Sol_140P2124R0024.pdf

This is a combined synopsis/solicitation for commercial items prepared in accordance with the format in Subpart 12.6, as supplemented with additional information included in this notice. This announcement constitutes the only solicitation; quotes are being requested and a written solicitation will not be issued. Solicitation Number 140P2124R0024 is issued as a Request for proposal (RFP) which constitutes the entire solicitation. Proposals with detailed breakdowns are being requested. This acquisition will be conducted pursuant to FAR Part 13. This solicitation document incorporates all mandatory commercial item provisions and clauses in effect through Federal Acquisition Circular 2024-03, effective February 23, 2024. This is a 100% small business set-aside. The North American Industry Classification System (NAICS) code is 512110, Motion Picture and Video Production, and the related small business size standard is $40M.

The government anticipates award of one (1), firm-fixed price contract.

REQUIREMENT: The project shall include the production of a 26:46-minute 4K UHD theater film and one 60-second 4K UHD trailer for the Bering Land Bridge National Preserve (BELA). 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 the SOW and its attachments.

Due to space limitations, the complete commercial item specifications are contained in Solicitation Number 140P212R0024. Interested contractors should download this document. The National Park Service is not responsible for locating or securing any information that is not identified in the quote.

The following Federal Acquisition Regulation (FAR) clauses and provisions are applicable to this announcement and are available at www.acquisition.gov.

52.212-1 Instructions to Offerors-Commercial Items; 52.212-2 Evaluation-Commercial Items;

52.212-3 Offeror Representations and Certifications-Commercial Items; 52.212-4 Contract Terms and Conditions-Commercial Items; 52.212-5 Contract Terms and Conditions Required To Implement Statutes or Executive Orders-Commercial Items; 52.232-33 Payment by Electronic Funds Transfer-Central Contractor Registration; 52.233-4 Applicable Law for Breach of Contract Clim; and 52.245-1 Government Property.

NOTE: The Government intends to conduct the evaluation process for this requirement in two phases for the duration of the open solicitation:

Phase 1: Advisory Review (Volume I)

Phase 2: Evaluation of Proposals and Selection (Volumes II, III, and IV)

Technical questions shall be sent via email to tavis_salas@nps.gov by 12:00 pm ET, on March 27th, 2024.

Only Phase 1 proposal information and documents shall be submitted for receipt no later than 12:00 pm ET, on April 19th, 2024.

• Advisory notifications will be sent to offerors approximately fifteen (15) days after Phase 1 due date.

Phase 2 proposal information and documents shall be submitted for receipt no later than 12:00 pm ET, on May 29th, 2024.

Proposal documents submitted using any other methods will not be entertained. The Point of Contact for this requirement is Tavis Salas, Contracting Officer. Offerors who contact anyone outside of the Office of Acquisition Management regarding this requirement, may automatically be excluded from competition.

Offerors are hereby notified that if your response is not received by the date/times and at the location specified in this announcement, that it will be considered late. The proposal elements shall be submitted electronically via email to tavis_salas@nps.gov with the subject line clearly identifying “Solicitation Number 140P2124R0024 – “BELA – Interpretive Film.” Offers by telephone, transmitted via facsimile (fax), or submitted using any other method will not be accepted.

All contractors must be registered in www.SAM.gov to be considered eligible for award.

http://www.sam.gov/ http://www.sam.gov/

SEE ADDENDUMIS CHECKED

CODE 18a. PAYMENT WILL BE MADE BY

CODE

FACILITYCODE

17b. CHECK IF REMITTANCE IS DIFFERENT AND PUT SUCH ADDRESS IN OFFER

OFFEROR

PHF

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

0009060803 CODE 16. ADMINISTERED BYCODE

X

X

X

512110

SIZE STANDARD:

100.00 % FOR:SET ASIDE:UNRESTRICTED ORPWA

REQUEST FOR

PROPOSAL

(RFP)

INVITATION

FOR BID (IFB)

10. THIS ACQUISITION ISCODE

REQUEST FOR

QUOTE (RFQ)

14. METHOD OF SOLICITATION

13b. RATING

NORTH AMERICAN INDUSTRY

CLASSIFICATION STANDARD

(NAICS):

SMALL BUSINESS

05/29/2024 1200 ED

03/20/2024

2409975826Tavis Salas (No collect calls)

INFORMATION CALL:

FOR SOLICITATION 8. OFFER DUE DATE/LOCAL TIMEb. TELEPHONE NUMBER a. NAME

4. ORDER NUMBER3. AWARD/ 6. SOLICITATION

140P2124R0024

5. SOLICITATION NUMBER

SOLICITATION/CONTRACT/ORDER FOR COMMERCIAL ITEMS 1. REQUISITION NUMBER PAGE OF

1 121 0040649613OFFEROR TO COMPLETE BLOCKS 12, 17, 23, 24, & 30

TELEPHONE NO.

17a. CONTRACTOR/

Harpers Ferry WV 25425 IDC Building, 67 Mather Place NPS, Harpers Ferry Center

15. DELIVER TO

Denver CO 80225 P.O.Box 25287 MS WCP

9. ISSUED BY

7.

