MAS - Freshwater Film Inc. - 47QRAA22D00EV

Freshwater Film, Inc.

GENERAL SERVICES ADMINISTRATION

Federal Supply Service

Authorized Federal Supply Schedule Price List

On-line access to contract ordering information, terms and conditions, up-to-date pricing, and the option to create and electronic delivery order are available through GSA Advantage!®, a menu-driven database system. The INTERNET address GSA Advantage!® is: GSAAdvantage.gov.

Multiple Award Schedule

FSC Group: Professional Services FSC Class: T006

Contract Number: 47QRAA22D00EV

Contract Period: September 22, 2022, through September 21, 2027

Freshwater Film, Inc.

dba Rare Medium Well Done, Inc.

3061 Myddleton Court Troy, MI 48084-1220

(P) 248.840.5400 (F) 248.524.4914

Website: www.mediumflm.com

Contract Administrator: Sue Witham, sue@mediumfilm.com

(P) 248.840.5400

*Contract Administrator is an Authorized Negotiator

Business Size: SBA Small Business, WOSB Certified

For more information on ordering from Federal Supply Schedules go to the GSA Schedules page at GSA.gov.

Prices shown Herein are NET (discount deducted).

mailto:sue@mediumfilm.com

CUSTOMER INFORMATION

1a. Table of Awarded Special Item Numbers (SINs) with appropriate cross-reference to item descriptions and awarded price(s).

SIN | Recovery | SIN Description

512110 | 512110RC | Film and Video Production

512110 | 512110OLM | Film and Video Production

512110 | 512110OLMRC l Film and Video Production

1b. Identification of the lowest price model number and lowest unit price for that model for each special item number awarded in the contract. This price is the Government price based on a unit of one, exclusive of any quantity/dollar volume, prompt payment, or any other concession affecting price. Those contracts that have unit prices based on the geographic location of the customer, should show the range of the lowest price, and cite the areas to which the prices apply.

Year 1 Year 2 Year 3 Year 4 Year 5

SIN Labor Category Contractor or

Customer

Facility or

GSA PRICE +

IFF

GSA PRICE +

IFF

GSA PRICE +

IFF

GSA PRICE +

IFF

GSA PRICE +

IFF

512110 Director - DGA Both $2,200.34 $2,266.35 $2,334.34 $2,404.37 $2,476.50

512110 1st Assistant Director - DGA Both $1,534.21 $1,580.24 $1,627.65 $1,676.48 $1,726.77

512110 2nd Assistant Director - DGA Both $866.98 $892.99 $919.78 $947.37 $975.79

512110 Gaffer - IATSE Both $887.37 $913.99 $941.41 $969.65 $998.74

512110 Best Boy Electric - IATSE Both $855.77 $881.44 $907.88 $935.12 $963.17

512110 Electric - IATSE Both $855.77 $881.44 $907.88 $935.12 $963.17

512110 Key Grip - IATSE Both $886.38 $912.97 $940.36 $968.57 $997.63

512110 Best Boy Grip - IATSE Both $855.77 $881.44 $907.88 $935.12 $963.17

512110 Grip - IATSE Both $629.18 $648.06 $667.50 $687.53 $708.16

512110 Dolly Grip Both $629.18 $648.06 $667.50 $687.53 $708.16

512110 Utility - IATSE Scale Both $616.92 $635.43 $654.49 $674.12 $694.34

512110 Sound Mixer - IATSE Both $1,008.86 $1,039.13 $1,070.30 $1,102.41 $1,135.48

512110 Boom Operator Both $665.91 $685.89 $706.47 $727.66 $749.49

512110 Video Assist Both $665.91 $685.89 $706.47 $727.66 $749.49

512110 Teleprompter Operator Both $665.91 $685.89 $706.47 $727.66 $749.49

512110 Script / Continuity - IATSE Both $1,008.86 $1,039.13 $1,070.30 $1,102.41 $1,135.48

512110 Makeup / Hair - IATSE Both $1,008.86 $1,039.13 $1,070.30 $1,102.41 $1,135.48

512110 Wardrobe - IATSE Both $1,008.86 $1,039.13 $1,070.30 $1,102.41 $1,135.48

512110 Prop Master - IATSE Both $948.61 $977.07 $1,006.38 $1,036.57 $1,067.67

512110 Prop Assistant - IATSE Both $825.15 $849.90 $875.40 $901.66 $928.71

512110 Location Manager - IATSE Both $820.00 $844.60 $869.94 $896.04 $922.92

The Contractor is proposing hourly rates, a description of all corresponding commercial job titles, experience, functional responsibility, and education for those types of employees or subcontractors who will perform services shall be provided. If hourly rates are not applicable, indicate “not applicable” for this item.

