Accessibility

0. The completed film shall meet all NPS accessibility guidelines, which may be updated during the duration of the project: https://www.nps.gov/subjects/hfc/accessibility.htm.

Contractor shall produce Audio Description (AD), and Subtitles for the Deaf and Hard of Hearing (SDH), including open and closed captions.

Contractor shall pace all scripts and edits to accommodate a secondary AD narration track. The writer and editor shall incorporate “natural pauses” (where no narration or interviews occur) into the script.

B. DEVELOPMENT AND PRE-PRODUCTION PHASE

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

0. 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) and COR. Time and date shall be determined between the COR and contractor after award.

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

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

Orientation to key team members and the project.

Review the Scope of Work, project schedules, and table of deliverables.

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

Review all accessibility requirements for the project.

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

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

Identify additional sources for research and materials.

Within 10 business days of the meeting, the contractor shall submit a Report to the COR. The report shall include:

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

Brief outline of information provided by any Subject Matter Experts (SMEs).

Project brief summarizing the results and principal agreements reached during the meeting.

Prepare and submit written response to COR review comments.

Project Schedule The contractor shall produce a detailed, complete overall Project Schedule listing all submittals and review times, and closeout submittals. Including the proposed number of shoots. Review times shall account for multiple revisions. Contractor may propose an overlap or combination of submittals when appropriate. 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.

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

Pitch Deck Based on the Post-Award Meeting and research, and feedback on the contractor’s pitch in the original proposal, the contractor shall prepare and submit a pitch deck. The pitch deck will be used with stakeholders outside the core NPS team.

The pitch deck shall include the following:

0. Logline Brief synopsis (core concept, storyline, main plot points, key characters and motivation, and locations) Outline of creative approach including the visual styling, pacing of edit, sound design and music.

Possible variations.

Images or files of existing films/excerpts shall be included as examples for illustrating style ideas.

Overall production approach (i.e., stock vs original filming, time in field, post production approach, graphics).

Proposed approach for recruiting and screening any onscreen characters or interview candidates.

The pitch shall demonstrate:

How the show is nationally relevant in all parks.

How the approach aligns with the overarching goals of the project.

How the show will reflect a diversity of places and people.

How it will address the inherent contradictions/juxtapositions, balance the overall tone, and bring together disparate concepts.

How the show will appeal to a diverse range of viewers.

How the production approach is realistic within the project timeline.

How the production and final show incorporate an emphasis on diversity and inclusion.

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.

Treatment and Production Plan Upon approval of the Pitch Deck, the contractor shall prepare and submit a Treatment and a Production Plan for the film. The Treatments and Production Plan shall align and shall demonstrate an understanding of contract requirements. Care shall be taken in this stage to ensure a feasible plan to overcome any production challenges and risks identified during the post-award meeting. The plan shall incorporate an emphasis on diversity and inclusion. 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.

0. Broadly, the Treatment shall reflect the following:

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

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

The contractor’s research.

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

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

Specifically, the Treatment shall include the following:

Draft logline.

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

Description of the proposed story threads and visual highlights.

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

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

Proposed style of filming for original material.

Sources for additional program/content research.

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

Description of proposed original musical score.

Description of any proposed narration.

Examples of stock footage and images (with descriptions and sources) proposed for the production.

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

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

The Production Plan shall include the following:

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).

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.

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

Description of proposed approach for payment of honoraria to interviewees.

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

Proposed camera(s) and lenses with specifications.

Description of proposed approach for researching and incorporating archival assets and stock footage.

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

First Draft Script

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

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

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

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

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

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

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.

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

All pages shall be numbered.

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

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

C. PRODUCTION PHASE

Work performed during the Production phase centers on the acquisition of media and other supporting material. The contractor shall propose the number of shoots, locations, and duration of each shoot needed to fulfill the requirements of the contract. This shall be included in the overall project schedule.

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.

0. Submittals during the Production Phase:

0. Updated project schedule based on approved Treatment and Production Plan.

For each shoot:

Shooting Script, Filming Schedule Production Review Package Specifications during Production Phase:

0. Shooting Script and Filming Schedule Prior to each shoot the following submittals are required unless otherwise agreed to by the COR:

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.

The Shooting Script shall include:

Scenes to be filmed at each location, with script references.

Any narration, dialogue, interviews, or quotations proposed for each scene.

Interview questions.

Filming Schedule shall include:

Number of film crew members Film crew travel and lodging information Daily crew call times Location(s) and time(s) for filming Contractor’s emergency contact information Copies of permits if shooting in restricted locations or with restricted equipment Safety, contingency, and compliance plans List of production equipment Principal Photography Footage shall originate in Ultra-High-Definition or higher, using a professional camera and lenses preapproved by the COR.