2. CONTRACT NO.

EFFECTIVE DATE

$40

18b. SUBMIT INVOICES TO ADDRESS SHOWN IN BLOCK 18a UNLESS BLOCK BELOW

ISSUE DATE

DELIVERY FOR FREE ON BOARD

(FOB) DESTINATION UNLESS

BLOCK IS MARKED

11.

SEE SCHEDULEX

12. DISCOUNT TERMS THIS CONTRACT IS A RATED

ORDER UNDER THE DEFENSE

PRIORITIES AND ALLOCATIONS

SYSTEM - DPAS (15 CFR 700)

13a.

SERVICE-DISABLED

VETERAN-OWNED

SMALL BUSINESS

(SDVOSB)

HUBZONE SMALL

BUSINESS

8(A)

NPS, WASO - WCP Contracting

WOMEN-OWNED SMALL

BUSINESS (WOSB)

ECONOMICALLY DISADVANTAGED

WOMEN-OWNED SMALL

BUSINESS (EDWOSB)

24.

AMOUNT

23.

UNIT PRICE

22.

UNIT

21.

QUANTITY

20.

SCHEDULE OF SUPPLIES/SERVICES

19.

ITEM NO.

The project shall include the production of a 26:46-minute 4K UHD theater film and one 60-second 4K UHD trailer for the Bering Land Bridge National Preserve. 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.

Delivery: 10/30/2026 Continued ...

(Use Reverse and/or Attach Additional Sheets as Necessary)

HEREIN, IS ACCEPTED AS TO ITEMS:

X

XX

DATED

Tavis Salas

. YOUR OFFER ON SOLICITATION (BLOCK 5),

INCLUDING ANY ADDITIONS OR CHANGES WHICH ARE SET FORTH

COPIES TO ISSUING OFFICE. CONTRACTOR AGREES TO FURNISH AND DELIVER

ARE

ARE

31c. DATE SIGNED

27b. CONTRACT/PURCHASE ORDER INCORPORATES BY REFERENCE FAR 52.212-4. FAR 52.212-5 IS ATTACHED. ADDENDA

31a. UNITED STATES OF AMERICA (SIGNATURE OF CONTRACTING OFFICER)

30c. DATE SIGNED 31b. NAME OF CONTRACTING OFFICER (Type or print)

ALL ITEMS SET FORTH OR OTHERWISE IDENTIFIED ABOVE AND ON ANY ADDITIONAL

SHEETS SUBJECT TO THE TERMS AND CONDITIONS SPECIFIED.

27a. SOLICITATION INCORPORATES BY REFERENCE (FEDERAL ACQUISITION REGULATION) FAR 52.212-1, 52.212-4. FAR 52.212-3

AND 52.212-5 ARE ATTACHED. ADDENDA

26. TOTAL AWARD AMOUNT (For Government Use Only)

OFFER

STANDARD FORM 1449 (REV. 11/2021)

Prescribed by GSA - FAR (48 CFR) 53.212

ARE NOT ATTACHED.

ARE NOT ATTACHED.

AUTHORIZED FOR LOCAL REPRODUCTION

PREVIOUS EDITION IS NOT USABLE

30b. NAME AND TITLE OF SIGNER (Type or print)

30a. SIGNATURE OF OFFEROR/CONTRACTOR

28. CONTRACTOR IS REQUIRED TO SIGN THIS DOCUMENT AND RETURN

25. ACCOUNTING AND APPROPRIATION DATA

29. AWARD OF CONTRACT: REFERENCE

32e. MAILING ADDRESS OF AUTHORIZED GOVERNMENT REPRESENTATIVE

32c. DATE 32b. SIGNATURE OF AUTHORIZED GOVERNMENT REPRESENTATIVE

ACCEPTED, AND CONFORMS TO THE CONTRACT, EXCEPT AS NOTED:

32a. QUANTITY IN COLUMN 21 HAS BEEN

RECEIVED INSPECTED

40. PAID BY39. S/R VOUCHER NUMBER38. S/R ACCOUNT NUMBER

37. CHECK NUMBER

FINALPARTIAL

36. PAYMENT

FINALPARTIAL

35. AMOUNT VERIFIED

CORRECT FOR

34. VOUCHER NUMBER33. SHIP NUMBER

COMPLETE

32g. E-MAIL OF AUTHORIZED GOVERNMENT REPRESENTATIVE

42d. TOTAL CONTAINERS42c. DATE REC'D (YY/MM/DD)

42b. RECEIVED AT (Location)

42a. RECEIVED BY (Print)

41c. DATE41b. SIGNATURE AND TITLE OF CERTIFYING OFFICER

41a. I CERTIFY THIS ACCOUNT IS CORRECT AND PROPER FOR PAYMENT

STANDARD FORM 1449 (REV. 11/2021) BACK

24.

AMOUNT

23.

UNIT PRICE

22.

UNIT

21.

QUANTITY

20.

SCHEDULE OF SUPPLIES/SERVICES

19.

ITEM NO.