Year 1 Year 2 Year 3 Year 4 Year 5

SIN Labor Category Contractor or

Customer

Facility or

GSA PRICE +

IFF

GSA PRICE +

IFF

GSA PRICE +

IFF

GSA PRICE +

IFF

GSA PRICE +

IFF

512110 Producer - Commercial Both $1,473.05 $1,517.24 $1,562.76 $1,609.64 $1,657.93

512110 Producer - Industrial Both $797.10 $821.01 $845.64 $871.01 $897.14

512110 Director of Photography

Commercial Both

$3,068.86 $3,160.93 $3,255.76 $3,353.43 $3,454.03

512110 Director of Photography

Industrial Both

$796.11 $819.99 $844.59 $869.93 $896.03

512110 Camera Operator / Videographer Both $673.64 $693.85 $714.67 $736.11 $758.19

512110 ENG Camera Operator Both $673.64 $693.85 $714.67 $736.11 $758.19

512110 1st Assistant Camera Both $796.11 $819.99 $844.59 $869.93 $896.03

512110 2nd Assistant Camera Both $612.39 $630.76 $649.68 $669.17 $689.25

512110 Digital Information Technologist Both $673.64 $693.85 $714.67 $736.11 $758.19

512110 Gaffer - Non-Union Both $520.53 $536.15 $552.23 $568.80 $585.86

512110 Electric - Non-Union Both $520.53 $536.15 $552.23 $568.80 $585.86

512110 Grip - Non-Union Both $520.53 $536.15 $552.23 $568.80 $585.86

512110 Steadicam Both $1,102.31 $1,135.38 $1,169.44 $1,204.52 $1,240.66

512110 Jib Operator Both $796.11 $819.99 $844.59 $869.93 $896.03

512110 Special Effects Supervisor Both $734.87 $756.92 $779.63 $803.02 $827.11

512110 Visual Effects Supervisor Both $734.87 $756.92 $779.63 $803.02 $827.11

512110 Sound Mixer - Non-Union Both $734.87 $756.92 $779.63 $803.02 $827.11

512110 ENG Audio Tech - Non-Union Both $489.94 $504.64 $519.78 $535.37 $551.43

512110 Script/ Continuity - Non-Union Both $673.64 $693.85 $714.67 $736.11 $758.19

512110 Hair / Makeup - Non-Union Both $751.10 $773.63 $796.84 $820.75 $845.37

512110 Wardrobe - Non-Union Both $734.87 $756.92 $779.63 $803.02 $827.11

512110 Location Manager - Non-Union Both $813.34 $837.74 $862.87 $888.76 $915.42

512110 Location Scout Both $734.87 $756.92 $779.63 $803.02 $827.11

512110 Production Manager Both $734.87 $756.92 $779.63 $803.02 $827.11

512110 Production Coordinator Both $613.38 $631.78 $650.73 $670.25 $690.36

512110 Key Production Assistant Both $306.21 $315.40 $324.86 $334.61 $344.65

512110 Production Assistant Both $244.57 $251.91 $259.47 $267.25 $275.27

512110 Craft Service Both $306.21 $315.40 $324.86 $334.61 $344.65

512110 Writer Both $796.11 $819.99 $844.59 $869.93 $896.03

512110 Camera Operator - Aerial

Airplane - Helicopter Both

$3,068.86 $3,160.93 $3,255.76 $3,353.43 $3,454.03

512110 Camera Operator - Drone Both $3,068.86 $3,160.93 $3,255.76 $3,353.43 $3,454.03

LABOR CATEGORIES / DESCRIPTIONS

PRODUCTION p 4 CREATIVE TEAM p 5 CAMERA CREW p 6 GRIP / ELECTRIC DEPARTMENT p 8 AUDIO DEPARTMENT p 10 MISCELLANEOUS STAFF p 11

PRODUCTION TEAM

PRODUCER – INDUSTRIAL

Oversee the pre-production, production and post-production of industrial multimedia (audio / visual) content. Responsible for planning, budgeting & scheduling.

