HQ0516-FY-25-0004 Questions _Answers.pdf

Sources Sought HQ0516-25-FY-0004

Studio Refresh Project

Questions and Answers

Q1. Are you currently looking for a turnkey solution for design, fabrication, installation, lighting, and AV technology all under one umbrella? Or is there consideration to contract these specialists separately?

A1. We request a turnkey solution.

Q2. Is this a design-build project, or is there an approved set of plans available?

A2. This is anticipated as a service contract. Contract type will be determined upon completion of market research.

Q3. When is the project scheduled to begin?

A3. This is for market research purposes, the project does not have a start date at this time.

Q4. Is there a timeframe when the project needs to be completed?

A4. This is for market research purposes, the project does not have a period of performance at this time.

Q5. Can you share photographs or videos for each of the studio areas?

A5. See Attachment 1 – Drawings.

Q6. Can you provide a list of the existing lighting equipment in each studio? It would be helpful to know the manufacturer names and the parts needing replacement.

A6.

Manufacturer Model Quantity Description

Kino Flo Para Beam 400S 20 Lights

Kin Flo Image 80 1 Lights

Kino Flo Image 82 3 Lights

Kino Flo Image 87 2 Lights

Primetime 1BL255C-DIM-120 (1X2) 39 Lights

Primetime 1SL255C-DIM-120 (1x2) 13 Lights

Primetime MSL255-C-DIM120 1ft 7 Lights

Primetime MSL255-C-DIM120 4ft 9 Lights

Primetime 4BL-455C-DIM-120 (2x2) 24 Lights

Videssence Videssence B220-455BX 2 Lights

Chauvet ColorStrip x 4 4 Lights

Selecon Aurora 16 Lights

Selecon Arena 3 Lights

Arri ST1 4 Lights

Mole-Richardson Type 3081 14 Lights

Mole-Richardson Type 4191 1 Lights

ETC Source 4 Body 83 Lights

ETC 50 Degree Barrel 57 Light Accessory

ETC 36 Degree Barrel 24 Light Accessory

ETC 26 Degree Barrel 1 Light Accessory

ETC 19 Degree Barrel 4 Light Accessory

QSC I-282H 8 Speakers

ETC Element 2 Lighting Console

Panasonic TH-85PF12U 4 Monitor

Panasonic TH-58PF20UK 6 Monitor

Panasonic TH37LRU20K 10 Monitor

Q7. Concerning set design, are there any material elements (wood, brick, metal,...) that should not be considered?

A7. No.

Q8. Current sets look to be at 12’ height. Do you desire the same in the new sets?

A8. Yes

Q9. During the potential installation of the sets, does DMA require the vendor to use local union labor to assist?

A9. No.

Q10. Any requirements to build the set elements from fire retardant materials?

A10. No. Only for curtains and items affixed to lights.

Q11. Can future set pieces be attached to floor or walls, or will they all be expected to be free standing utilizing sandbags and jacks as ballast?

A11. We envision a combination of wall-affixed and freestanding set pieces. We would like to have half the studio able to be fully covered by drapes. When not in use, the drapes can be concealed behind the set. The final configuration and anchoring methods for the sets may be subject to further refinement during the detailed design phase. We welcome contractor input on feasibility and best practices for both wall-affixed and freestanding set construction. Ideally, there would be a small area backstage for storage of smaller equipment and items (mics, tools, etc).

Q12. During installation, will the vendor have access to the studios on weekends?

A12. No. Access to the building will only be on weekdays and during building core working hours of 0800-1700.

Q13. During installation, will the vendor have specific hour restrictions in which they can work?

A13. See answer to question 12.

Q14. Are there any restrictions/background checks that potential vendor/local labor force need to meet in order to work at DMA temporarily?

A14. Yes, a National Crime Information Center check will be required for all personnel that will need access to Fort Meade to complete work.

Q15. Are all lighting fixtures desired to be RGBA with color changing capabilities, or is this only required for set accents?

A15. Only for set accents.

Q16. Is there any lighting equipment that DMA would prefer to re-use rather than replace? This includes hangers, cables, lighting accessories, etc. Can you provide us with a complete count of all of your ETC Source 4 Ellipsoidal fixtures? (Including the types and quantities of lens tubes.)

A16. Hangers, safety cables, ETC Source 4 housing (retrofit with LED). As long retrofitting the lights is cost effective and compatible.

Q17. What is the desired timeline to have project installed and completed for launch?

A17. See answer to question 4.