00010 HAFC_BELA_AV PRODUCTION CONTRACT

Product/Service Code: T006

Product/Service Description:

PHOTO/MAP/PRINT/PUBLICATION- FILM/VIDEO TAPE

PRODUCTION

00020 HAFC_BELA_AV PRODUCTION TRAVEL

Product/Service Code: T006

Product/Service Description:

PHOTO/MAP/PRINT/PUBLICATION- FILM/VIDEO TAPE

PRODUCTION

32f. TELEPHONE NUMBER OF AUTHORIZED GOVERNMENT REPRESENTATIVE

32d. PRINTED NAME AND TITLE OF AUTHORIZED GOVERNMENT REPRESENTATIVE

121 2 of

Solicitation Number 140P2124R0024

SCOPE OF WORK

INTERPRETIVE FILM FOR

THE NATIONAL PARK SERVICE

BERING LAND BRIDGE NATIONAL PRESERVE

I. PURPOSE AND BACKGROUND

A. Purpose:

Bering Land Bridge lies in the heart of Beringia, a remnant of the Bering Land Bridge that greatly influenced the distribution of life in the Western Hemisphere during the Pleistocene Epoch. It is a vital landscape for Indigenous communities who depend on the land just as their ancestors did. It is a dynamic and ecologically healthy landscape unlike any other.

The new film will help share this incredible story. Since so few people make it to Nome, or the preserve, this new film will bring the preserve to them to contribute to public enjoyment and understanding.

The purpose of this contract is to provide all audiovisual services to create a 26:46-minute 4K UHD theater film and one 60-second 4K UHD trailer for Bering Land Bridge National Preserve.

B. Background:

The Bering Land Bridge National Preserve (BELA), established in 1980 through the Alaska National Interest Lands Conservation Act (ANILCA), is a remote National Park Service unit of 2.7 million acres located on the Seward peninsula in western Alaska.

The purpose of Bering Land Bridge National Preserve (also referred to throughout as BELA, the Preserve, or the Park), is to “protect and interpret examples of arctic plant communities, volcanic lava flows, ash explosions, coastal formations, and other geologic processes; to protect habitat for internationally significant populations of migratory birds; to provide for archeological and paleontological study, in cooperation with Native Alaskans, of the process of plant and animal migration, including man, between North America and the Asian Continent; to protect habitat for, and populations of, fish and wildlife including, but not limited to, marine mammals, brown/grizzly bears, moose, and wolves; subject to such reasonable regulations as the Secretary may prescribe, to continue reindeer grazing use, including necessary facilities and equipment, within the areas which on January 1, 1976, were subject to reindeer grazing permits.”

The Preserve is only accessible by snowmobile, boat, small aircraft, dog team, or by foot. Accurate visitation numbers within Bering Land Bridge National Preserve are not known, travelers into the Preserve are mostly local Seward Peninsula residents from surrounding villages, such as Shishmaref, Wales, and Deering who rely on the Preserve for fishing, hunting, and collecting plants for subsistence and for travel between villages. Residents of Nome, Brevig, and Teller also travel into the Preserve for subsistence and recreation, though not as frequently as residents from surrounding villages. Additionally, there are rural subsistence users who go to the preserve who aren't Inupiat or Alaska Native.

The Visitor Center and Park Headquarters for the Bering Land Bridge National Preserve is located in Nome, Alaska, 100 miles south of the Preserve. It is estimated that 1% of the people who come to the Visitor Center (and are not local) also visit the Preserve. A few visitors are from the lower 48 states, most of whom enter the Preserve at Serpentine Hot Springs.

There are three separate but interlinked initiatives being developed: the Planning and Design of new Exhibits, a remodel of the facility, and a film (this project).

The film will screen in the visitor center, but the primary audience will broader. The film will be widely distributed, including venues around Alaska, film festivals, and online.

Additional information about the preserve is available at www.nps.gov/BELA.

II. SCOPE AND OBJECTIVES

II.1 SCOPE OF WORK

The project shall include the production of a 26:46-minute 4K UHD theater film and one 60-second 4K UHD trailer for the Bering Land Bridge National Preserve.

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.

A. Requirements: The following shall be demonstrated and reflected in the Treatment and Production Plan, and through all phases of the project.

1. Overview of Technical Requirements

Film:

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

b) Length: 26:46 (including credits)

c) Audio: 5.1 Surround Sound and Stereo

d) Music: An original score is required

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

f) NPS Project Number: AV-0173

Trailer:

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

h) Length: 60 seconds

i) Audio: 5.1 Surround Sound and Stereo

j) Music: An original score is required

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

l) NPS Project Number: AV-0174

2. Overview of Distribution Considerations

a) The show shall meet the standards for and not include anything that precludes it from being aired on public television.

b) The show may be distributed through public and private venues, in film festivals, and online.

c) The show does not need to reach an entirely new audience, it can target audiences already familiar and appreciative of Alaska or the National Park system, but who may not be aware of Bering Land Bridge.

d) The show shall not be produced as a travel show. The goal is to increase awareness, not visitation. Not increasing visitation is a significant consideration.

e) The show shall not be targeted towards a narrow specific interest group, such as extreme recreation or fishing.

3. Overview of Production Requirements

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

b) Original 4K UHD or higher footage of the preserve is required, including the following specialties:

(1) underwater

(2) aerial

(3) UAS (see restrictions)

(4) wildlife

(5) timelapse

(6) night sky time-lapse

c) All footage shall have high production value, including extensive use of dynamic camera motion: examples include gimbals, jibs, dollies, Steadicam, and/or other tools to keep on-screen footage visually interesting and in motion.

