19JA8026Q0011 - SF30 A0003 QA.pdf

1BAMENDMENT OF SOLICITATION / MODIFICATION OF CONTRACT

1. CONTRACT ID CODE PAGE OF PAGES

1 18

2. MODIFICATION NO.

0B0003

3. EFFECTIVE DATE

See Item 16C

4. REQUISITION/PURCHASE REQ. NO.

PR15764816 / PR15762784

5. PROJECT NO.

6. ISSUED BY CODE

7. ADMINISTERED BY CODE

Procurement/Contracting Office

U.S. Embassy Tokyo

1-10-5 Akasaka

Minato-ku, Tokyo 107-8420

See Item 6.

8. NAME AND ADDRESS OF CONTRACTOR

9a. AMENDMENT OF SOLICITATION NO.

19JA8026Q0011

9b. DATED

01/05/2026

10a. MODIFICATION OF CONTRACT/PURCHASE ORDER NO.

10b. DATED

11. THIS ITEM ONLY APPLIES TO AMENDMENTS OF SOLICITATIONS

[ ✓ ] The above numbered solicitation is amended as set forth in Item 14. The hour and date specified for receipt of Offers [ ] is extended, [✓] is not extended.

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

(a) By completing Items 8 and 15, and returning __one___ copies of the amendment; (b) By acknowledging receipt of this amendment on each copy of the offer submitted; or

(c) By separate letter or telegram which includes a reference to the solicitation and amendment numbers.

FAILURE OF YOUR ACKNOWLEDGMENT TO BE RECEIVED AT THE PLACE DESIGNATED FOR THE RECEIPT OF OFFERS PRIOR TO THE HOUR

AND DATE SPECIFIED MAY RESULT IN REJECTION OF YOUR OFFER. If by virtue of this amendment your desire to change an offer already submitted, such change may be made by telegram or letter, provided each telegram or letter makes reference to the solicitation and this amendment, and is received prior to the opening hour and date specified.

12. ACCOUNTING AND APPROPRIATION DATA

13. THIS ITEM APPLIES ONLY TO MODIFICATIONS OF CONTRACTS/PURCHASE ORDERS.

IT MODIFIES THE CONTRACT/PURCHASE ORDER AS DESCRIBED IN ITEM 14.

A. THIS CHANGE ORDER IS ISSUED PURSUANT TO: THE CHANGES SET FORTH IN ITEM 14 ARE MADE IN THE CONTRACT ORDER NO. IN ITEM

10A.

B. THE ABOVE NUMBERED CONTRACT/ORDER IS MODIFIED TO REFLECT THE ADMINISTRATIVE CHANGES (such as changes in paying office, appropriation date, etc.) SET FORTH IN ITEM 14, PURSUANT TO THE AUTHORITY OF FAR 43.103(b)

C. THIS SUPPLEMENTAL AGREEMENT IS ENTERED INTO PURSUANT TO AUTHORITY OF:

D. OTHER

E. IMPORTANT: Contractor [ ]is not, [ ]is required to sign this document and return one copy to the issuing office.

14. DESCRIPTION OF AMENDMENT/MODIFICATION

The purpose of this amendment is to:

1. Provide the Qs&As. See following pages.

2. Incorporate “A250 Digital Media Production Slide” as Attachment B of the Request for Quotations (RFQ). Attachment B may be available upon request. Quoter shall contact Ayaka Ogawara at OgawaraAX@state.gov to request this document.

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

15A. NAME AND TITLE OF SIGNER

16A. NAME OF CONTRACTING OFFICER

Christopher G. Staff

15B. NAME OF CONTRACTOR/OFFEROR

BY

(Signature of person authorized to sign)

15C.DATE SIGNED 16B. UNITED STATES OF AMERICA

BY

(Signature of Contracting Officer)

16C.DATE SIGNED

January 16, 2026

NSN 7540-01-152-8070 STANDARD FORM 30 (REV. 10-83)

Previous edition unusable Prescribed by GSA FAR (48 CFR) 53.24

01/16/2026 08:13 GMT

Staff, Christopher (StaffCG@state.gov) mailto:OgawaraAX@state.gov

Request for Quotations (RFQ) No. 19JA8026Q0011

Amendment 0003

January 16, 2026

Questions-and-Answers (Qs&As)

Request for Quotations No. 19JA8026Q0011 America250 Digital Media Production Services for the Public Affairs Section at U.S. Embassy Tokyo, Japan

Question Answer

Q1 The “100 U.S.–Japan Relations Milestones” Content Series:

Q1.1 Are the 100 milestone images/icons to be created from scratch, or can some be sourced from existing libraries?

A1.1 Vendors are to collect or create all images and icons, adhering to all copyright and usage regulations. If you identify specific images you would like to use that are owned by the U.S. government, we may be able to provide them upon request. Otherwise, it is the vendor’s responsibility to secure appropriate rights for all images and icons used in the project.

Q1.2 Does the graphic content need to include authentic historical photographs? If so, will your organization provide these, or will we be responsible for obtaining licensing from museums or relevant historical institutions?

A1.2 The graphic content does not need to be limited to authentic historical photographs; illustrations or other creative approaches are acceptable. Must adhere to all copyright and usage regulations.