Q18. Is the studio able to provide 2-4 assistants to take direction from the lighting director for installation of the lighting system? This will also serve the purpose to train the studio personnel during the process on workflow, troubleshooting, and operation of the lighting system.

A18. The contractor shall be responsible for all labor required for the project.

Q19. The SSN states, “The scope of this project includes evaluating and updating the sets in

Studios One and Two and replacing the lighting systems in all four studios” There are only 3 studios detailed in the Fact Sheet portion of the document, please provide clarification on number of studios and accompanying details.

A19. Studio 3 has been removed from the project.

Q20. The SSN states, “We require the ability to continue large scale town hall type events with

Studio audiences, interview panels and a variety of other configurations.” Which studio space will these events take place in, and will they require a permanent lighting installation solution or is the lighting set up for each instance of these events based on the set-up needs?

A20. Studio 1 – Our vision is to have one primary set that can be used for townhalls and other large shows while the other open spaces can be used for smaller productions (spots, news desk segments, messages, etc.) For example, there would be one primary set and up to two additional smaller sets that should all be able to be branded through accent lights and monitors w/graphics.

These smaller sets should be able to be used in conjunction with or independently of the primary set.

Q21. Is there any preference to use or avoid using moving light fixtures?

A21. Moving lights are not required but open to creative use cases.

Q22. Is there preference for or requirement to use USA manufactured equipment?

A22. Yes, all equipment must be TAA compliant.

Q23. Is there a projected time frame for this project, or a date that the work needs to be completed by?

A23. See answer for question 17.

Q24. Immediately prior to the Fact Sheet section, the SSN states “Our current power statistics are:”, but does not provide any power information, please clarify.

A24. Studio 1 – 800A Studio 2 – 600A

Q25. Are all modules in the ETC Sensor+ racks dimmers or are there any relay/passthrough power modules?

A25. 48 x Sensor+ D20 dimmer modules per rack, 2 racks for Studio 1, 1 rack for Studio 2. (see

PDF document diagram) Slide 2

Q26. Please clarify the type of power connector are at the supply side in the grid (i.e. Edison, Twist-Lock, Stage Pin)

A26. Primarily Stage Pin with some Edison.

Q27. Are all sets run off one lighting console, one in each studio, or one for each services set?

A27. One console in each studio with presets for each service set.

Q28. Is there a desire to have a separate control surface for each set?

A28. No.

Q29. Is there a desire to have all lighting control consoles networked together on one network?

A29. No.

Q30. Is there a desire for any wall mounted lighting control stations?

A30. Possibly, but not required.

Q31. Studio 1:

Q31a. Detail current or desired type and number of talent positions for each service’s set

A31a. Our vision is not to have service specific sets but to have durable and customizable sets that can change according to service specific themes using graphics and lighting accents, and

VR/XR technology. See answer for question 20.

Q31b. Detail current or desired type of branding for each service’s set

A31b. We would like to receive graphic packages for a Town Hall/large live event (can be used for civilians and/or military) so all sets can be used together and another for each of the 5 services. It should be considered that the town hall host will toss to a news desk and/or a presenter on the other sets. All sets should be able to fit the same theme. Templetable graphic packages would be ideal.

Q31c. Types of set ups for each service’s set (ie: desk for 2-4, interview for 2-4, etc.)

A31c. Each service will not have a designated set but can choose from a news desk set, a standup/presenter set, panel discussion set for up 8 personnel/main live event set.

Q31d. Number of cameras to be used to shoot each set

A31d. 3-4

Q31e. Make/model and number of cameras to be used

A31e. Studio 1: 3 X Hitachi SK-UHD7000 + 1 X Hitachi SK-UHD4000 (JIB)

Q31f. Detail lighting grid layout, spacing, and pipe diameter

A31f. See Attachment 1 – Drawings.

Q31g. Layout and number of circuits in the lighting grid

A31g. Studio 1: 192, Studio 2: 96, see attached .PDF document slide #6.

Q32. Studio 2:

Q32a. Detail current or desired type and number of talent positions for DoD set

A32a. Studio 2 will support a range of production formats, beyond solely DoD-themed content.

The set design prioritizes versatility and can accommodate various talent configurations:

• Information Discussion/Podcast: Flexible layout for small groups, typically 1-5 people.

• Formal Messaging: Suitable for individual presenters or formal presentations (1-2 people).

• Green Screen: Adaptable to different production needs, from single presenters to small groups (1-3 people).