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

e) Title graphics are required.

f) Animation and graphics are required. Animation is not required to be 3-D or photorealistic.

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

h) Narration is not required, but specifications are included for reference if they are part of a contractor’s proposed approach.

i) Interviews (likely off-camera) and people in action on-camera are anticipated, the quantity and approach shall be included in the contractors proposed approach.

4. Overarching goals

Bering Land Bridge National Preserve is so remote very few people will ever visit, yet for some people this region is home. The film shall provide an opportunity for viewers to deeply connect with and experience this unique part of our national park system.

Viewers shall be able to witness the unique landscapes and ecosystems protected by the Preserve, and virtually experience this place through the lens of the Indigenous communities who are deeply connected to their homeland.

Primary Goal: Immerse viewers in a sense of place, anchored in deep time (geologic), and showcase the preserve through an Indigenous perspective rooted in culture and the natural environment.

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:

a) Introduce viewers to the concept of Beringia and deep time and how that provides context for today.

b) Communicate the idea of this place as a ‘Park’ AND a ‘Homeland’.

c) Authentically demonstrate ongoing connection of local Indigenous communities to the preserve.

d) Communicate Inupiaq values, especially reciprocity and respect.

e) Center Inupiat perspectives and voices.

f) Incorporate humor and be enjoyable and fun to watch.

g) Show viewers the diversity of geology in the preserve.

h) Demonstrate the preserve as a wild and ecologically healthy landscape.

i) Show viewers the diversity of animals in the preserve.

j) Show viewers the diversity of vegetation in the preserve.

k) Show the preserve in multiple seasons.

l) Demonstrate that everything is driven by the seasons.

m) Communicate the idea that the preserve is sensitive to environmental changes and shifts that result from outside influences beyond the boundaries.

n) Be a story that is unique to Bering Land Bridge as a whole. It should not be generic content about the Artic region, Indigenous communities, or the NPS.

The film shall NOT:

o) Encourage an increase in visitation. (Per request of local tribal communities.)

p) Encourage an increase in hunting critical resources.

q) Have a ‘host’ or be dominated by narration.

r) Be just about people, the film is about the place/park.

s) Feel like a news piece or ‘made for TV’ (it should feel like a cinematic experience).

5. Core themes and content

The following requirements are not intended to be a series of boxes to check or to limit creativity and storytelling. They are intended to provide guidance to offerors in the proposal development phase to have a sense of what the NPS views as important to provide viewers with a holistic sense of place.

a) The film shall introduce viewers to the concept of Beringia and explore a sense of place through deep time.

The film shall:

(1) Demonstrate that Bering Land Bridge lies at the heart of

Beringia.

(2) Demonstrate it as a home to an invaluable record of floral, fauna, and human history at the nexus of two continents.

(3) Show this history is still very much connected to the present and future – through landscape, movement, subsistence, and traditional practices.

(4) Demonstrate that the preserve is part of a larger international conservation area.

(5) Connect the relevance of the land bridge to our continent today and all viewers.

(6) Include the impacts of the land bridge (and the closing of the land bridge) to communities on both sides.

(7) Incorporate the Inupiaq worldview that they have always been here.

(8) Acknowledge the complexity and evolving understanding of how people came to North, Central, and South America.

(9) Feature animations (not required to be 3D or photorealistic), including a map, that communicate the following concepts:

(a) The ice age and the resulting land bridge.

(b) Human migration.

(c) Animal migration.

(d) Plant migration.

(e) That fact that the land bridge has been exposed and covered multiple times.

b) The film shall authentically show the ongoing connection of local communities to the preserve:

The preserve is a vital landscape for Indigenous communities who depend on the land just as their ancestors did. Inupiat culture is inseparable from the land, the animals, aquatic life, and plants. It is tied to language, community, wellbeing, and a belonging to place.

“This land knows me, I belong to the land.” The film shall demonstrate cultural activities, including subsistence use, as modern activities (not just historic). People shall be on screen no more than 30% of the film unless otherwise approved by the COR.

(1) Community representation:

(a) The three communities include: Shishmaref, Wales, and

Deering.

(b) Each community shall be represented by at least one person (unless otherwise approved by the COR).

(c) No one from outside of these communities should be featured in the film (unless otherwise approved by the

COR).

(d) Community members shall be of different ages, including youth and elders.

(e) The film shall demonstrate the sense of humor of the communities (not the stereotyped ‘stoic’ Native American). This is important to the communities and the NPS and attention shall be given to this through all stages of the production.

(f) Challenges from a changing climate do not need to be forced but are generally part of the conversation (for example, lagoons freezing later and permafrost/tundra melting in certain areas are having direct impact, limiting access to resources, and are a big concern and source of stress.)

(g) Consideration shall be given to including Inupiaq language and music.

(h) Per community request, the film shall not feature archeological sites.

(2) Subsistence representation:

(a) The film shall represent at least 4 distinct subsistence activities.

(b) The activities shall take place in multiple seasons, and on land and water.

(c) Examples include mammal, marine mammal, and bird hunting, fishing, ice fishing, egging, berry picking, and processing. See locations section for more information.

(d) The emphasis of the film is always on the preserve.