Minimum of 15 stops of dynamic range Minimum sensor size of “Super 35” or 35mm Full Frame” Camera raw file format(s) Professional cinema lenses are required and shall be submitted and approved by the COR. Industry standard examples include Cooke, Vista, Angenieux, etc.

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

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

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

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;

Special effects filters shall not be used unless pre-approved by the COR.

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.

Lighting is required for interior filming.

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

All audio shall be digitally recorded with a sampling rate of 48kHz (kilohertz) or better and a bit rate of 24 bits or better.

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

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

Microphones shall be isolated on separate channels.

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

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

Interviews The contractor shall arrange and conduct interviews based on the approved treatment and production plan.

Interview audio shall be recorded using a lavaliere microphone and a second microphone, with an audio feed into the camera and a second recorder or other approved redundant system.

Any interviews filmed inside shall be professionally lit, three-point lighting at a minimum, with set-up to include pre-approved backdrop(s), style, and “look” for interview filming.

All exterior interviews shall be done in locations with even, natural lighting conditions that are quiet and free from human-made noise or loud natural sound.

The Contractor shall be responsible for all honorariums and fees, including travel costs, associated with conducting the interviews.

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

Interview questions shall be delivered to the COR for review and approval no later than 21 calendar days before filming.

Interview audio shall be recorded using a lavaliere microphone and boom shotgun microphone fed to a digital field mixer/recorder with an additional audio feed to the camera; on-camera microphone shall record synchronous guide-track audio only.

All exterior interviews shall be done in locations with even, natural lighting conditions that are quiet and free from human-made noise or loud natural sound. The contractor shall be responsible for securing interview locations. Interviews shall follow the pre-approved style and “look” for interview filming.

All interior interviews shall be professionally lit using three-point lighting at a minimum. Interior interviews shall be filmed in settings that relate to the subject matter of the interview. Interviews shall follow the style and “look” for interview filming as described in the contractor’s approved Treatment.

The contractor shall submit transcriptions of all interviews to the COR within 20 business days of the shoot, following specifications in Section II.2.C.2.i, Production review package / Post-shoot deliverables.

Specialized Dynamic Camera Motion Extensive specialized dynamic camera motion is required.

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

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

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

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.

The use of UAS is currently restricted within park boundaries. Approval is dependent on Department of Interior, National Park Service, and other government policies. Depending on the most current regulations, the NPS will assist with permitting and approval if it is possible. The contractor may propose launching UAS from outside park boundaries.

Time-Lapse Photography Stock or original high-resolution daytime and nighttime time-lapse photography is required based on the following specifications.

All images shot for time-lapse sequences shall be acquired in camera RAW format at 6K UHD or higher resolution on a full-frame digital single-lens reflex (DSLR) camera with lenses capable of an aperture of 2.8mm (millimeter) or greater and a focal length as wide as 14mm. Camera system, settings, and resolution shall be pre-approved by the COR.

A motorized motion control slider system shall be required for time-lapse photography. The system shall be capable of supporting cameras and lenses of at least five pounds. The slider rail shall be, at a minimum, 24 inches long. The camera carriage shall glide smoothly over the track without causing camera bumping. The motor shall be capable of panning and tilting. The system shall be controlled via a remote control or app. The proposed system shall be pre-approved by the COR.

Time-lapse sequences shall include foreground elements such as geologic formations or non-moving vegetation to provide scale and interest in compositions; scenes shall be artistically framed using Rule of Thirds principles; and horizons shall be straight.

Night sky images shall be recorded when the densest part of the Milky Way is visible during a new moon period, and when the moon is full. Night sky sequences shall require scouting and equipment set-up prior to the start of each photography session.

The contractor shall capture a sufficient diversity of scenes to ensure that, at a minimum, six 10-second (23.97 frames per second), video sequences may be subsequently produced.

The contractor shall correctly adjust all camera settings to ensure correct exposure according to lighting, location, and time of day.

All images shall be in sharp focus; lenses and camera sensors shall be free from dirt and dust; use of a tripod or a motion control system with slider track and tripod head is required.

After time-lapse photography is complete, the contractor shall submit post-processed time-lapse sequences to the COR for review as part of the Post-Shoot Deliverables for that shoot.

Stock and Archival Footage and Photographs Archival assets such as photographs, film footage, paintings, illustrations, newspaper headlines, documents, maps, sound recordings, and other period assets are required.

The contractor shall be responsible for researching, locating, acquiring, and licensing all archival and stock assets.