• Infinity Wall: Primarily designed for single-person or two-person interviews or presentations. While these are the initial design parameters, we are open to further discussion and adjustments based on specific production requirements.

Q32b. Detail desired layout of green screen area (width, floor depth, 1, 2, or 3 walls)

A32b. While prioritizing overall studio versatility, we aim to maintain robust green screen capabilities. Ideally, the area should comfortably accommodate 4-5 talent positions with sufficient space for camera movement and lighting. We are open to different configurations and a smaller footprint if it enhances studio flexibility. For example, if a volume wall can replace the need for a greens screen altogether, we would be open to idea. Current green screen dimensions are in the attached PDF document. Slide 10

Q32c. Number of cameras to be used to shoot each set

A32c 1-4

Q32d. Overall plan for studio space set usage (panel discussion, presentation, interview, etc)

A32d. See answer to question 32a.

Q32e. Make/model and number of cameras to be used

A32e. 3 X Hitachi SK-UHD4000

Q32f. Detail lighting grid layout, spacing, and pipe diameter

A32f. See Attachment 1 – Drawings .

Q32g. Layout and number of circuits in the lighting grid

A32g. See Attachment 1 – Drawings.

Q33. Studio 3:

Q33a. Studio 3 is called out as a flex production space. Is the expectation to have a general wash to cover the entire room hung in the grid, a lighting package that will be hung in the grid based on each different set up’s needs, or a ground-based lighting package including lights, stands, cables, accessories, etc.?

A33a. Studio 3 is no longer required for this project.

Q33b. Detail lighting grid layout, spacing, and pipe diameter

A33b. Studio 3 is no longer required for this project.

Q33c. Layout and number of circuits in the lighting grid

A33c. Studio 3 is no longer required for this project.

Q34. Would you shoot the audience in a town hall situation (Do we need to light the audience)?

A34. Yes, and yes. Studio 1 only

Q35. Is there a space allocated for scenic storage (if needed)?

A35. Yes, W162 Set and Prop Storage Room

Q36. Will the independent service sets need different desks or a desk or 2 that can be branded via video?

A36. One or two desks to have options but they should be able to be branded via video. Flexibility is key.

Q37. Will the independent service sets ever be taping at the same time?

A37. No simultaneous recording in Studio 1. We have had simultaneous productions in both

Studio 1 and Studio 2 at the same time though.

Q38. What are the current use cases and how do you anticipate using the new spaces?

A38. See answer to questions 31a and 32a.

Q39. Do you have ladders and lifts in the space or will we need to rent them?

A39. No.

Q40. How many video lines are currently run from the router core to existing set monitors? Are those video lines coax or fiber?

A40. 12 per studio, coax.

Q41. Are there dark, un-used fiber lines in the studio to support additional set monitors?

A41. Yes.

Q42. Require more detail regarding potential new PTZ cameras – do they need to match existing studio cameras?

A42. PTZ cameras are not a requirement but could be a possibility in Studio 1 for capturing an overall shot of the room, audience, or a reverse angle. In Studio 2 we are open to use cases for

PTZ or Robotic cameras for podcasting/panel discussions, etc. to reduce manpower requirements. Yes, these cameras should be able to match current camera quality and color. If there are specific ideas, please present them.

Q43. For VR capabilities, is a tracking or non-tracking system required? How many cameras should the VR system support?

A43. Tracking is required. A minimum of two cameras.

Q44. How much power and HVAC are available in the studio to support new LCD and LED set monitors?

A44. See Attachment 1 – Drawings. Studio 1 – 800A, Studio 2 – 600A.

Q45. Give of a brief explanation of what you hope to achieve with AR/VR.

A45. AR/VR will give us the opportunity to create virtual sets for military services and external clients outside of using the current or future sets. Example: Navy Production might want to make talent appear to be on the deck of an aircraft carrier.

Q46. How many dimmers are there currently?

A46. Studio 1: 192, Studio 2: 96. See Attachment 1 – Drawings.

Q47. Do you plan to replace the dimmers with fixed circuits or would you prefer to upgrade the sensor racks with relay modules for power control?

A47. Prefer to replace with fixed circuits or whichever is more cost effective.

Q48. Do you have an anticipated lighting FC (Foot Candles) requirement, or are you seeking guidance?

A48. Seeking guidance.

Q49. Do you have an anticipated lighting plot?

A49. No

Q50. Can the lifts onsite be used for install?