Q1.3 If sourced from third parties, who bears the responsibility for licensing fees and ensuring usage rights?

A1.3 The vendor is responsible for all licensing fees and for ensuring that all usage rights are properly secured for any third-party content.

Q1.4 Does the Embassy provide any pre-cleared imagery or specific references for these milestones?

A1.4 The Embassy will provide a list of 100 or more U.S.–

Japan relations milestones. We expect vendors to collect or create all images and icons, adhering to all copyright and usage regulations.

Q1.5 Is it acceptable to present certain parts of these milestones using illustrations rather than photographs?

A1.5 Yes.

Q2 Feedback and Revisions Process:

Embassy of the United States of America

Tokyo, Japan

Q2.1 What are the specific mechanisms and workflows for submitting feedback and processing revisions for this project?

A2.1 We will share all materials via Google Drive. Vendors can use any tools to share progress as long as we can access them on a government computer. Our Digital

Media Team will review your work and provide feedback by email or through scheduled meetings.

Q2.2 Since the evaluation criteria for design and video production are often subjective (based on "look and feel"), how will your organization provide actionable revision suggestions?

A2.2 Our Digital Media Team includes experienced technicians and creators who will offer reasonable, actionable and timely feedback to guide revisions. We will specify what changes are needed and provide examples or references when possible to help you meet our expectations.

Q2.3 How do you define when a revision has successfully met expectations, and what are the specific criteria for final acceptance and project closure?

A2.3 A revision meets expectations when it addresses our feedback and matches project requirements. Final acceptance happens when our team approves all deliverables as complete and satisfactory.

Q3 Revisions & Approval Process:

Q3.1 How many rounds of revision are included for each deliverable (e.g., Spark character, animated logo, graphic templates)?

A3.1 There are no specified number or limit to the revision as it is dependent on the quality of the contractor’s first draft.

Q3.2 What is the formal process for submitting drafts and receiving feedback? Is there a designated review period for each submission?

A3.2 Our Digital Media Team will review your drafts and provide feedback by email or during scheduled meetings. We will coordinate review periods for each submission to ensure timely and constructive feedback.

Q4 Optional Jingle/Theme Song:

Q4.1 If the optional jingle is exercised, are there specific requirements for original composition, length, or style?

A4.1 It should be an original composition. There is no strict requirement for length or style, but it should match the animation of the moving A250 logo.

Q4.2 Who owns the rights to the music? A4.2 U.S. Mission Japan will own all rights to the music.

Q4.3 Are voiceovers or multilingual vocals anticipated? A4.3 We expect the theme song to include vocals, but we do not require separate versions in different languages. A mix of Japanese and English is acceptable, as the primary audience is Japanese.

Q5 Remote Coordination & Meetings:

Q5.1 Aside from the weekly check-ins, what is the expected response time for emails or requests for clarification?

A5.1 We understand time differences, especially for non-

Japanese vendors, but we expect you to respond to emails and requests for clarification as promptly as possible.

Q5.2 Will key Government personnel be available for ad-hoc consultations, or only during scheduled meetings?

A5.2 The Digital Media Team at U.S. Embassy Tokyo will be your main point of contact. They will be available for both scheduled meetings and ad-hoc consultations as needed.

Q6 File Transfer & Security:

Q6.1 Is there a preferred secure platform for transferring large creative files (e.g., MASVS, SharePoint, encrypted email)?

A6.1 Due to our IT security restrictions, we ask that large files be transferred via Google Drive. However, you may use any tools you like to share your progress.

Q6.2 Are there any IT security or software compliance requirements (e.g., specific animation or design tools)?

A6.2 Due to our IT security restrictions, we ask that large files be transferred via Google Drive.

Q7 Payment Schedule:

Q7.1 Is payment tied to specific deliverable milestones, or will it be made upon completion of all work?

A7.1 The Contractor may submit the invoice upon completion of all work.

Q7.2 What documentation is required with invoices (e.g., certification of completion, signed acceptance forms)?

A7.2 The Contractor shall obtain written approval from the

Public Affairs Section of the U.S. Embassy Tokyo prior to submitting invoice.

Q8 Currency & Tax Exemption:

Q8.1 If quoting in Japanese Yen, will the Embassy provide the Tax Exemption Certificate before invoicing?

A8.1 The U.S. Embassy Tokyo will provide the "Certificate of Tax Exemption Purchase for Foreign

Establishments" to the firms registered as Designated

Stores (DS). If the Contractor is a DS, the Embassy provides the Tax Exemption Certificate at the time of invoicing.

Q8.2 Are there any additional local tax registrations required for non-designated stores?

A8.2 The U.S. Embassy Tokyo is exempt from Japanese consumption taxes. For other local tax registration requirements, quoters shall refer to the guidance and regulations provided by the National Tax Agency of

Japan.

Q9 Intellectual Property & Usage Rights:

Q9.1 Does “sole and exclusive rights” mean the contractor cannot reuse any created assets in their portfolio?

A9.1 The assets may be used in portfolios, but not for any public use.

Q9.2 Are there any limitations on the Embassy’s use of deliverables beyond the America250 campaign?

A9.2 Department of States will own all rights to the deliverables and may use them beyond the

America250 campaign without limitation.