• Minimum Education: High School or GED

• Years of Experience: 3

PRODUCER – COMMERCIAL

Develop TV commercials for broadcast. Oversee crew, locations, negotiations, rates, timetable, equipment, secure talent releases, etc. The producer helps organize the entire production. This person helps develop the script into a workable project. They assist with the hiring of actors and key crew members, while keeping track of finances throughout the production. The producer oversees script progress making sure every shot is captured. The producer supervises the budget.

Expenses may include celebrity salaries as well as daily costs like location and equipment rentals.

The production manager reports to the line producer the current expenses and needs of the production on an ongoing basis.

• Minimum Education: High School or GED

• Years of Experience: 15

PRODUCTION MANAGER

Oversees daily production decisions such as budget, scheduling, and staffing. The PM generally reports to the line producer and supervises the production coordinator. The production manager works closely with the production coordinator. This person helps supervise the organization and distribution of the production budget, crew & equipment scheduling, salaries, day rates, and other office related paperwork. This person reports budget needs to the line producer, while trying to keep the production under budget on a day-to-day basis.

• Minimum Education: High School or GED

• Years of Experience: 5

PRODUCTION COORDINATOR

Coordinates all logistics involved with the cast, crew, and equipment. A production coordinator is responsible for coordinating the “behind the scenes” logistics, which can include renting equipment, hiring crew members, and coordinating talent. In addition, this crew member may handle the paperwork needed to organize the production. For this reason, the production coordinator is an important crew member in ensuring a production’s goals are on budget and on time.

• Minimum Education: High School or GED

• Years of Experience: 3

KEY PRODUCTION ASSISTANT

The Key Production Assistant is responsible for supervising the Production Assistants on set and making certain the PA's follow through with their designated tasks. Basic duties may include dispersing walkie-talkies, setting up pop-up tents and tables, making copies, etc.

• Minimum Education: High School or GED

• Years of Experience: 1

PRODUCTION ASSISTANT

A production assistant usually does any general duty or minor task that the production heads may need. Basic duties may include dispersing walkie-talkies, setting up pop-up tents and tables, running basic errands as needed or attaining any other last-minute item that the production might need. It is essential that the P.A. has their own transportation to perform these various errands.

• Minimum Education: High School or GED

• Years of Experience: 0

CRAFT SERVICE

A production assistant usually does any general duty or minor task that the production heads may need. Basic duties may include dispersing walkie-talkies, setting up pop-up tents and tables, running basic errands as needed or attaining any other last-minute item that the production might need. It is essential that the P.A. has their own transportation to perform these various errands. Craft Services are the various snacks and beverages that are provided to the film crew throughout the day. This is separate from catering. The person in charge of craft service sets up and maintains a station near production that provides these snacks and beverages. The craft service person is given a budget prior to attaining all of the refreshments.

• Years of Experience: 0

CREATIVE TEAM

DIRECTOR - DGA

The director is the leading creative artist. Directs the production of motion pictures and whatever is seen & heard in the finished product. Responsible for approving locations and casting, directs the action of actors and the dialogue, plotting camera angles, rehearsals, breaking down the shooting script, determines the sets, costumes, make-up, cameras, lensing and lighting equipment.

The director works directly with the actors on their performances and has final creative control on almost every aspect of the film. The director plays a large role in casting, script revisions, shot composing and even editing. Usually, the director is hired by the producer of the film.

• Minimum Education: High School or GED

• Years of Experience: 0

1ST ASSISTANT DIRECTOR - DGA

Assists the Director in his duties. Specifically organizes the preproduction preparation, including organizing the crew, securing equipment, breaking down the script (or story board), preparing strip-board and a shooting schedule. In charge of overseeing all department heads and ensuring that the entire cast and crew is working on schedule. The 1st assistant director works with both the production manager and the director to make the shooting schedule efficient as possible. The 1st A.D. breaks the script down into a shooting schedule and also helps manage the scheduling of talent, crew and equipment needed for each shooting day. This person sometimes helps direct the background extras in a scene.