Filming outside the preserve should not be assumed and will require review and approval by the COR and will depend how well it demonstrates a strong connection to the preserve. Examples might include subsistence harvesting outside the preserve if the preserve is a key habitat, preparing for a hunt, or processing a harvest back in the community.

(e) Note, the term harvesting is used for plants and animals.

Hunting/harvesting shall not be depicted in a way that is sensationalized and should be palatable for people not familiar with the process. Scenes shall be respectful and the reverence for nature shall be evident. (Note, in the past backlash to hunting has caused harm to the communities and this is something that is of concern.)

(f) Without being bureaucratic, the film shall provide enough context to ensure viewers understand the preserve is part of the NPS system, and that the Alaska National Interest Lands Conservation Act (ANILCA) created a series of park units that are managed differently than most lower- 48 parks.

(3) Iñupiaq values (as listed by the Sitnasuak Native Corporation):

(a) Spirituality – Ukpaisrun

(b) Humility – Qinuinnaq

(c) Reverence Toward Nature – Kammakłui Nunamiituat

(d) Pride in Culture – Puyaunau Inupiaqtun Iłłusiq

(e) Speaking Our Traditional Language – Inupiuraġluta

(f) Cultural diversity and innovation

(g) Honesty – Nagguatun Kulliaglutin

(h) Cooperation – Kattiiłutiŋ Sahuagat

(i) Patience – Uttakiragagin

(j) Responsibility – Aŋalataasran

(k) Hard Work – Saġiknatuak Sauaq

(l) Obedience – Kammakḷui

(m) Open Communication – Kanniglusi

(n) Avoidance of Conflict – Aziusrat Sugunnai

(o) Commitment to the Family – Munnakłui Kiŋunnaisi

(p) Love of Children – Nagguagiktut Ilagit

(q) Respecting Others – Innugilaqluit Ilagit

(r) Respect of Elders – Utuqannat Kammagiralui

(s) Sharing – Pikkaagupsi Aitturalui

(t) Humor – Quyniuŋniq

c) The film shall show viewers the diversity of animals in the preserve.

The film shall embrace that many animals have both an intrinsic value and subsistence value. Wildlife must be filmed in the preserve or an area that is ecologically correct and indistinguishable from the preserve if approved by the COR. If the contractor is planning to use stock, examples shall be submitted with the proposal to demonstrate availability of usable footage.

The intent is to show that the preserve is habitat to a diversity of animals. Which animals are featured is flexible based on what is captured in production. Wildlife shall be on screen no less than 10% of the film unless otherwise approved by the COR. The contractor may propose an alternate method to highlighting the animal biodiversity of the preserve, for example, through animation. The film shall include the following:

(1) Wildlife:

(a) Mosquitos

(b) Muskox

(c) At least one large predator species:

(i) brown bear – preferred large predator to feature.

(ii) wolf

(iii) lynx

(d) Feature at least one marine mammal and include at least one other:

(i) Ugruk / Bearded seal – preferred marine mammal to feature.

(ii) Spotted seal

(iii) Walrus

(iv) Beluga

(e) Feature at least one bird species and include at least two others:

(i) Waterfowl - 1st preferred birds to feature. (Emperor geese, brant, scoters, eiders, harlequin ducks, loons:

yellow-billed, red-throated, Arctic)

(ii) Shorebirds - 2nd preferred birds to feature. (Pacific golden plover, whimbrel, western sandpiper)

(iii) Cliff dwelling birds (Puffins, murres, auklets)

(iv) Ptarmigan

(v) Songbirds (lapland longspur, Siberian bluethroat, snow buntings, white-crowned sparrow, yellow warbler, common redpolls)

(f) Feature at least one fish species and include at least one other (subsistence notes in parenthesis):

(i) Grayling

(ii) Saffron Cod / Tomcod (ice fishing – preferred fishing activity to feature)

(iii) Smelt (spring)

(iv) Salmon (summer, netting)

(v) Trout / Dolly Varden (both jig and rod and reel)

(vi) Whitefish (netting)

(g) Additional wildlife may include fur bearers:

(i) Beaver – preferred furbearer to feature.

(ii) Red fox

(iii) Arctic fox

(h) Additional wildlife may include other ungulates:

(i) Caribou

(ii) Moose

(2) Domesticated animals:

(a) Reindeer are required – (Pending permission from the herd owner and coordination based on when/where the herd is in the preserve. May be aerials in the summer.)

d) The film shall show viewers the diversity of plants in the preserve.

The film shall embrace that many plants have both an intrinsic value and subsistence value. Plants must be filmed in the preserve or similar looking local area if approved by the COR. The film shall show enough plants (a minimum of 6) to demonstrate the diversity and types of plants in an Arctic ecosystem. The film shall include the following (subsistence notes are in parenthesis):

(1) At least one type of berry:

(a) Aqpik / Salmonberry / Cloudberry/ Rubus chamaemorus

L (picking begins around July 15)

(b) Sugaq / Blueberry/ Vaccinium uliginosum (late July /

August / sometimes into September)

(c) Aziaq/Crowberry/ Empetrum nigrum (August)

(d) Kipmik/Low-bush cranberries/ Vaccinium vitis-idaea L.