Q10 Liability for Third-Party Content:

Q10.1 If stock imagery, fonts, or music are used, who bears responsibility for licensing fees and compliance?

A10.1 Vendors are responsible for all licensing fees and ensuring compliance for any stock imagery, fonts, or music used.

Q10.2 Does the Embassy have preferred vendors or existing licenses we should use?

A10.2 The Embassy does not have preferred vendors or existing licenses for these materials at this time.

Q11 Quality Assurance & Acceptance Criteria:

Q11.1 What specific metrics will be used to determine if a deliverable is “acceptable”?

A11.1 The Digital Media Team at U.S. Embassy Tokyo will determine acceptability.

Q11.2 Who is the final approving authority for creative assets?

A11.2 The Spokesperson/Head of Media Affairs at the U.S.

Embassy will be the final approving authority for creative assets. A name and contact information will be provided when the contract is awarded.

Q12 Timeline Flexibility:

Q12.1 Are the deliverable dates fixed, or is there flexibility if Government review times exceed expectations?

A12.1 There is flexibility.

Q13 In Attachment A - SOW, 2. Branding and Digital Asset Production, could the Mission provide guidance on the number of A250 Spark and character adaptations that will be needed? We note that the SOW says “a maximum number of variations to be defined at award,” but we respectfully request a rough order of magnitude to accurately provide a firm fixed price quote.

A13 We plan to hold approximately 25 America250 events and would like to create a Spark digital asset for each one. For every event, please produce one event-themed

Spark with both right- and left-facing poses. The assets should be delivered as editable files compatible with

Adobe tools.

Q14 In Attachment A - SOW, 2. Branding and Digital Asset Production, could the Mission clarify expected video runtime ranges, language requirements, and whether subtitling/captioning or accessibility compliance is required?

A14 For video content, we do not expect spoken language, but if any language is included, subtitling in both

English and Japanese will be required. Video runtime will vary by project, but for the “Spark” character mascot, we expect versatile, transparent-background animation assets suitable for use in various video content. For the A250 Mission Japan animated logo, the expected length is 5–10 seconds, primarily as an outro.

Q15 In Attachment A - SOW, 2. Branding and Digital Asset Production, could the Mission provide guidance on the length of the required animated A250 Mission Japan logo and the accompanying jingle/theme song?

A15 The required animated A250 Mission Japan logo should be 5–10 seconds long and will be used mainly as an outro for video content during the A250 period.

The accompanying jingle or theme song should match this length.

Q16 In Attachment A - SOW, 2. Branding and Digital Asset Production, could the Mission clarify whether 2D or 3D animation of the logo will be required?

A16 2D animation of the logo. 3D animation of “Spark.”

Q17 For all SOW deliverables, could the Mission provide guidance on how many rounds of revisions are expected per deliverable? How should the contractor handle additional revision requests beyond that amount?

A17 There are no specified number or limit to the revision as it is dependent on the quality of the contractor’s first draft.

Q18 In SOW Section 8.4, Rapid Response Support, what is the minimum turnaround time that will be required of the contractor for urgent Mission requests?

A18 Per the Statement of Work, this will be subject to mutually agreed timelines depending on the scope of urgent work.

Q19 Does the Mission anticipate any possibility of an option period or contract extension beyond March 14, 2026?

A19 We do not anticipate one but will not rule out the possibility.

Q20 SOW Section 12 says Contractor shall designate a main POC who must have demonstrated experience in animation, graphics and branding.

Section 3 - Solicitation Provisions, Subsection 3.2

(e) (1) states that there shall also be a Project Manager (or other liaison to the U.S. Embassy).

Can the Mission clarify whether the Project Manager and POC positions are the same (and meant to be covered by a single person), or whether they are two separate roles?

A20 They may be the same person.

Q21 The SF-1449, block 17a, requires a SAM Unique

Entity ID. However, Section 3 - Solicitation

Provisions, Subsection 3.2 (d) requires a distinct

Volume 4 that “shall consist of proof of SAM registration to include the SAM UEI number.”

Could the Mission clarify what additional proof is require for compliance for Volume 4 (for example, a screenshot of our active SAM registration)?

A21 Quoters may provide a screenshot of the SAM registration status as “Active Registration” for Volume

4 – Evidence of SAM registration.

Q22 Section 3 - Solicitation Provisions, Subsection 3.2

(b) tells bidders to list their firm fixed price quote on page 4 of the RFQ (back of SF-1449). However, this page states in the price section, block 23, “See Subsection 1.1.2 Pricing.” Do we fill in the price here and also submit page 6 in the Grand Total line to submit a compliant Volume 2 - Price?

A22 Quoters shall not use SF-1449 (page 1 of 55 of the

RFQ) to fill out the pricing. Quoters shall use “Grand

Total” block under the Subsection 1.1.2 Pricing (on page 4 of 55 of the RFQ), for filling in the Grand Total amount.

Q23 Should all Volumes (1 through 5) be submitted in separate emails to the Mission, or in one single PDF file submission?

A23 All Volumes (1 through 5) may be submitted as separate files (for example, separate PDF files) and preferably sent together in one single email. The total size of each email must not exceed 15MB. If the total size exceeds 15MB, the submission must be made in separate e-mails less than 15MB each. See Cover

Letter of the RFQ for detail.