• Minimum Education: High School or GED

• Years of Experience: 3 years

2ND ASSISTANT DIRECTOR - DGA

Responsible for Talent wrangling, Talent reports and releases. Helps the 1st AD supervise the set and also manages and hands out important documents such as scripts and call sheets. The 2nd A.D.

works directly with the 1st A.D. to accomplish their duties. The call sheets for each shooting day are created by the 2nd assistant director. The 2nd A.D. also helps manage the scheduling of talent, crew and equipment that is needed for each day. This person also assists in directing the background extras in a movie scene.

• Minimum Education: High School or GED

• Years of Experience: 0

WRITER

Experienced at creative, technical, industrial and educational writing and can develop full video, audio, broadcast television or radio scripts from basic ideas. Writes the script or reviews and enhances the script starting point.

CAMERA CREW

DIRECTORY OF PHOTOGRAPHY – COMMERCIAL

Develops the commercial's visual style. Determines the lighting requirements, best camera angles and frames for the scenes. Orders and checks out camera gear before the shoot along with an assistant. Selects and orders lighting equipment and necessary crew, supervises camera crew and camera movement during the shoot. They recommend which cameras and lenses to use for the production. They design the shot’s framing, and the camera movements in conjunction with the director. They are also in charge of the camera crew, lighting design and collaborating with the gaffer.

• Minimum Education: High School or GED

• Years of Experience: 5

DIRECTORY OF PHOTOGRAPHY – INDUSTRIAL

Develops the visual style. Determines the lighting requirements, best camera angles and frames for the scenes. Orders and checks out camera gear before the shoot along with an assistant. Selects and orders lighting equipment and necessary crew, supervises camera crew and camera movement during the shoot.

Pull focus if necessary.

CAMERA OPERATOR / VIDEOGRAPHER

Assemble and set up camera equipment, planning, preparing and rehearsing scenes, follow the camera scripts or directions of the Director of Photography, framing and capturing the action, testing the camera movements, following directions, liaising with lighting and technical staff. The camera operator physically controls and operates the camera during filming, under the direction of the D.P. (Director of Photography). The camera operator works closely with both A.C.’s as well.

The camera operator controls the shot’s framing, and the camera movements as instructed by the director of photography.

• Minimum Education: High School or GED

• Years of Experience: 2

CAMERA OPERATOR – AERIAL – AIRPLANE – HELICOPER

The aerial photographer or camera operator is qualified and equipped to film aboard aerial devices. This usually refers to small airplanes and helicopter filming, but more recently, the use of drone cameras is being widely used as well.

• Minimum Education: High School or GED

• Years of Experience: 5

CAMERA OPERATOR – DRONE

A fully licensed Drone Operator works to remotely pilot aircraft. The Pilot of a drone may be located offsite from the drone itself. In fact, they can be located anywhere in the world. A “cockpit” for a drone is completely virtual. The aircraft itself is operated through joysticks, screens, and data links. Using a drone on a film or television shoot can get you incredible shots much more cheaply and safely than using a crane or helicopter. In order to fly your drone under the FAA's Small UAS Rule (Part 107), you must obtain a Remote Pilot Certificate from the FAA. This certificate demonstrates that you understand the regulations, operating requirements, and procedures for safely flying drones.

• Years of Experience: 3 and Certification

ENG CAMERA OPERATOR

Physically control camera equipment both in studio and on location for video capture. Set-up the camera, rehearse movements, follow script. Typically, with a small crew of 2-3 team members.

• Minimum Education: High School or GED

• Years of Experience: 2

1ST ASSISTANT CAMERA

Checkout the camera from the rental house, make certain all pieces fit and function properly. Unload and set up the equipment at the video site, make sure camera batteries are charged, cards are ready, monitors working and have any other camera accessories like lenses or filters ready for the camera operator. They function as a camera mechanic.

• Minimum Education: High School or GED

• Years of Experience: 1

2ND ASSISTANT CAMERA

2nd ACs assist the camera operator in positioning and moving the camera and are responsible for loading and unloading film magazines and / or cards, changing and charging camera batteries, and anything ese the Camera Operator or 1st AC need. This person also runs the slate or clapper to maintain sync and the correct labeling for each and every shot.