The contractor shall re-scan or up-res any historical park service assets as needed to achieve 4K UHD resolution.

Stock 4K UHD or higher footage – including aerial footage – of iconic park units across the U.S. is required. Footage shall highlight the diversity of American natural and cultural resources. Specific sites shall be determined in consultation with the COR and park service.

NPS has a limited selection of 4K UHD footage, detailed in Attachment G – HFC 4K Footage Log, that can be provided as Government Furnished Property.

Stock footage shall have originated in a format that is comparable to the original footage required by this contract and shall meet the aesthetic and technical specifications for original footage included in this contract unless otherwise approved by the COR.

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

The contractor shall be responsible for paying all fees related to the use of archival and stock assets in accordance with the use rights required by this contract for non-original material. Refer to Section II.2.A.3, NPS Release Forms, License Agreements, and Copyright for additional information.

Press kit resources:

Images and graphics for all marketing and distribution needs, including publicity stills and behind-the-scenes photos with captions are required.

Images shall be of professional quality and follow standards for good lighting, focus, and composition.

Images shall be predominantly horizontal with the ability to be cropped square. Some may be vertical.

At least half of the photos shall be taken with a DSLR or Mirrorless camera, with a sensor size no smaller than Micro Four Thirds.

Up to half of the photos may be taken on a cell phone or point and shoot type camera, with a sensor size no smaller than 1/2.6”.

Behind-the-scenes photos shall reflect various stages, locations, and people involved in the production.

Publicity stills shall reflect various scenes, locations, and subjects that are featured in the film.

A head shot / portrait type photo of all participants is required.

Film names shall include the project alpha code and date.

Captions shall be on a word document and be full sentences that include the location, date, full names of everyone included, and what is happening. The word document shall include a thumbnail and file name for each image.

Production review package / Post-shoot deliverables The contractor shall back up all digital files on a minimum of three redundant hard drives.

Hard drives shall be industry-standard USB 3, USB C or faster connection.

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

Total space used shall not exceed 75% percent of the hard drive space (i.e., a 10TB drive shall only carry 7.5TB of data) All power and connector cords shall be provided.

Two of the three hard drives (or hard drive sets) shall be formatted for Apple File System (APFS).

One of the three hard drives (or hard drive sets) shall be formatted for Microsoft NTFS.

Encryption is required on all hard drives. Encryption software shall be approved by the COR prior to compiling the hard drives.

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

One of the three hard drives shall be encrypted for PC.

Hard drives and boxes shall be physically labeled as follows:

Alpha code (WASO) NPS Program Number Drive sequence number (i.e., 1 of 3) Description of contents The contractor shall ship one of the Mac-formatted hard drives to the COR for review and approval no later than 20 business days after completion of each shoot.

The contractor shall deliver the remaining two hard drives as part of the final deliverable package.

In addition to the three required hard drives, the contractor shall back up all digital files to a minimum of two locations and shall ensure the safety of all assets until the final deliverables are submitted and accepted.

After each shoot, the contractor shall deliver the following Source Material and Field Documentation submittals to the COR:

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

The approved Shooting Script and Filming Schedule Transcriptions of all interviews in the latest version of Microsoft Word. Transcripts shall include the full name of the interviewee and interviewer, the date and location of the interview, and timecode reference numbers at the beginning of each question and each response and at least every two minutes. Word files shall be labeled as follows: WASO_LastnameFirstname_Transcript_DATE.docx An audio file that corresponds to each transcript (and the time codes match) Optional but recommended: transcript linked to audio or video file, such as through temi.com.

An uncompressed highlight reel demonstrating the quality, style, and content of the footage. The reel shall include representative samples of footage from the shoot. The reel shall have infield Look Up Tables (LUTs) applied (or equivalent to give a sense of what the final version could look like). The reel shall be 6-10 minutes long.

Head shots of each participant, a minimum of 10 production stills, and 10 behind-the-scenes photos for marketing purposes. Refer to Section II.2.C.2.h, Press kit resources, for additional specifications including captions and file names.

PDF scans of signed release forms. Each release form shall be a separate file.

An updated Shooting Script and Filming Schedule that reflects what occurred based on any change during the in-field production process. Combined with the footage and audio logs, organized by day.

Footage and audio logs to include:

Date of filming location of filming identification of anyone on screen or speaking, or any talent requiring a release description of scenes including any discrete scene numbers camera(s) used, relevant camera settings, and Look Up Tables (LUT) information.

type of audio recorded and on what channels.

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

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

Software generated PDF Report with multiple thumbnails and metadata for each shot, including at minimum: file name, file size,…