Q24 Spark character volume: To help us size the effort correctly, could you please confirm the maximum

A24 We plan to hold approximately 25 America250 events and would like to create a Spark digital asset for each one. For every event, please produce one event-themed number of Spark character adaptations expected under this contract (total or per event)?

Spark with both right- and left-facing poses. The assets should be delivered as editable files compatible with

Adobe tools.

Q25 Number of events: The SOW references approximately 25 America250 events. Should we assume this number is fixed for the duration of the contract, or could additional events be added within the same scope?

A25 25 is an estimate. Some additional events could be added or dropped.

Q26 Animated Spark content expectations: For the one or two short animated Spark videos, could you clarify the expected duration and level of animation complexity (e.g., simple motion vs.

character acting)?

A26 We would like to create versatile, transparent-background A250-themed Spark animation assets for use in our video content. For the short animated Spark videos, we expect character acting, such as waving, spinning, flying, and changing facial expressions, rather than just simple motion. The duration can be flexible, but each animation should be long enough to clearly show these actions.

Q27 Historical milestones content: For the up to 100

U.S.–Japan historical milestones, will the Embassy provide finalized text, or should the contractor expect to edit or adapt the content for design purposes?

A27 The Embassy will provide a list of 100 or more U.S.–

Japan relations milestones. We expect vendors to edit or adapt the text as needed to fit the graphic design.

Additionally, we would like you to create a short caption for each milestone suitable for social media use.

Q28 Japanese language support: For bilingual deliverables, will the Embassy provide approved Japanese translations, or is the contractor expected to handle translation, localization, and cultural review?

A28 The contractor should handle translation. A final translation check will be provided by Embassy staff.

Q29 Bilingual review cycles: Should quoters assume one standard round of language review per deliverable, or multiple review cycles for bilingual assets?

A29 It depends on the quality of the translation that is submitted.

Q30 Revision expectations: Could you please confirm the expected number of revision rounds per deliverable before additional work would require written authorization?

A30 There are no specified number or limit to the revision as it is dependent on the quality of the contractor’s first draft.

Q31 Government review timelines:

What is the typical review and approval turnaround time the contractor should plan for once draft assets are submitted?

A31 We hope to have revision and feedback in approximately 48 hours

Q32 Change requests after approval: If new requests arise after initial concepts are approved that materially affect scope or effort, what is the preferred process for managing those changes?

A32 When changes are to be made to the contents of the terms of the contract including Statement of Work

(SOW) after contract award, the U.S. Government will issue Modification for the in-scope requirement change.

Q33 Optional jingle decision: When does the Embassy expect to decide whether the optional A250 jingle/theme song will be exercised, and should it be priced as a separate optional line item?

A33 See Amendment No. 0002. It is not optional. Your grand total amount (Volume 2) shall include all prices including jingle.

Q34 Asset delivery formats: Can you confirm the preferred final file formats for digital assets, animations, and vendor-ready production files?

A34 Final deliverables should include original files editable with Adobe Creative Suite in compatible formats (such as .ai, .psd, .indd, .prproj, or .aep), along with standard export formats like .png, .mov, or .jpg, as appropriate for each asset.

Video format: 1920x1080/1080×1920, 29.97 fps, stereo, Apple ProRes 422 HQ, NTSC.

Q35 Subcontractor use: Does the Embassy require prior approval for subcontractors (for example, Japanese language or cultural specialists), or is disclosure in the quotation sufficient?

A35 No approval required

Q36 Language, Content, and Translation

Q36.1 Will all materials need to be delivered in English in addition to Japanese? Who determines which language is required for each deliverable?

A36.1 Both languages.

Q36.2 Are bilingual materials required for the U.S.–Japan relations milestones content series?

A36.2 Yes.

Q36.3 Who is responsible for writing the content for the U.S.–Japan relations milestones?

Will historical facts, dates, and copy be government-furnished, or is research and copywriting part of the contractor’s scope?

A36.3 We will provided a list of 100 or more U.S.-Japan relations milestones. Contractor takes the list and creates content.

Q36.4 Is Japanese translation government-provided or contractor-provided?

A36.4 The list of milestones will be provided in English and

Japanese. The content that is created will be translated by the contractor with a final translation check by

Embassy staff.

Q36.5 Is the intent that the milestones content will exist primarily as static graphics/posters, motion graphics, or as video?

A36.5 Static graphics for social media

Q37 Spark Character – Status, Direction, and Expectations

Q37.1 When will bidders receive the America250 logo kit, Mission Japan seal, Spark assets (if any), and brand/style guidelines?

A37.1 At the time of award

Q37.2 Is the Embassy seeking to evolve or replace the current Spark look? Is there dissatisfaction with the existing design?

A37.2 No dissatisfaction with current Spark. Simply modifying for different events.

Q37.3 Is Spark currently animated, or has it been used only as a static character?

A37.3 A different version of Spark has been previously animated.

Q37.4 Does the Embassy anticipate 2D, 3D, or both renderings of Spark?

A37.4 Both.

Q37.5 Does a physical Spark costume exist, or is Spark exclusively graphical?