• Minimum Education: High School or GED

• Years of Experience: 0

DIGITAL INFORMATION TECHNOLOGIST

The DIT ensures that the data is accessible at all times and saves it in a system where it can be reviewed, displaying the metadata of each clip. The DIT delivers the recordings to the post-production team after checking the quality of the material and generating working copies.

• Years of Experience: 1

GRIP / ELECTRIC DEPARTMENT

GAFFER – IATSE

The gaffer is the chief lighting technician on a set and is head of the electrical department. The gaffer's job is to run a team of lighting technicians to execute the lighting plan for a production.

Responsible for filing IATSE crew paperwork. This person is primarily responsible for developing a lighting plan according to the desires of the Director of Photography. The gaffer informs the best boy and key grip on where and which lights are to be placed. The gaffer is in charge of creating the best possible lighting scenario according to the camera framing.

• Minimum Education: High School or GED + Union Training Program

• Years of Experience: 3

GAFFER – NON-UNION

The gaffer is the head of the electrical department. The gaffer's job is to run a team of lighting technicians to execute the lighting plan for a production. The gaffer is also known as the chief lighting technician. This person is primarily responsible for developing a lighting plan according to the desires of the Director of Photography. The gaffer informs the best boy and key grip on where and which lights are to be placed. The gaffer is in charge of creating the best possible lighting scenario according to the camera framing.

BEST BOY ELECTRIC – IATSE

A best boy is a crew member who serves as the chief assistant to either a gaffer or key grip. When the best boy works with the gaffer (the head electrician and chief lighting technician), they are the best boy electric. The best boy usually operates, adjusts and balances the electrical load on the generator where required. This person is also responsible for distributing the electrical cabling properly providing the required power to each of the lights.

• Minimum Education: High School or GED + Union Training Program

• Years of Experience: 2

ELECTRIC – IATSE

The set electricians check the work of the grip / rigging team, and ensures all departments have power, and sets up lights for every shot. The electricians (or juicers) essentially set up and operate all the lighting instruments and cabling as instructed by the best boy or gaffer. This is a physically demanding job due to the large number of heavy lights and cabling often required. Electricians must be knowledgeable of tungsten and HMI lighting as well as changing and installing bulbs properly.

• Minimum Education: High School or GED + Union Training Program

• Years of Experience: 2

ELECTRIC – NON-UNION

The set electricians not only check the work of the grip / rigging team, they also cross-over and do grip work as needed. They also ensure all departments have power and sets up lights for every shot. The electricians (or juicers) essentially set up and operate all the lighting instruments and cabling as instructed by the best boy or gaffer. This is a physically demanding job due to the large number of heavy lights and cabling often required. Electricians must be knowledgeable of tungsten and HMI lighting as well as changing and installing bulbs properly.

• Minimum Education: High School or GED

• Years of Experience: 3

KEY GRIP – IATSE

Key grips are responsible for lifting, moving, carrying, transporting, rigging, operating, building, and placing production equipment where it needs to be. They take orders from the director of photography and supervise a crew of grips and best boys.

• Minimum Education: High School or GED + Union Training Program

• Years of Experience: 3

BEST BOY GRIP – IATSE

A best boy is a crew member who serves as the chief assistant to either a gaffer or key grip. When they're second to a key grip (head of the grip crew), they are the best boy grip. The best boy usually operates, adjusts and balances the electrical load on the generator where required. This person is also responsible for distributing the electrical cabling properly providing the required power to each of the lights.

• Minimum Education: High School or GED + Union Training Program

DOLLY GRIP – IATSE

The dolly grip is a dedicated technician trained to operate the camera dolly. This technician places, levels, and moves the dolly track, then pushes and pulls the dolly and usually a camera operator and camera assistant as riders.

• Minimum Education: High School or GED + Union Training Program

• Years of Experience: 3

GRIP – IATSE

Grips' responsibility is to build and maintain all the equipment that supports cameras. This equipment, which includes tripods, dollies, tracks, jibs, cranes, and static rigs, is constructed of delicate yet heavy duty parts. Responsible for the lighting and rigging process during a filmmaking production. Work with camera department to provide camera support. Grips essentially “shape the light” that is provided by the electricians. This includes creating pattern and shadow effects, coloring light, diffusing light or blocking light. While electricians set up the lights and cabling, grips provide everything else that is built around the lights to create the quality of light that the gaffer desires. They also provide a variety of special rigging, securing and safety measures on set.