(after the first frost / late August / September)

(2) At least one other plant for subsistence use:

(a) Masu/ Masru/Eskimo potato, Hedysarum alpinum (digging in the fall)

(b) Aluigaq/Qaugaq/Sourdock/ Rumex arcticus Trautv.

(c) Sazraq/Sargiq/Stinkweed /Artemisia tilesii

(d) Pamiuqtaq/Pautnaq/ Fireweed/ Epilobium angustifolium

L. (starts blooming mid to late July; shoots are also gathered in late Spring)

(e) Ayuu / Labrador Tea / Tundra Tea/ Ledus palustre L. ssp.

decumbens(best months: July – August)

(f) Tukayuk/ Sea Lovage/ Ligusticum scoticum L., a beach green (picked before they get too big, mid to late June)

(g) Asaaqluk / Sea Sandwort or Sea Purslane / Honckenya peploides, a beach green found in sandy areas, picked early summer before they get too big)

(3) At least one other plant/lichen/algae:

(a) Lichen (best months: June – September)

(b) Algae at Serpentine and/or Arctic Hot Springs – low priority

(c) Wildflowers: Kamchatka rhododendron - best months:

late June and early July

(d) Grasses and sedges: cotton grass - best month: July

(e) Tussock grass. Best months: June – August

(f) Shrubs: willow and birch. Best months: sura or small willow leaves (May/June); leaves (June – August); fall colors (late August – early to mid September)

e) The film shall showcase the unique geology of the preserve.

The preserve's unique geology shall be highlighted throughout, especially through the use of aerials. The film shall note the importance of the preserve as a place for ongoing scientific research.

f) The film shall show the preserve in multiple seasons.

The film shall demonstrate that everything in nature and culturally is driven by the seasons. Seasonal information is listed throughout the other themes and content areas.

(1) The film shall demonstrate the difference in light throughout the year. The film shall include:

(a) Timelapse of sunsets and sunrises, and other elements that demonstrate long days.

(b) Timelapse of sunsets and sunrises, timelapse of the Milky

Way, footage of the northern lights, and other elements that demonstrate long nights.

(2) From a natural cycles and subsistence standpoint, the year is often broken down into six seasons.

(a) Early Spring: March/April: A time with good snow cover and light is coming back, making it ideal for travel in the preserve.

(b) Late Spring: April/May: Landscape is often snow-covered through April, beginning to melt in May, birds begin to come back.

(c) Summer: June/July: The coast, lagoons, and rivers are all open for access by boat. Everything is green, full of wildflowers, pollinators, birds. Midnight sun.

(d) Late summer /Early Fall: Aug/Sept: Berries and colorful tundra. Birds begin to leave.

(e) Late Fall: Oct – Nov: Preparations for winter, mid-morning sunrises and earlier sunsets return.

(f) Winter: Dec – March: Northern lights, low sun, a time to prepare for the following year.

6. Location Requirements

To represent the diversity of the preserve, footage is required from the following locations unless otherwise approved by the COR. Footage shall highlight the diversity of natural and cultural resources, and the unique geology of the preserve. The contractor shall provide and work with a local fixer from one of the three local communities.

The film shall take viewers into the preserve and show them different geological/biological regions from the ground and water:

a) Serpentine Hot Springs and tors: early spring by snow machine (at least two nights)

(1) Shown as a cultural location for local communities.

(2) Not highlighted as a tourist destination.

(3) Note, there is no power and interior space is limited.

(4) Serpentine Hot Springs can be used as an access point in the summer but should not be highlighted.

(5) Required unless otherwise approved by the COR: Family trip

(overnight) via snowmobile from Shishmaref to Serpentine Hot Spring in the late winter/early spring (March/April)

(a) Show how the community uses it as a healing location.

(b) Communicate its importance to Inupiat history.

(c) Communicate, or ideally show it as a subsistence location if able to harvest caribou or other animal as part of this trip.

(d) The route can be a good opportunity to see moose, wolverine, wolves, and caribou.

b) Lagoons: by boat in the summer (anticipate this as at least an overnight trip)

(1) Must feature lagoons in the preserve, not those closest to the communities.

(2) Lagoons are very vulnerable to the changing climate.

(3) Lagoons are used for transportation and subsistence.

(4) Shall include landscape and wildlife.

(5) Possible subsistence activities: Spring, marine mammal harvest (bearded seal/ugruk). Late spring, egg collecting.

Summer, boating for salmon and whitefish. Fall, marine mammal harvest (bearded seal/ugruk). Berry picking. Ice fishing.

c) Coast: in summer and winter/early spring with sea ice for contrast

(1) Shall include landscape and wildlife.

(2) Shall include Cape Espenberg (by boat in the summer).

(3) Possible subsistence activities: ice fishing, marine mammal harvesting.

d) Nugnugaluktuk River: by boat (from Deering) in the summer

(1) Note, also referred to by locals as Lane River.

(2) Shall include landscape and wildlife.

(3) Important wetland system for birds, fish, and other species

e) Sullivan Bluffs: by boat (from Deering) in summer (anticipate this as an overnight)

(1) Consider UAS use to film cliff dwelling birds.

(2) Note that filming must take place in the preserve, not bluffs that are closer to the community (including Rex Bluffs).

(3) Late June is typically very green and lots of colors.

(4) Puffins are typically there mid-June through September.