A50. No

Q51. Does studio 1 have a new floor or will it need a new floor? (Based on slide from presentation at site visit)

A51. Lacquered or painted concrete finish. Should be durable, smooth, and easy to clean. Open to recommendations.

Q52. What do you plan to use the PTZ cameras for?

A52. See answer to question 42.

Q53. The sources sought mentions a Studio 3. Did we see it during the site visit?

A53. Studio 3 is no longer required for this project.

Q54. Please provide a current inventory of lighting fixtures and control devices.

A54. See answer to question 6.

Q55. Please provide a number of sets to be used in the new configuration along with how many people will be on each set. (i.e. news set with (1) host and up to (3) guests)

A55. Studio 1: Main set – up to 8, news desk 1-4, presenter/standup: 1-2

Studio 2: Informal set: 1-5, formal: 1-4, infinity wall: 2-6. See answer to question 32a.

Q56. Please confirm that lighting should be LED and fully color-tunable (vs fixed-white).

A56. Fixed white and open to some color adjustable accent lights.

Q57. Please confirm that new fixture inventory should be sufficient to light all sets simultaneously without the need to reposition fixtures between sets.

A57. The new fixture inventory should be able to light all sets simultaneously without repositioning.

Q58. What support ladders or lifts do you have for accessing the power grid?

A58. See answer to question 50.

Q59. Most LED fixture manufacturers recommend that power to the fixture not pass through a dimmer system. It is also often recommended that the lighting fixtures be powered off when there are long periods of non-use. For your situation there are two choices: a.) replace the dimmer module with controllable non dim direct feed modules or b.) Replace the dimmer rack system with remote controlled circuit breaker panels. Do you have a preference?

A59. We would prefer direct power without the need of dimmer racks. Does not need to be remote controlled unless this is referring to controlling the lights through the lighting console.

Q60. When bids are requested, for the project the bidding will be open to all or will it be limited to those who participated in this DMA "Market Survey."

A60. Any interested vendor will be allowed to submit a quote in response to a potential solicitation for this project, whether they participated in the Sources Sought or not.

Q61. May we get a copy of the Power Point presentation while we were on the site visit?

A61. See Attachment 2 – Site Visit Slides.

Q62. May we get a copy of the attendee list please?

A62. List of attendees is an internal Government document that we are not able to release.

Q63. Do you require TAA products for this project?

A63. Yes.

Q64. Can you share a timeline with project milestones?

A64. We do not have a timeline yet. We will require that of the two studios, only one be worked on at a time so that we can continue to complete mission.

Q65. Does the current curtain and track need to remain in place or can it be removed to accommodate the new set.

A65. See answer to question 11.

Q66. Can a current equipment list (lighting, sound, cameras, etc.) be shared with the group?

A66. See answer to question 6.

Q67. Are there original or current “as built” schematics of the set, lighting grid, or power infrastructure?

A67. See Attachment 1 – Drawings.

Q68. Will there be a union labor requirement on installation? If so, is there a restriction regarding which union(s)?

A68. No.

Q69. Will installers be required to have any specific OSHA certifications (OSHA 10, 30, etc.)?

A69. Contractors are required to ensure all OSHA guidelines are adhered too according to OSHA regulations.

Q70. Are there any restrictions on timing of the installation (day, night, only one studio at a time?)

A70. Yes. Only one studio at a time and work can only be completed during core working hours.

No after hours or weekends. See question 12.

Q71. Are there any LEEDS certifications or requirements for the build?

A71. No.

Q72. What is the structure of the vendor partnership for this project? (Will it go through GSA or will it be a direct purchase order?)

A72. Contract vehicle will be determined upon conclusion of market research.

Q73. With respect to approved addendums to the whitepaper, the specific example given is

“manufacturer cut sheet”. Since we would be manufacturing custom spaces, is it appropriate to share photos with descriptions of other similar work we’ve done?

A73. Yes.

Q74. If the current power distribution is not sufficient to support a large volume or backdrop

LED screen, can the current power grid be repurposed to support both a digital screen and modern LED-engine lighting fixtures, or does that go too far into the restriction on no demo / infrastructure modifications?

A74. We believe our current power distribution will be more than enough to provide required power. See Attachment 1 – Drawings.

Q75. Are there any existing HVAC issues within the studios that need to be addressed?

A75. No current issues with HVAC system.

Q76. Are there any existing Power/Data capacity issues within the studios that need to be addressed?

A76. No, the only potential power issue is if our current dimmer system is required if we switch to LED lighting.

