Q_A_PECO_film_0001.pdf

140P2125R0050 Q&A’s Page 1 of 7

PECO Film Questions & Answers

Contractor History / Past Work

1) Is there an incumbent for this work? What is the name of the current and or previous contractor/s for this type of NPS short documentary deliverable? // If no existing incumbent(s), who has the NPS Pecos National Historical Park team worked with in the past on previous types of similar work (i.e., interpretive films, and/or animation / motion graphics projects)? Do you have links to recent Films with similar requirements?

A: There is no incumbent. This is not an ongoing requirement with previous examples.

Technical Equipment / Production Requirements

2) Pg 27: 2.b.1.a states that the camera must have “minimum 17 stops of dynamic range,” of the example cameras listed in 2.b.2, only the Arri Alexa and Red Monstro advertise 17 stops of dynamic range. This requirement would appear to greatly limit the camera options available to the DP. Would NPS consider allowing the contractor to instead use cameras from the Netflix-approved camera list?

A: Yes, NPS is willing to consider cameras on the Netflix-approved list, even if they do not meet the exact 17-stop dynamic range threshold. Offerors must clearly justify how their proposed camera system will achieve the cinematic quality and high production value required for this project.

3) Page 26 Section 7.b.5 states: “Lenses must be professional cinema lenses” and Pg 27: 2.b.1.d:

“Professional cinema lenses are required.” Requiring cinema lenses seems overly restrictive, as most cinema lenses max out at 200-300mm. May we use non-cinema lenses?

A: NPS is willing to consider non-cinema lenses for specific uses, such as wildlife filming, where specialized optics are necessary. Offerors should be prepared to demonstrate that these lenses can achieve the cinematic quality required for their intended application, including providing representative footage if needed.

4) UAS (Drone) Restrictions (Section II.1.A.9.e, Page 12) - Section II.1.A.9.e(4-5) outlines UAS restrictions and mentions that only certain non-China-manufactured UAS are considered for permitting. Does the government currently have an approved list of permissible UAS models, or should the contractor propose options? Also, what is the current status of drone permitting within park boundaries as of this solicitation release date?

A: UAS regulations are subject to change. Based on current guidance, contractors may propose using an approved UAS within park boundaries (with proper permitting) or launching from outside the park. There is no standing list of pre-approved systems; the Sony Airpeak S1 with Sony Alpha A1 is provided as an example that has previously been permitted, based on both components being manufactured outside of China. Proposals should allow for flexibility.

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5) UAS Hard Drives Encryption (Section II.2.C.2.j, Page 31; II.2.F.2, Page 42) - Sections II.2.C.2.j and II.2.F.2 require hard drives to be both APFS- and NTFS-formatted and encrypted (FileVault/Bitlocker). Is there a preferred encryption method for drives containing only proxy/dailies, or is this only necessary for final deliverables?

A: All drives should be encrypted unless there is a technical reason why this causes a concern.

Submission / Demo Reels / Samples

6) Pg 94 Pg 94 – B.1.c & Pg 95 B.3.c: How should our Phase I Sample Project Excerpts and Key Personnel Demo Reels be submitted? As a vimeo/youtube links?

A: page 94: “Links may be through YouTube, Vimeo, Teams, Google, or Adobe or other sites.

The files must be downloadable and not require an account to access. Cannot use Dropbox, WETransfer, or smaller third party file transfer tools.”

7) For Key Personnel, will it be acceptable to have combined roles (ex. Producer/Director) and submit one resume and one submission of work samples for the combined role?

A: Yes, if the work sample demonstrates the requirements of both roles, and the Key Personnel filled both roles on all samples included.

8) For demo/highlight reels submitted as part of Phase I for key personnel, will it be acceptable to use the same demo reels as part of the Phase II submission for the key personnel?

A: Yes, there may be overlap, but each submittal should meet the requirements and length specific to that phase.