A37.5 A different version of Spark costume exists.

Q37.6 What level of movement, expression, or action is expected from Spark beyond static placement?

A37.6 Bouncing, swirling, flying, waving. Some minimal facial expressions.

Q38 Deliverables, Volume, and Scope Boundaries

Q38.1 For the approximately 25 America250 events:

What types of assets are expected per event (static only vs. motion)?

A38.1 Both.

Q38.2 For the approximately 25 America250 events:

Approximately how many assets per event?

A38.2 We plan to hold approximately 25 America250 events and would like to create a Spark digital asset for each one. For every event, please produce one event-themed

Spark with both right- and left-facing poses. The assets should be delivered as editable files compatible with

Adobe tools.

Q38.3 For the 1–2 animated Spark videos:

Target duration range?

A38.3 30-90 seconds

Q38.4 For the 1–2 animated Spark videos: Is any voiceover or sound design required, or is it to be visual only?

A38.4 Some voiceover or sound design required.

Q38.5 For the 100+ U.S.–Japan relations milestones:

Does the Embassy expect all milestones to be fully produced and executed by the contractor?

A38.5 Yes.

Q38.6 Regarding the 10–15 reusable graphic templates:

What types of templates are contemplated (character positioning, actions, backplates, holidays, U.S. locations, special events)?

A38.6 U.S.-Japan history with photos, text, and backplates, with A250 ribbon detail.

Q38.7 Regarding the 10–15 reusable graphic templates:

Are template designs at the discretion of the contractor?

A38.7 We will provide a brand guideline. You will design the templates based on this guideline, following its tone and manner.

Q38.8 Regarding the 10–15 reusable graphic templates:

Are there examples the Embassy can share of the type of templates requested?

A38.8 Yes, included in powerpoint.

Q39 Jingle / Theme Song (Optional Item)

Q39.1 The SOW states the jingle is optional. Please clarify: Is it truly optional, or will offering it be viewed favorably in evaluation?

A39.1 See Amendment No. 0002. Jingle is not optional. It is a requirement.

Q39.2 The SOW states the jingle is optional. Please clarify: Would failure to deliver an acceptable jingle be considered a performance deficiency?

A39.2 See Amendment No. 0002. Jingle is not optional. It is a requirement.

Q39.3 The SOW states the jingle is optional. Please clarify: Should the jingle cost be included in the base price or treated as a separate optional item?

A39.3 See Amendment No. 0002. Your grand total amount

(Volume 2) shall include all prices including jingle.

Q39.4 The SOW states the jingle is optional. Please clarify: Does the Embassy expect full buy-out of composer and performance rights, providing exclusive government ownership?

A39.4 Exclusive government ownership.

Q40 Review, Revisions, and Approval Process

Q40.1 What is the creative review and approval process?

Who is the final approving authority (PAS Tokyo only, or Washington/America250 stakeholders as well)?

A40.1 PAS Tokyo will give final clearance on all creative materials. While we may consult with other stakeholders as needed, the final approval authority rests with PAS Tokyo.

Q40.2 Does the Embassy anticipate reviews at strategic milestones during production, or only at final delivery?

A40.2 We will review the production process through emails and meetings at key stages, not only at final delivery.

Q40.3 Is there an expected or acceptable number of revision rounds per deliverable?

A40.3 There are no specified number or limit to the revision as it is dependent on the quality of the contractor’s first draft.

Q41 Schedule, Period of Performance, and Post-PoP Work

Q41.1 Please confirm the period of performance. Does it run through March 14, 2026, and terminate on that date?

A41.1 Yes, though an extension is a possibility.

Q41.2 Are deliverable timelines considered fixed regardless of approval delays, or do schedules shift based on government feedback?

A41.2 Schedules can shift based on government feeback

A41.3 Are America250 events expected to be evenly distributed or clustered around specific dates?

A41.3 More or less distributed throughout the year.

A41.4 Does the Embassy anticipate additional creative work after the period of performance (e.g., topical graphics)? If so, how would that work be tasked and compensated?

A41.4 We do not anticipate additional creative work after the period of performance.

Q.42 Pricing, Rights, and Administration

Q42.1: What are the IP ownership and usage rights for Spark and all produced assets?

A42.1: Property of the U.S. Government

Q42.2: May the contractor reference approved work in portfolios or past performance materials?

A42.2: Yes. But not for public use.

Q42.3: If Spark is reused outside Japan, is that reuse covered under this contract or out of scope?

A42.3: The Department of State will own all rights to all products created under this contract. This means any of the deliverables, including Spark, can be used outside Japan or for other purposes as needed.

Q42.4: How will creative quality versus price be weighted in evaluation?

A42.4:

See SECTION 4 - EVALUATION FACTORS on page 33 of 55 of the RFQ. Award will be made to the lowest priced, technically acceptable, responsible offeror. The U.S. Government conducts technical evaluation based on the criteria stated under

Subsection 3.2 (e) Volume 5 - Business

Management/Technical Proposal.

Q42.5: Does the Embassy prefer a single all-inclusive firm-fixed price, or a clearly itemized pricing narrative?