• Minimum Education: High School or GED + Union Training Program

• Years of Experience: 0

GRIP – NON-UNION

Grips' responsibility is to build and maintain all the equipment that supports cameras. This equipment, which includes tripods, dollies, tracks, jibs, cranes, and static rigs, is constructed of delicate yet heavy duty parts. Responsible for the lighting and rigging process during a filmmaking production. Work with camera department to provide camera support. Grips essentially “shape the light” that is provided by the electricians. This includes creating pattern and shadow effects, coloring light, diffusing light or blocking light. While electricians set up the lights and cabling, grips provide everything else that is built around the lights to create the quality of light that the gaffer desires. They also provide a variety of special rigging, securing and safety measures on set. A non-union grip will also act as an electrician on a small crew.

• Minimum Education: High School or GED

• Years of Experience: 2

UTILITY – IATSE SCALE

These are the lowest-level crew members who act as gofers in the grip department during a production. They're involved at all levels of production.

AUDIO DEPARTMENT

SOUND MIXER – IATSE

The sound mixer is head of the sound department and is responsible for leveling, monitoring and recording of audio during production. The sound mixer decides which microphones to use as well as placements of the microphones. This person can also mix the various sound-tracks and audio signals in real time. A film sound mixer supervises the boom operator and/or sound utility person. Although a Sound mixer heads up the department responsible for all the sound recorded during filming, this is predominantly dialogue but can include sound effects and atmosphere. Before shooting starts, they meet with the producer and director to discuss the best method of capturing sound alongside the director's shooting style.

• Minimum Education: High School or GED + Union Training Program

• Years of Experience: 3

SOUND MIXER – NON-UNION

The sound mixer is head of the sound department and is responsible for leveling, monitoring and recording of audio during production. The sound mixer decides which microphones to use as well as placements of the microphones. This person can also mix the various sound-tracks and audio signals in real time. A non-union sound mixer may need to place the boom pole and complete other required audio tasks.

• Years of Experience: 2

ENG AUDIO TECH – NON-UNION

The sound mixer is responsible for leveling, monitoring, and recording of audio during production.

The sound mixer decides which microphones to use as well as placements of the microphones. This person can also mix the various soundtracks and audio signals in real time. They frequently perform all the duties of a Sound Mixer and Boom Operator as well.

• Minimum Education: High School or GED

• Years of Experience: 2

BOOM OPERATOR

This person is responsible for properly positioning the microphone boom pole during the actual filming. The boom operator is the assistant to the sound mixer. Many times, the boom operator is required to hold the boom pole for several minutes at a time, which can be physically demanding.

The boom operator must also be able to follow the actors’ movements while staying clear of the camera and lights. This makes it a challenging job for achieving the best possible audio.

MISCELLANEOUS CREW POSITIONS

STEADICAM

The Steadicam is a camera mounting device that utilizes a mechanical arm attached to a body harness to provide extremely smooth hand-held shots. The Steadicam operator is responsible for the technical setting up, balancing and operating the Steadicam during production. They liaise with director, director of photography (DoP) and actors to set up and perform the required shots. Most Steadicam operators are very physically fit due to the amount of strength and endurance needed to operate the Steadicam.

• Minimum Education: High School or GED

• Years of Experience: 2

JIB OPERATOR

This person is responsible for setting up and operating the mechanical camera crane also known as the “jib arm”. The jib arm is primarily used for large establishing shots that require substantial elevation and smooth motion. This can involve working with a variety of equipment, ranging from a small jib arm, used to make slight camera movements up and down, to a massive 90-foot-long crane for shooting huge crowd or action sequences.

• Minimum Education: High School or GED

• Years of Experience: 2

SPECIAL EFFECTS SUPERVISOR

The Special Effects supervisor is the senior-level position responsible for making sure the effects are executed smoothly and safely. The SFX supervisor reports directly to the director and producers as early as pre-production to ensure that they understand the director's vision for the effects. They oversee both the creative and technical elements for the special or visual effects on a project.