9) Sample Group 1: Producer, noted on page 101-102 of the RFP: Is the optional 1–2 minute highlight reel in addition to the 6–8 minutes total of original 4K UHD programing – or is it part of the 6-8 minutes? // Sample Group 2: Director, noted on page 102-103 of the RFP: Is the optional 1–2 minute highlight reel in addition to the 6–8 minutes total of original 4K UHD programing – or is it part of the 6-8 minutes?

A: This is in addition.

10) Sample Group 3: DP/Cinematographer – People – Observational, noted on page 104 of the RFP.

Is the 1–2 minute highlight reel in addition to the 3–4 minutes total of original 4K UHD programing – or is it part of the 3-4 minutes? // Sample Group 4: DP/Cinematographer – People

– Interview noted on page 104-105 of the RFP. Is the 1–2 minutes highlight reel in addition to the 3–4 minutes total of original 4K UHD programing – or is it part of the 3-4 minutes? // Sample Group 5 DP/Cinematographer – Natural ecosystems and cultural resources, noted on page 105 of the RFP. Is the 1–2 minutes highlight reel in addition to the 3–4 minutes total of original 4K UHD programing – or is it part of the 3-4 minutes?

A: It is part of the 3-4 minutes. “1–2 minutes of the total runtime may consist of a highlight reel compiled from multiple projects to showcase technical quality and breadth of experience.”

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Distribution / Costs / Budget

11) Will the contractor carry financial responsibility for distribution fees beyond the visitor center showings? In other words, the pitch deck deliverable requires a film festival list and a proposed outreach plan but is the contractor responsible for festival fees and outreach costs? // The SOW requests a distribution strategy with six potential festival/external events. Can NPS clarify whether submission fees/travel costs for festivals are reimbursable under the contract?

A: Researching appropriate festivals and ensuring the press kit meets festival standards is required as part of the distribution strategy and deliverables. However, entering festivals is not part of the contract requirements, and submission fees/travel costs should not be included in the proposed budget.

12) Will the government provide a milestone-based payment schedule (aligned to treatments, production, rough cuts, finals), or will contractors need to propose one?

A: The government provides the structure (Attachment K), but contractors must propose the actual dollar amounts aligned to each milestone.

13) Honorarium and Travel Reimbursement (Section II.1.A.16, Page 15–16) - With reference to Section II.1.A.16 (Honorariums), are there circumstances or categories of participants (such as NPS employees, tribal elders, or scholars) for whom payment or travel reimbursement is not permitted or must be handled differently than described?

A: The contractor shall not pay or reimburse travel for NPS employees.

Language / Accessibility

14) Confirming our understanding of the language requirements: the deliverables will be narrated in English, with all interviews happening in English, and Spanish-language deliverables will only be the Spanish SDH and CC? Therefore, no Spanish Audio Description and no fully Spanish language version of the film?

A: Interviews may be conducted in other languages and shall be translated into English as text on screen. Correct, no Spanish Audio Description and no fully Spanish language version of the film.

15) Would the NPS like the audio description and subtitles always playing or would you prefer the accessibility requirements to be embedded as options for your varied on-site and off-site audiences to activate when needed?

A: See Attachment_I_PECO_FinalDeliverables_AV0226 for the full list of required deliverables, which includes both.

16) For Jemez/Towa translation and subtitling, does NPS have approved translators or does the contractor need to procure them?

A: Park will coordinate with Jemez to identify an approved translator for Towa.

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Filming Logistics / Access

17) Two distinct seasonal shoots for Pecos Pueblo and Spanish Mission Church are required. Can these be in the shoulder seasons (Spring and Fall), or should the contractor plan to go when preservation crews are active vs. not (Summer/Winter)?

A: Contractor should plan to film when the preservation crews are active and when they not present.

18) Are there permit and/or entry fees associated with events that the contractor is suggested to film (particularly the ones that take place in August)?

A: No permit fees for filming within the park. Other locations and events may have fees.

19) Is the client team expected to be on location during film shoots, and what type of accommodation should be provided for the client if so? Examples would include extra playback monitors and communication accessories.

A: This will be determined on a shoot-by-shoot basis. An extra playback monitor can support efficiency but is not required. Unclear what is meant by communications accessories.