Q77. Are there any existing acoustic issues within the studios that need to be addressed? (ie.

Noise from ducting, adjacent spaces, toilets, mechanical rooms?)

A77. No.

Q78. Does the floor have the capacity to hold a large LED display, pending lbs/sqft calculations?

We were not sure if the Studios were on the ground floor or not.

A78. No issues, the studios are on ground floor/concrete foundation.

Q79. Would a digital backdrop need the ability to be mobile or repurposed (different configurations) at times?

A79. The backdrop should be permanently installed.

Q80. Is there a desire to do true XR, either now or in the future? Or realistically will simple immersive digital backdrops suffice?

A80. Simple immersive digital backdrops preferred but open to learn what is available and what might provide us with the flexibility that will meet our needs.

Q81. Will new cable pull between different rooms be allowed? (Example: fiber backhauls from the studios to a server rack)

A81. New cable runs are allowed. NOTE: we do have pre-existing fiber available in most locations throughout the building.

Q82. What is the current network configuration? Types of switches being used, room for expansion, etc...

A82. The model switches we use are: Cisco Nexus 9508, Cisco Catalyst 9410, Cisco 2960, Cisco

9300, and Cisco 4510 being the switch model most likely to be used for this project. Most have room for expansion.

Q83. General question regarding set extension and necessity / capabilities? Both for the larger

Studio One and green screen area in Studio Two.

A83. See answers to questions 31a, 32a, 55.

Q84. How far in the concept of “360º of camera coverage” are they looking to go? Would they be blocking entry doors etc (as it relates to a volume)

A84. No, cannot block any entry way, but covering entry ways with a movable set piece, flat, or even incorporating an entry into the set design is fine.

Q85. It was mentioned that they currently shoot at 1080i. Can they confirm the current frame rate? (29.97 or 59.94)

A85. 59.94

Q86. Is there a current genlock generator system and if so what is it?

A86. Evertz 7707GPS-DT13 is our master clock. It feeds our Evertz 5700MCP-IP sync generators.

Q87. Is a camera records system also part of the requests and needs?

A87. No. This is only for set and lighting equipment.

Q88. Are they looking for a Service Level Agreement to be included in the pricing? (On-going scheduled training sessions, scheduled maintenance plan, etc...)

A88. Yes.

Q89. Are there lifts and ladders that we can use or do we need to provide?

A89. Please see the answer to Question 50.

Q90. Can the lighting and AV equipment be drop shipped to the studio or does it need to be consolidated off site? If the lighting and AV equipment can be drop shipped to the studio, who will off load, track and store the equipment?

A90. Yes, equipment can be drop-shipped directly to DMA. DMA personnel will receive, offload, and store the equipment. They can confirm receipt of items, but the contractor remains responsible for tracking the shipment and ensuring all ordered items are delivered and in acceptable condition.

Q91. Is there a space to prep and stage the lighting and AV equipment during installation? If the equipment is prepped on site, how will the packing material be dealt with (is a dumpster available or shall we provide?)

A91. Yes, we have a prop and set storage room that can be used for prep of equipment. Dumpster use for removal of old set and equipment will need to be provided by contractor.

Q92. Is there a pallet jack available for use?

A92. No.

Q93. Where is the lighting controlled from during a recording / broadcast?

A93. In the studio.

Q94. Who controls the lighting during a recording / broadcast?

A94. Our studio team controls lighting via control panels in the studios themselves. Typically, lights are preset for productions but a full time civilian employee or military members assigned to Studio Operations will control the lights.

Q95. Is there a video engineer responsible for QC during a recording / broadcast?

A95. Yes, as needed.

Q96. Would there be an interest in setting up secure remote access to the lighting system to allow supervised programming tweaks by an off site programmer when initiated by the DoD?

A96. No. We will only need the control for lighting from inside the studio.

Q97. How many days / weeks do you anticipate needing support for rehearsals after the final training and sign off?

A97. Estimated one week, will be determined upon completion of market research.

Q98. Are there glass QC monitors? Make and model?

A98. Yes, TVLogic LUM-181H & Sony LMD-2050W

Q99. Are there scopes?

A99. Yes, in the control rooms.

Q100. What is the current staffing plan for the studios regarding Studio

Management/Operations, Virtual Production and Motion Graphics.

A100. Studio Operations consists of 4 full time civilian employees and is augmented with up to 4 military members. The Media Production Division also includes a graphics section that will provide support.