Special effects are practical (i.e., physical) effects created on set—such as fire, explosions, munitions firing or puppetry and captured in camera.

• Minimum Education: High School or GED

• Years of Experience: 5

VISUAL EFFECTS SUPERVISOR

Oversees both creative and technical elements for the special or visual effects on a project. Special effects are practical (i.e., physical) effects created on set—such as fire, explosions, munitions firing or puppetry—and captured in camera. Visual effects are added in post-production, such as computer-generated imagery. Visual effects encompass everything from artificial weather and environments like rain, fog, smoke, and other atmospheric aspects to mechanical and electrical effects.

• Minimum Education: High School or GED

• Years of Experience: 5

VIDEO ASSIST

Video assist operators (VAOs) take the images generated by the film or digital cameras and display them on video monitors so the director and other crew members can see exactly what's been shot. These images are also recorded for playback, so the action can be reviewed after each take. Video assist is a computer system used in filmmaking which allows filmmakers to view a video version of a take immediately after it is filmed

• Minimum Education: High School or GED

• Years of Experience: 2

TELEPROMPTER OPERATOR

The Teleprompter Operator transcribes scripts or recording into readable banners or special screens that are used to prompt people to remember what they are to say.

Some teleprompter information may be provided in advance in the form of audio or videotape that must be transcribed into text format.

• Minimum Education: High School or GED

• Years of Experience: 2

SCRIPT / CONTINUITY - IATSE

The person who keeps track of everything that has been shot, including any deviations from the script. Takes script notes including lensing, timing, good vs. bad takes. Responsible for matching continuity from one shot to the next, including props, wardrobe, dialog, and blocking.

• Minimum Education: High School or GED + Union Training Program

• Years of Experience: 1

SCRIPT / CONTINUITY – NON-UNION

The person who keeps track of everything that has been shot, including any deviations from the script. Takes script notes including lensing, timing, good vs. bad takes. Responsible for matching continuity from one shot to the next, including props, wardrobe, dialog, and blocking. A Non-Union script supervisor frequently is also responsible for hair, make-up and wardrobe for the talent on the shoot.

• Years of Experience: 1

MAKE-UP / HAIR - IATSE

Makeup chooses and applies appropriate makeup to the actors. The hairdresser styles the actors’ hair and is responsible for upkeep. On a low-budget production, the makeup artist and hairdresser is usually one and the same.

• Minimum Education: High School or GED + Union Training Program + Licensing

• Years of Experience: 2

MAKE-UP / HAIR – NON-UNION

Makeup chooses and applies appropriate makeup to the actors. The hairdresser styles the actors’ hair and is responsible for upkeep. On a low-budget production, the makeup artist and hairdresser are usually one and the same.

• Minimum Education: High School or GED + Licensing

• Years of Experience: 2

WARDROBE – IATSE

A wardrobe stylist, also fashion stylist, is a consultant who selects and purchases, steams or prepares the clothing for print or television advertising campaigns, music videos, concert performances, and any public appearances made by celebrities, models or other public figures.

• Minimum Education: High School or GED + Union Training Program

• Years of Experience: 2

WARDROBE – NON-UNION

A wardrobe stylist, also fashion stylist, is a consultant who selects and purchases, steams or prepares the clothing for print or television advertising campaigns, music videos, concert performances, and any public appearances made by celebrities, models or other public figures.

• Minimum Education: High School or GED

• Years of Experience: 2

PROP MASTER – IATSE

The prop master acquires, organizes, maintains and accounts for all the various props needed for the production. A prop is basically any set decoration piece that can be moved readily easily. This includes many items like guns, knives, books, phones, dish-ware, food, musical instruments, pets or any other item that needs to be present to fulfill the story line.

• Minimum Education: High School or GED + Union Training Program

• Years of Experience: 3

PROP ASSISTANT - IATSE

The prop assistant, under the direction of the prop master, is in charge of all props used throughout the production. Some productions may designate an outside props person to purchase props, and an inside props person to oversee their placement, use, and maintenance on set.