A42.5: The resultant contract is a firm-fixed priced Purchase

Order with one Line Item. Quoters shall provide all-inclusive grand total amount in (b) Volume 2 - Price.

Q42.6: Will there be a single COR/PM for tasking and approvals throughout the contract?

A42.6: The Contracting Officer’s Representative (COR) is stated under DOSAR 652.242-70 CONTRACTING

OFFICER'S REPRESENTATIVE (COR) AUG 1999)

on Page 27 of 55 of the RFQ.

Q.43 BUSINESS LOCATION CLARIFICATION

Q43.1: Regarding the location of the Quoter Business, if we are an American Company, are we required to maintain and operate an established business with a permanent address and telephone listing in Japan?

The Amendment modification no. .0001 SF-30 seems to eliminate that requirement can you confirm this?

A43.1: SF-30 No. 0001 removed the requirement of quoter being established in Japan from subsection 3.2 (e)

Volume 5 (2). The requirement is the evidence that the offeror/quoter operates an established business with a permanent address and telephone listing in the country where the entity is established.

It is not a mandatory for a U.S. firm to operate and establish business in Japan.

Q.44 PROJECT MANAGER CLARIFICATION: On Page 29 of 55: E) Volume 5 - (1) Name of a Project Manager who understands written and spoken English and Japanese –

Q44.1: If our Project Manager does not speak or write Japanese, can we EMPLOY an Interpreter for the run of project?

A44.1: Yes

Q44.2: If our Project Manager does not speak or write Japanese, can we get a waiver and not have the contact speak or write Japanese?

A44.2: Possible but the work must still meet the bilingual requirements.

Q.45 PAYMENT SCHEDULE

Q45.1: What is your payment schedule? A45.1: The designated payment office will pay approved payment requests within 30 days of submittal of a proper request for payment, in accordance with paragraph (g) of FAR 52.232-29 Terms for Financing of Purchases of Commercial Products and Commercial

Services.

Q45.2: Do you provide 50% down up front once we sign the agreement?

A45.2: No.

Q.46 GENERAL CREATIVE OVERVIEW:

Q46.1: Is intended that the final delivery of all the Digital Assets we provide be Final Practical Exhibit Display Ready Artwork for public audience and viewing or are we delivering graphic design elements for a third party to use and reconfigure into the 25 described exhibit events and other applications without the product merchandising?

A46.1: You should deliver editable, Adobe-compatible files for each event-themed Spark (right- and left-facing).

Our Digital Media Team will use these assets to create final exhibit displays and other content.

Q.47 MEDIA PLATFORMS AND FILE FORMATS:

Q47.1: For each digital element we provide, does it need to be configured for both LANDSCAPE (tv screen and YouTube) and VERTICAL (FaceBook, X, Instagram, etc.,) and INTERNET WEBSITE (digital Banner and Fullscreen video)

A47.1: 100 Milestones: Vertical only.

Others: mix of Landscape and Vertical and full screen

Q47.2: Can you further define exactly which digital assets will be assigned to what digital platform? IE: What assets will be for a TV Display Monitor vs. Digital and social media.

A47.2: 100 Milestones: Social media only.

Others: Mix of display monitors, printed materials, banners, and digital and social media.

Q47.3: Pal vs HD NTSC. For any animated and motion graphic asset that will be featured in a TV Monitor display what the technical specification?

A47.3: Final deliverables should include original files editable with Adobe Creative Suite in compatible formats (such as .ai, .psd, .indd, .prproj, or .aep), along with standard

Q47.4: Can you provide the exact file formats(s) specifications needed for each provided element?

A47.4: Final deliverables should include original files editable with Adobe Creative Suite in compatible formats (such as .ai, .psd, .indd, .prproj, or .aep), along with standard

Q.48 LANGUAGE TYPOGRAPHY DISPLAY

Q48.1: We understand most elements will be dual language; can you specify if we are creating for a JAPANESE language dominate graphic display with American subtitle. Or ENGLISH language dominates graphic display with Japanese subtitle?

A48.1: Japanese as the primary language, with English subtitles.

Q.49 AMERICA 250 Mission Japan Logo

Q49.1: Will the America250 Mission Japan Animated logo be a full screen over a background final graphic, or does it need to be built as a self-contained graphic asset element on an alpha channel?

A49.1: The animated logo will be used mainly as a video outro, so it doesn’t need to be on an alpha channel.

Please deliver the final graphic as a full-screen animation, keeping the ribbon theme and incorporating

U.S.-Japan elements. Include original, editable Adobe files with your deliverables.

Q49.2: What file format should the America250 Mission Japan Animated logo be delivered in? Examples:

1920x1080 HD QuickTime? 4k 444 hd QT? Pal and/or NTSC?

A49.2: Final deliverables should include original files editable with Adobe Creative Suite in compatible formats (such as .ai, .psd, .indd, .prproj, or .aep), along with standard

Q49.3: What applications will the America250 Mission Japan Animated logo appear on; an Exhibition display monitor, social media platforms such as FaceBook, X, Tik Tok, Instagram?