Resources / Archival Materials

20) Are all the resources listed on page 17, section 18, provided/ available to license through the park, or will the contractor be responsible for confirming license-ability?

A: Many of these are not NPS owned. The contractor is responsible for all licensing (or confirming licensing for documents provided by the NPS).

21) Will the NPS Pecos National Historical Park team provide any existing archival materials such as footage, photos, documents, and/or oral history recordings that the selected contractor can include in your films? If so, how much content do you anticipate the NPS can provide and will some or possibly all of these assets require that clearances and permissions be obtained?

A: The NPS has very limited archival material, and some will require additional permissions.

Interviews / Participants / Consultation

22) Will the offeror be solely responsible for choosing the on-camera interview subjects? ("On-camera or voiceover interviews may include tribal representatives, archeologists, artists, preservation specialists, and others whose perspectives enrich the interpretive goals of the project."

A: The ‘approach to interviews’ is part of the Pitch Deck deliverable. The Treatment shall include information about Talent (potential characters/interview subjects/profiles/on-camera subjects). See page 30. All interview subjects will need to be reviewed and approved by the NPS.

23) II.1 Scope of Work, 3. h) reads, “…The contractor shall describe the anticipated number, type, and stylistic approach to interview and character footage in their proposed production plan.”

Deleted: k

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Can you please define ‘Character Footage?’ Could that include what many may call re-enactment or re-creates? Or does this more likely mean filming of various local community members, or indigenous people performing an activity, a tribal ritual, or interacting with the land, places, etc. as you describe often in the SOW? For example, I don’t think the SOW is requiring a Civil War re-enactment of the Battle of Glorietta Pass?

A: Correct, re-enactments are not required or desired.

24) Will NPS facilitate introductions to Pueblo and Hispanic community representatives, or must the contractor independently build these relationships?

A: The NPS may facilitate introductions when appropriate, but the contractor should also be prepared to independently research and establish relationships.

25) Can NPS clarify expectations for tribal participation in script review and content approval — are these advisory only or will they assist in the writing process?

A: The NPS may host discussions with Tribal community members that the contractor attends (such as during the kick-off) and may conduct formal consultations or reviews with tribes of various deliverables, and this will be incorporated into NPS feedback. Separately the contractor shall integrate their own cultural consultation advisors and subject matter experts (see examples related to this through the SOW and the Instructions for the Preparation of Quotes). In general, the NPS will manage formal approvals, and the contractor shall work with their own team of people throughout the process.

26) Are there existing honorarium agreements with Pueblo/Jemez representatives, or should contractors plan to administer all honoraria directly?

A: Contractors shall plan to administer all honoraria directly.

27) Will NPS provide access to SMEs (e.g., archaeologists, preservation staff, historians), or should contractors budget for sourcing and contracting SMEs independently?

A: The NPS will provide access to NPS SMEs when appropriate, the contractor shall also budget for sourcing and contracting SMEs independently.

28) Can NPS clarify whether Harvard University–based archaeology The treatment (noted in SOW) are required, or only optional depending on narrative approach?

A: This is not required. Proposals shall be evaluated on their ability to meet the project goals and provide good value to the government.

29) Cultural Consultation Documentation (Section II.1.A.13, Page 16) Section II.1.A.13 mandates that Indigenous community representatives will participate in the review process and that additional review times may be needed. What format or level of detail is expected for the documentation of consultation feedback and responses in project deliverables?

A: This is not ‘mandated’, Indigenous community representatives will be given the option of participation. Consolidation of feedback and how/what to incorporate into deliverables will be managed by the NPS. If they choose to participate, additional review times may be needed and will be discussed when developing the schedule (as they may require a certain number of days or to be timed with existing meetings).

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Project Goals / Creative Direction

30) In terms of the video style, can the NPS provide sample(s) of similar projects from other parks that you've produced? If so, please share any relevant link(s).

A: No, the contractor shall propose an approach based on the goals and requirements in the

SOW.

31) Regarding the standalone animated excerpts, which of the overarching goals for this project does your team envision being best achieved through an animation?