(5) Possible subsistence activities: Collecting murre eggs, historically preparing the eggs and sharing them is part of the 4th of July celebration, now it may happen a little earlier, end of June. Early to mid-May, bird hunting via snowmachine.

People camp at Sullivan Bluffs for this activity. First week of May school gets out to fit bird hunting schedule; migratory birds – geese, ducks.

f) Optional locations:

(1) Ear Mountain (airstrip area that is managed by NPS).

(2) Open tundra not covered in snow.

(3) Other locations/activities for consideration: Winter travel between Shishmaref and Deering. Snow machining from one community to the next for spring carnival, chance to reconnect with relatives and friends. Access is important to and within the preserve, not just for subsistence but for community and familial connections. Note that between Christmas and New Year’s there is often drumming, dancing, and games in Shishmaref.

7. Aerial Requirements

To represent the diversity of the preserve, footage is required from the following locations unless otherwise approved by the COR. Footage shall highlight the diversity of natural and cultural resources, and the unique geology of the preserve. The contractor shall provide and work with a local fixer from one of the three local communities.

The film shall feature the following different geological/biological regions through aerial cinematography. At least one sequence shall include people or animals on the landscape for scale.

a) Covered in snow (winter or early spring), a minimum of two successful half days, with an emphasis on golden hour. Must include sunlight (i.e. not just grey/socked in). These can be helicopter, approved UAS, or fixed wing.

(1) Coast with sea ice

(2) Lagoons, iced over

(3) Rolling tundra

b) No snow (summer and/or fall TBD based on approach), a minimum of four successful half days, with an emphasis on golden hour. Must include sunlight (i.e. not just grey/socked in). At least three half days shall be helicopter based.

(1) Coast, including showing proximity to Russia

(2) Cape Espenberg

(3) Lagoon System

(4) Rivers, including Nugnugaluktuk

(5) Rolling tundra, including polygons, pingos, and drained lakes

(July/August and into fall)

(6) Maar Lakes (July/August)

(7) Lava Fields (July/August)

8. UAS Restrictions

The use of UAS is currently restricted within preserve 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. Currently only UAS equipment manufactured exclusively outside of China is being considered for permitting (Sony Airpeak S1 UAS paired with a Sony Alpha A1 8k camera being one example). The contractor may propose launching UAS (without manufacturer restrictions) from outside preserve boundaries.

Contractor must comply with all state and federal regulations.

9. Style & Approach

The film shall:

a) Be enjoyable and fun to watch!

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

c) Facilitate native people expressing their own culture in their own words.

d) 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 preserve resources.

e) Present any science and cultural material in an understandable (8th grade level) and approachable manner.

f) Be authentic in portrayal of all core themes.

g) Immerse viewers in the story with relatable and engaging characters. When applicable, the film shall tell the story from a first-person perspective through interviews that are warm and authentic and demonstrate vulnerable and joyful connections.

h) Give special attention to diversity, including age and gender.

i) Connect with viewers’ natural curiosity, helping answer and inspire questions.

j) Provide an opportunity for audiences to develop their own connections and inspiration.

k) Speak to the broader national significance of preserve themes.

l) Not tell viewers “what to think” about BELA, but rather allow them to draw their own conclusions.

m) Create an immersive experience and sense of place.

n) Be visually driven.

o) Feature elegant aesthetics.

p) Feature rich and continuous sound design that is reflective of the place and activities represented.

q) Feature a soundtrack that has ample breathing room for sound effects, music, and audio description.

r) Feature a stylistic treatment that will appeal to the overall distribution strategy, providing a story and visual approach that shall remain relevant in 25-30 years.

s) Keywords: Authentic, accessible, immersive, with intellectual and emotional appeal.

10. NPS Branding & Content Framing:

The films shall:

a) Reflect responsible use of the outdoors.

b) Reflect best practices for safety. (For example, wearing PFDs while boating, and this includes behind-the-scenes photos of crew.)

c) Not include any activities that are not following regulations (or could be misunderstood/misinterpreted as not following regulations).

d) Reflect respect for the resources.

e) Reflect the value of parks.

f) Reflect the value of parks for stewardship.

g) Help viewers understand that Alaskan park units are intentionally managed differently than parks in the lower-48.

h) Reflect diversity.

i) Reflect cultural sensitivity.

j) Not exploit local culture.

k) 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.

l) Reveal broader connections to humanity.

m) Encourage enjoyment through awareness, not visitation.

n) Not be ‘sponsored by’ another brand.

o) Not endorse or advocate for a commercial brand.

11. Production team

The contractor shall provide a production team experienced with:

a) Respectfully working with Indigenous communities.

b) Expedition style production that includes safely and effectively filming in similarly remote locations with no road access.

c) Spending extended periods of time filming in remote, rugged, logistically challenging, and physically demanding environments and extreme weather conditions.

d) Scheduling and planning for remote locations and significant weather variables.

e) Filming wildlife in remote locations.

f) Filming wildlife behavior in an ethical manner, defined as having minimal to no impact on wildlife behavior or habitat.

12. Tribal Engagement

a) Work shall accommodate the participation of the preserve’s affiliated Alaska Native tribes in the review process; the Tribal Workgroup representatives from the Native Villages of Dering, Wales, and Shishmaref, will be coordinated through the preserve.

b) To allow time for a formal Consultation, 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.