A49.3: SNS: X, Instagram, Facebook, Youtube

Display monitors at events

Printed materials such as flyers or brochures

Q.50 SPARK CHARACTER MASCOT DEVELOPMENT

Q50.1: Regarding the SPARK character and mascot development can you clarify the actual application(s) and media platform(s) it will be viewed on such as an Exhibition display monitor, A50.1: SNS: X, Instagram, Facebook, Youtube

Display monitors at events social media platforms such as FaceBook, X, Tik Tok, Instagram?

Printed materials such as flyers or brochures

Merchandise such as hats, pins, or stuffed plush product, etc.

Q50.2: Regarding the SPARK character adaptations for 25 event themes (e.g., Spark playing Baseball, Spark with Cherry Trees), -WILL THESE BE ANIMATED or STILL GRAPHIC presentations?

And if they are animated, what will be the duration and intended environment?

A50.2: We expect only the main A250-themed SPARK character to be animated, with some movement such as flying, waving, or changing facial expressions. For the

25 event themes, please provide still graphics with transparent backgrounds, each with a different pose to match the event. No animation is required for these event-themed adaptations.

Q50.3: in Producing the one or two animated video content of SPARK, can you define what will be the theme of these animated videos and what file format they will be displayed/viewed on (Pal/NTSC 1080p, 4k, etc.), and the duration?

A50.3: We would like to create versatile, transparent-background A250-themed Spark animation assets for use in our video content. For the short animated Spark videos, we expect character acting, such as waving, spinning, flying, and changing facial expressions, rather than just simple motion.

Final deliverables should include original files editable with Adobe Creative Suite.

Video format: 1920x1080/1080×1920, 29.97 fps, stereo, Apple ProRes 422 HQ, NTSC.

Q50.4: Style and Execution. We understand SPARK has a defined brand presentation and look that will be adhered too, -but can you articulate what should be the style of all the environments that SPARK will appear in? E.g., should SPARKS environment and background be Photo-Real or Illustrative or Cartoonish?

A50.4: Spark normally appears as a cartoon superimposed on a photo-realistic environment.

Q50.5: SPARK as a FINAL vs Graphic Element. Will SPARK Character be needed as an animated file over an alpha channel to be superimposed or inserted into video or other graphic content and scenarios?

A50.5: We expect an animated file over an alpha channel.

Final deliverables should include original files editable with Adobe Creative Suite.

Q50.6: SPARK character files; What program was SPARK built in and what OBJ. files are available?

A50.6: Visual Materials Provided by Us:

Spark Style Guidelines

Spark Poses Illustrations (png)

Spark 2D illustration (Adobe Illustrator)

Short video of an older version of Spark Intro flying around EXPO U.S. pavilion (mov/FHD)

Short video of an older version of Spark Turnaround

(mov/FHD)

Short video of an older version of Spark Flying

(mov/FHD)

Still images of an older version of Spark with EXPO

Pavilion Exterior (png)

Q50.7: Will the SPARK be required to “wear’ different wardrobe to match certain themes, e.g., Baseball Hat?

A50.7: Yes

Q.51 MILESTONES OF US/JAPAN DIPLOMACY

Q51.1: How will the 100 MILESTONES be viewed, on a TV Exhibit display monitor, on a website site page(s), or social media, on a Printed Exhibition display?

A51.1: Social media (X, Instagram, Facebook)

Q51.2: Will the 100 MILESTONES be animated or still graphics?

A51.2: Still graphics

Q51.3: Will the 100 MILESTONES need to be delivered as complete Fullscreen Final Viewer Ready Artwork or Graphic Elements on Alpha Channel?

A51.3: Both are needed. Please deliver 10–15 graphic elements on alpha channel, as well as final, fullscreen viewer-ready graphics. Also, provide a short caption for each milestone for social media use.

Q51.4: How much copy will be displayed? Can you give us a few samples of the copy?

What dominate language will be featured in the designs?

A51.4: The dominant language in the designs will be

Japanese, with English subtitles. Each milestone should include:

Title (e.g., U.S.-Japan 100 Diplomatic History)

Year (e.g., 1960)

Event name in Japanese (e.g., 日米相互協力及び安

全保障条約) — this is the primary display

Event name in English (e.g., Treaty of Mutual

Cooperation and Security between the United States and Japan) — as a subtitle

Please also create a short caption for each milestone for social media.

Q51.5: 10- 15 reusable graphic templates - Are these generic templates in the same style as the Mission Japan Logo - or do we need to incorporate SPARK? Is this in English and Japanese and what language would be the dominate?

A51.5: The templates should be Japanese-dominant and follow the A250-Mission Japan brand guidelines, which we will provide. Please design the graphic elements in the same tone and style as the brand.

Q51.6: JINGLE - Is the jingle only to be used over the A250 Mission Japan Logo or also with the SPARK Character?

A51.6: Both.

Q.52 Campaign Strategy & Objectives

Q52.1: Core Purpose: Could you share the fundamental goal or "success definition" for this specific campaign?

A52.1: To raise awareness of the richness of U.S.-Japan relations with the Japanese public during a significant milestone birthday of America.

Q52.2: Target Audience: While the SOW mentions "Japanese audiences," do you have more specific demographics in mind (e.g., Gen Z, business leaders, or families)?

A52.2: Our goal audience is very broad and we do not want to limit it a specific demographics for this campaign.