• Minimum Education: High School or GED + Union Training Program

• Years of Experience: 0

LOCATION MANAGER – IATSE

This person is in charge of attaining all the legal permits and other clearances needed to gain proper permission for filming in a particular location. The location manager also takes care of attaining and processing any other location permit fees as well. On some smaller shoots, the location manager assists in coordinating the parking of vehicles.

• Minimum Education: High School or GED + Union Training Program

• Years of Experience: 2

LOCATION MANAGER – NON-UNION

This person is in charge of attaining all the legal permits and other clearances needed to gain proper permission for filming in a particular location. The location manager also takes care of attaining and processing any other location permit fees as well. On some smaller shoots, the location manager assists in coordinating the parking of vehicles.

• Minimum Education: High School or GED

• Years of Experience: 2

LOCATION SCOUT

The location scout is one of the first crew members to be contacted on a production. The location scout assists in finding the various filming locations according to the producer and director’s desires.

Location scouts often have a large database of location photographs to show before traveling to the actual location for filming.

2. Maximum Order: $1,000.000.00

3. Minimum Order: $100.00

4. Geographic Coverage (delivery area): Domestic

5. Point(s) of production (city, county, and State or foreign country):

3061 Myddleton Court

Troy, Oakland County, MI 48084-1220

6. Discount from Prices or statement of net price: Government net prices (discounts already deducted.)

7. Quantity discounts: None

8. Prompt payment terms. Information for Ordering Offices: Prompt payment terms cannot be negotiated out of the contractual agreement in exchange for other concessions: Net 30 days or other negotiated prompt payment terms

9. Foreign Items (list items by country of origin): Not Applicable

10a. Time of delivery (Contractor insert number of days): To Be Determined at the Task Order

Level

10b. Expedited Delivery. Items available for expedited delivery are noted in this price list: To Be

Determined at the Task Order Level

10c. Overnight and 2-day delivery: To Be Determined at the Task Order Level

10d. Urgent Requirements: To Be Determined at the Task Order Level

11. F.O.B. point(s): Destination

12a. Ordering Address:

12b. Ordering Procedures: For supplies and services, the ordering procedures, information on

Blank Purchase Agreements (BPA’s) are found in Federal Acquisition Regulations (FAR) 8.405-3.

13. Payment Address:

14. Warranty Provision: Standard Commercial Terms and Conditions

15. Export Packing Charges, if applicable: Not Applicable

16. Terms and conditions of Rental, maintenance, and repair (if applicable): Not Applicable

17. Terms and conditions of installation (if applicable): Not Applicable

18a. Terms and condition of repair parts indicating date of parts price lists and any discounts from list prices (if applicable): Not Applicable

18b. Terms and conditions for any other services (if applicable): Not Applicable

19. List of service and distribution points (if applicable): Not Applicable

20. List of participating dealers (if applicable): Not Applicable

21. Preventive maintenance (if applicable): Not Applicable

22a. Special attributes such as environmental attributes (e.g., recycled content, energy efficiency, and/or reduced pollutants): Not Applicable

22b. If applicable, indicate that Section 508 compliance information is available on Electronic and

Information Technology (EIT) supplies and services and show where full details can be found (e.g., contractor’s website or other location.) The EIT standards can be found at:

www.Section508.gov/: Not Applicable

23. Unique Entity Identifier (UEI) Number: Q2B4F5N1EDR5

24. Notification regarding registration in System for Award Management (SAM) Database:

Contractor registered and active in SAM

Service Contract Labor Standards: The Service Contract Labor Standards (SCLS), formerly known as the Service Contract Act (SCA), is applicable to this contract as it applies to the entire Multiple Award Schedule (MAS) and all services provided. While no specific labor categories have been identified as being subject to SCLS/SCA due to exemptions for professional employees (FAR 22.1101, 22.1102 and 29 CRF 541.300), this contract still maintains the provisions and protections for SCLS/SCA eligible labor categories. If and / or when the contractor adds SCLS/SCA labor categories to the contract through the modification process, the contractor must inform the Contracting Officer and establish a SCLS/SCA matrix identifying the GSA labor category titles, the occupational code, SCLS/SCA labor category titles and the applicable WD number. Failure to do so may result in cancellation of the contract.

Service Contract Labor Standards Matrix: Not Applicable