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

d) The National Park Service will coordinate the tribal workgroup and formal Consultation process and consolidate all comments.

13. Cultural Specialist

The contractor shall provide and work with a Cultural Specialist who understands and speaks the Inupiaq language.

The National Park Service can assist with providing contacts after the contract is awarded.

14. Local Fixer

The contractor shall coordinate closely with a local fixer who currently resides in and is from one of the three communities. Support might include:

a) Location scouting

b) Location permissions

c) Casting/talent recommendations and coordination

d) Logistical support

e) Transportation, including operators and rental of boats or snowmobiles (or ATVs in town)

f) Lodging and facilities information

g) Information on appropriate protocol

h) Seasonal information

i) Weather information

j) Conditions reports

15. Honorariums

Some tribal member participation may require honorariums and this shall be the responsibility of the offeror.

a) Honorarium are appropriate when tribal members are providing their knowledge or perspective.

b) Examples may include interviews, on-camera presence, , and consultation from knowledge keepers / cultural experts.

c) The honorariums shall be $250 for a half-day (three to five hours).

d) The offeror shall be responsible for reimbursing subjects for travel.

e) The contractor shall budget $15,000 for honorariums.

f) Note that transportation rental (snow machine, boat, etc), operators, orientation with the preserve, and production support do not require honorarium and shall be negotiated separately by the contractor.

16. Compliance and safety requirements

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.

a) The contractor shall coordinate with any non-NPS sites and landowners, including Native Corporations, 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.

b) 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), ANILCA Sec 8.10, 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).

c) There may be specific sensitive marine or terrestrial wildlife areas that shall be off-limits to filming during certain times of the year.

Park biologists shall review production plans, shooting scripts, and filming schedules for any concerns, and the contractor shall adjust locations and/or schedule as needed.

d) The NPS, including the Northern Hub Aviation Manager, will review all aviation related plans, including UAS, fixed wing, and helicopter, for filming aerials or landing. These will be evaluated based on where and when and the impacts to natural and cultural resources and subsistence.

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

f) No equipment may be left unattended in the field without explicit permission of the NPS.

g) Film crews shall always carry two communications devices when in the field. Examples include inReach devices and Satellite phones. There is no cell phone or internet access in the preserve.

h) Film crews shall carry bear spray.

i) Film crews are required to wear fully buckled/zipped personal flotation devices. (Note, this is relevant to behind-the-scenes and production stills.)

j) The Production Plan shall include specific information pertaining to all compliance and safety requirements.

17. Access and Logistical Challenges

Below is a list of some, but not all, logistical challenges:

a) https://nps.gov/bela/planyourvisit/basicinfo.htm

b) https://nps.gov/bela/planyourvisit/directions.htm

c) Bering Land Bridge National Preserve is not on the road system.

The most common forms of entry are via snowmobile, boat, small fixed-wing aircraft, or infrequently by foot.

d) Wales, Shishmaref, and Deering are three Alaska Native communities on the edge of the preserve that are accessible by plane. The preserve can be reached by snowmobile, boat, or foot from these communities.

e) Renting/hiring snowmobiles, boats, and operators may be arranged through the communities.

f) Access by aviation is limited and will be reviewed by the NPS as part of an overall aviation plan.

g) Weather is a dominating logistical consideration for both transportation and filming. Film crews can expect weather delays for multiple days.

h) Even forecasted weather can change, film crews must be prepared for inclement weather conditions all throughout the year. Wind is common year-round throughout the Seward Peninsula, typical ranging from 10 mph to 30 mph with wind gusts. Weather is better in summer, about 55-60 degrees but temperatures can be lower and also higher in interior park areas like Serpentine Hot Springs.

Coastal fog and low cloud cover is another important weather factor for aviation and daily plans. Fall weather is cooler and rainy, with temps in the low 30's to high 40's. Spring weather can be in the high 20's to low 40's. High temperatures in the winter average single digits.

i) Other than Serpentine Hot Springs, there are no facilities in the preserve. There are no ranger stations. NPS is not able to provide field support. There are five emergency public use cabins.

https://nps.gov/bela/planyourvisit/basicinfo.htm https://nps.gov/bela/planyourvisit/directions.htm

18. Project Budget

a) For this project, the offeror shall design to a budget of $500,000 to $565,000.

II.2: SPECIFICATIONS AND SUBMITTALS

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

A. OVERALL SPECIFICATIONS:

1. Project Management

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

The Project Manager shall:

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

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

b) 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.

c) 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.

d) 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. 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.

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

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

2. Format and Method for Submitting Deliverable Documents and Film Edits

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

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

c) Document file names shall include the park alpha code (BELA), 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:

BELA_ProductionPlan_v2_20240327.

d) All film edits shall be submitted digitally via the Harpers Ferry Center Microsoft Teams site, unless otherwise approved by the

COR.

3. NPS Release Forms, License Agreements, and Copyright

a) 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.

(1) 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.

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

(i) The below-referenced National Park Service Project

(ii) Future National Park Service Projects

(iii) Unlimited Rights

(2) 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.

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

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

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

b) 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).

4. Accessibility

a) 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.

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

c) Contractor shall pace all…