However, specific posts could target a specific audience based on the milestone. For example, signing of a treaty could be targeted at Gen X while a milestone related to video games could be for Gen Z, etc.)

Q52.3: Key Messaging: For the 250th anniversary, what is the primary sentiment you wish to convey:

Celebratory (joyful/festive), Educational (learning the history), or Emotional (deepening the bond)?

A52.3: Primarily celebratory—joyful, festive, exciting, and exclusive to this year.

For the milestones campaign, educational.

Q52.4: KPIs: Are there any qualitative or quantitative KPIs (e.g., engagement rates) set for this project?

A52.4: None

Q52.5: Historical Context: Has Mission Japan conducted similar anniversary campaigns in the past? If so, are there any lessons learned or specific challenges we should be aware of?

A52.5: None that we are aware of. This is a one-of-a-kind anniversary campaign.

Q.53 Creative & IP

Q53.1: Brand Guidelines: Are there existing regulation documents for "Spark" (e.g., color, posing, or texture restrictions) and logo? If so, could you share them at this stage?

A53.1: We will provide Spark Style Guidelines and A250-

Mission Japan Logo Kit.

Q53.2: IP Rights & Modifications: Does the original developer of Spark consent to stylistic updates/modernization for this 2026 campaign?

A53.2: Yes. Spark is IP property of the US Government.

Q53.3: Scope of Branding: Should our proposal focus strictly on asset production, or are you looking for a broader strategic branding approach for "America250" within Japan?

A53.3: This contract is focused on asset production.

Q.54 Timeline & Scope

Q54.1: Period of Performance: Is there a specific reason for the contract ending on March 14, 2026 (considering the actual anniversary is in July)?

A54.1: The A250 campaign is already in progress and encompasses the entire year (not just July 4). The contract period ending in March is intended to ensure that

Understanding this will help us optimize the production schedule.

all materials are ready for use throughout the campaign period.

Q54.2: Optional Proposals: Based on the objectives, are we permitted to propose additional "value-add" options (e.g., event concepts) that align with the campaign?

A54.2: For this contract, we are not looking for event concepts.

Q54.3: Media Distribution: Which platforms are primarily envisioned for these assets (e.g., specific SNS, paid advertising, or signage)?

A54.3: SNS (X, Instagram, YouTube, Facebook), signage and banners, flyers, advertisements, event displays, Q.55 Administrative

Q55.1: Supplemental Materials: May we submit supplemental documents (e.g., a detailed portfolio or additional technical breakdowns) alongside the Quotation?

A55.1: Quoters shall submit information demonstrating the offeror’s/quoter’s ability to perform, including but not limited to what is stated under subsection 3.2 (e)

Volume 5 of the RFQ. Quoters may submit materials that they would consider falling under these criteria.

However, any price-related information for this requirement shall not be included in Volume 5.

Q56: Will there be a minimum onsite team presence expectation in Japan (e.g., for filming, in‑person meetings, or event coverage), now that the permanent address requirement has been removed by the amendment?

A56: No physical presence in Japan necessary.

Q57: Define “rapid response support” and how performance will be measured against the threshold of “no more than one customer complaint per month.” Are there any specific KPIs (e.g., response time, quality ratings) that will be used beyond this?

A57: Per the Statement of Work, this will be subject to mutually agreed timelines depending on the scope of urgent work.

Q58: Will there be limits on total tasking volume (e.g., maximum number of campaigns, assets, or revisions per month) under the firm‑fixed price to avoid uncontrolled scope growth?

A58: Approximately 25 for Spark iterations. The rest are already fixed.

Q59: Will there be any option periods or optional CLINs beyond what is described in the Schedule, and if so, how will options be exercised and funded over time?

A59: The resultant contract will be firm fixed price

Purchase Order without option periods. There will not be optional CLINS.

Q60: Will there be a ceiling amount for out‑of‑scope modifications or a not‑to‑exceed amount for potential expanded scope mentioned in the RFQ clauses?

A60: The Government does not anticipate out-of-scope modifications.

Q61: Will travel costs (e.g., to events outside Tokyo) be anticipated, and if so, can that cost be priced into the FFP base or reimbursed separately under a different CLIN?

A61: No travel required

Q62: Under what circumstances would clarifications or limited discussions be held, especially related to creative samples or technical approach, to award on initial quotations without discussions?

A62: When it is easier to discuss the revisions rather than email feedback; we hope to have a collaborative relationship in which we are constantly in touch via email, video or phone to discuss feedback.

Q63: Will you plan to request oral presentations or live demos of prior work, even though not explicitly stated in the RFQ?

A63: No

Q64: Will there be any weighting within “acceptability” (for example, must‑have vs. nice‑to‑have capabilities) so we can prioritize effort in our Volume 5 proposal?

A64: No

Q65: What is the expected invoice frequency, and are partial payments allowed prior to final delivery of all America250 assets?

A65: The Contractor shall submit the invoice upon completion of all work.

Q66: Are there any requirements or restrictions on collaboration platforms and project tools beyond the general prohibitions in the FAR clauses on software providers?

A66: No

Q67: What cybersecurity or data‑handling requirements apply to creative source fi les?

A67: These are all unclassified files and there are no specific cybersecurity requirements.

–End of Qs&As-