A: This will be part of the research and proposals during the pre-production phase. (Examples include visualizing the past and conveying architectural transformations, timelines, or abstract archaeological ideas.)

32) What level of detail or complexity is the NPS seeking in the animated sections? // Is there a particular style of type of animation you’re looking for or have seen that you would like to see applied to this project? (If you have links to animations you’ve had created for the National Park Service or a sample that is of the style/approach your team is seeking, providing them would be helpful for vendors as they create their proposals.) Animation Requirements (Section II.1.A.10, Page 13) - Section II.1.A.10 (Animation and Graphics Requirements) specifies that original animation must be developed for the films, with styles potentially inspired by local art traditions.

Are there specific examples or references preferred by the NPS for acceptable animation styles beyond those mentioned, or any style elements (e.g., color palette, texture) that must be avoided for cultural sensitivity reasons?

A: The contractor shall propose an approach based on their research and the goals and requirements in the SOW.

33) Music Curation Process (Section II.1.A.3.d, Page 6) - Section II.1.A.3.d requires that music be culturally and geographically appropriate. Does the NPS intend to provide musical advisors or example tracks to guide the selection of composers, or is this responsibility solely on the contractor? If consultation is required, how should it be documented in the production plan?

A: This is the contractor’s responsibility. There is not a specific format for documentation.

34) The main films focus on interviews, and narration is not required, or kept at a minimum.

However, when it comes to that 60 second Trailer deliverable, I can imagine that would be more narration focused, because that is common for that genre in particular. Would that be a fair clarification about the 60 second trailer?

A: The contractor shall propose an approach based on their research and the goals and requirements in the SOW.

35) Could you clarify whether the 12-minute and 5-minute films must be completely distinct in content, or if you intend for overlapping footage with different creative/narrative treatments?

A: See page 7: “While production may occur in parallel with the primary film, there should be minimal duplication in content. The two films may have distinct styles that reflect their different purposes, but they should complement one another and feel cohesive when viewed together.”

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The 5-minute film shall include “Pueblo and Spanish Mission sites for context, but with less emphasis since they will be the focus of the primary film.”

36) For the 2–4 standalone animation excerpts: should these be pulled exclusively from the films, or will they stand alone or include additional custom-developed concepts?

A: See page 8: “Animation assets may be pulled from either film. These clips will be adapted from existing animations in the films but edited to function as standalone pieces. This may involve modifications to elements such as audio, on-screen text, and the way each animation begins or ends. The goal is to repurpose animation assets for broader interpretive use, including educational settings such as school presentations or online platforms.

37) Are there minimum or maximum runtimes for the animation excerpts?

A: No, they will be based on what is produced for the Primary and Secondary films.

Project Process / Timeline / Review

38) From the time of award to final delivery, is there a desired/ideal timeline??

A: page 43: “All work, including review and approval, shall be completed on or before 5 May 2028.” Contractor is responsible for developing a schedule after award that meets all requirements of the SOW by this date.

39) How many stakeholders are involved in the project engagement, review, and approval process of the tasks and deliverables under this contract?

A: The NPS shall manage all reviews and consolidated feedback and approvals will come from the COR.

Distribution / Platforms

40) Are there specific online platforms (e.g., NPS YouTube, social channels, partner sites) that NPS intends to prioritize??

A: NPS.gov and others are to-be-determined.

41) What size is the theater screen inside the E.E. Fogelson Visitor Center? Please provide the screen dimensions, if possible.

A: Theater space is slated for renovation; screen dimensions are unknown at this time but will likely be a large format TV screen.

42) How will the NPS Pecos National Historical Park team measure the success of your interpretive films? What milestones, visitor metrics, and/or off-site goals are you seeking to achieve?

A: The success of the films will be measured primarily by their alignment with the project’s interpretive goals and production quality as outlined in the SOW. While specific visitor metrics (e.g., views or engagement) are not mandated, the films should support the park’s broader interpretive mission and enhance public understanding of the significance of PECO.

Commented [MN1]: correct, the AV is undermined at this Ɵme but it will likely be a large format TV screen