Q101. Studio 1- Is there a need to have multiple productions/shows happening simultaneously within the studio? (ie. Navy shoot and Marines shoot happening at same time?)

A101. No.

Q102. Studio 2- How many virtual scenic environments do you anticipate needing?

A102. Six, DOD, Army, Navy, Marine, Air Force, Space Force. Ideally these would be flexible

(if even only with text elements) so all Navy commands could use the Navy scenic environment.

Q103. Studio 2- What is your current workflow for delivering virtual content (software, hardware, staffing, current content creation)?

A103. We have no virtual capabilities currently.

Q104. Studio 2- Are you currently using UNREAL engine for virtual scenic content?

A104. Please see question 103. Currently we have no virtual set or capabilities, but we have limited design experience with virtual sets.

Q105. Studio 2- Are you open to considering shifting from greenscreen to LED volume technology? If so, there will significant additional HVAC cooling and power/data requirements. Is this acceptable?

A105. See answer to question 32b. Open to consideration. We would like to not lose green screen capability; a smaller one would be an option. Volume technology could replace current green screen.

Q106. Is there an estimated budget for the construction aspect, or is it up to the discretion of the respondent?

A106. The Government is not authorized to release budget estimates.

Q107. How much power is available per studio? This would include available dimmer circuits

(in the grid) and hard line power provided on the walls/ electrical boxes.

A107. Studio 1 – 800A, Studio 2 – 600A

Q108. Are your lighting circuits 20A or 15A?

A108. 80A

Q109. How many total lighting circuits do you have in each studio?

A109. See Attachment 1 – Drawings.

Q110. In the Sources Sought Notice, it also requested lighting services for a third studio. This was not part of the site visit. Is there more information about this space, or is it no longer part of the request?

A110. Studio 3 is no longer considered in this project.

Q111. In terms of audiences for both spaces, what is the maximum for each studio? What percentage of those would you like to see accommodated on seating risers?

A111. No seating risers are required.

Q112. Will you store the seating risers in the stage or in your storage area?

A112. Please see answer to question 111.

Q113. Are you looking for seating as well as risers? What is the ratio of comfort to price you are looking for in terms of seating?

A113. No, seating risers are not required. Seating for audience will be handled with folding chairs that can be moved in and out of the studio.

Q114. Who will be responsible for taking down existing scenery and lighting?

A114. The contractors should be responsible for all replacing of existing scenery and lighting.

Q115. There were multiple mentions of Direct View LED video displays being incorporated in the design for the set. Do you have an estimated percentage of total design space you plan on dedicating to this technology?

A115. 50%

Q116. What is the current AC capacity of each studio?

A116. Please see answer to question 107.

Q117. What is your current subfloor, underneath the studio tiles?

A17. Concrete.

Q118. What is the per foot weight load on the fixed grid?

A118. 30lbs per square foot.

Q119. Do you have scale drawing of the studio spaces?

A119. See attachment 1 – Drawings

Q120. Do you have dimension for the green screen wall?

A120. Yes, please see below.

Q121. Can vendors get the slides from the presentation?

A121. See attachment 2 – Site Visit Slides.

Q122. What is the maximum number of cameras you can use in a studio at a time?

A122. The max number would be 4 primary cameras plus up to 8 ENG camera connected to the

BNC DMarcs at Studio rack 1.

Q123. Can you post to the notice the current video and audio systems in use?

A123. We use Wheatstone products such as IP88A, IP88AD and Gibralter units to manage our audio system.

We use Ross Ultrix as our primary Video router for the control rooms. Xpression is our CG. We also have Tria for clip playback. The production switcher is a Ross Carbonite TouchDrive

Presently, the Studio Monitors receive their feeds from our Utah Router. The studio racks have 8

Fiber tie-lines to the Utah router for additional BNC sources.

We currently have 16 coax tie-lines between the Utah and Ross routers.

A contract is in the works to upgrade the Utah Router with a Ross unit and update our tie-line management that will serve as the primary house router.

Q124. . What type of cameras do you use in the studio?

A124. Studio 1: 3 X Hitachi SK-UHD7000 + 1 X Hitachi SK-UHD4000 (JIB)

Studio 2: 3 X Hitachi SK-UHD4000

Q125. Grid weight capacity?

A125. See answer to question 118.

Q126. Is there a preference for American made equipment?

A126. Equipment should be TAA compliant; equipment with network capability should be

FedRAMP certified

This Questions and Answers session has closed, no further questions are allowed at this time.