RFQ_140L0123Q0014_Media_Services_Support_Services.pdf

Combined Synopsis/Solicitation 140L0123Q0014

Pursuant to Federal Acquisition Regulation (FAR) 12.603(a), the Contracting Officer is issuing a solicitation for the acquisition of media services support services for the Bureau of Land Management (BLM) National Training Center (NTC).

(i) This is a combined synopsis/solicitation for the acquisition of commercial services prepared in accordance with the format in FAR Subpart 12.6, as supplemented with additional information included in this notice. This announcement constitutes the only synopsis/solicitation; quotes are being requested and a written solicitation will not be issued.

(ii) Synopsis/solicitation Number 140L0123Q0014 is being issued as a Request for Quotation (RFQ). This synopsis/solicitation will utilize the policies for solicitation, evaluation, and award prescribed in FAR Part 12, Acquisition of Commercial Products and Commercial Services and FAR Part 13, Simplified Acquisition Procedures, as appropriate for this acquisition.

(iii) The synopsis/solicitation document and incorporated provisions and clauses are those in effected through FAR Acquisition Circular 2023-03 effective May 26, 2023.

(iv) This synopsis/solicitation is being issued as a Total Small Business Set Aside. The North American Industry Classification System (NAICS) associated with this synopsis/solicitation is 512110, Motion Picture and Video Production, with a size standard of $40,000,000.00.

(v) See the Statement of Work, Section 1, for detailed requirements.

(vi) The services to be acquired through this synopsis/solicitation is media services support services for the BLM National Training Center (NTC) in Phoenix, Arizona.

(vii) Performance locations and periods of performance are detailed in the Statement of Work included in the synopsis/solicitation.

(viii) FAR Provision 52.212-1, Instructions to Offerors – Commercial Products and Commercial Services, applies to this acquisition. Potential offerors shall read and comply with all of the requirements. See Section 4 for Additional Instructions (addendum).

(ix) This acquisition is being solicited using FAR Part 13.5, Simplified Procedures for Certain Commercial Products and Commercial Services. The basis of award will be a best-value determination see FAR 52.212-2, Evaluation – Commercial Products and Commercial Services and Section 5 for Evaluation Criteria.

To be eligible for award, the offeror must be a small business deemed responsible in accordance with FAR 9.104, provide all documentation/information required in this synopsis/solicitation; meet all requirements of the synopsis/solicitation and conform to all required terms and conditions. Failure to comply with the terms and conditions of the synopsis/solicitation may result in the offeror being ineligible for award.

(x) Offerors shall ensure that their Offeror Representations and Certifications – Commercial Product and Commercial Services (FAR Provision 52.212-3) are updated in the System for Award Management (SAM). If an offeror does not have an active SAM registration they shall complete FAR clause 52.212-3 and include it with the submission.

(xi) FAR Clause 52.212-4, Contract Terms and Conditions – Commercial Products and Commercial Services applies to this acquisition, see Section 3 for all clauses and provisions.

(xii) FAR Clause 52.212-5, Contract Terms and Conditions Required to Implement Statutes or Executive Orders – Commercial Products and Commercial Services, applies to this acquisition. See FAR Clause 52.212-5 for additional information.

(xiii) Additional clauses that apply to this acquisition are provided in the synopsis/solicitation document, Section 3. These clauses will be incorporated into the successful offeror’s contract award. Additional provisions that apply to this acquisition are provided in the same section. These provisions are incorporated into this synopsis/solicitation, but will not be incorporated into the successful offeror’s BPA award.

(xiv) The Defense Priorities and Allocations System (DPAS) does not apply to this acquisition.

(xv) Quotes are due no later than Friday, June 30, 2023 at 12:00 p.m. MDT. Quotes shall be submitted in accordance with the instructions in the synopsis/solicitation document via email to the Contract Specialist, Andrew Alger at aalger@blm.gov.

Interested parties may submit questions relating to this synopsis/solicitation via electronic mail to Contracting Specialist, Andrew Alger at aalger@blm.gov.

Questions are due no later than Friday, June 9, 2023 at 12:00 p.m. MDT.

(xvi) The following individuals are the only points of contact for this solicitation.

Kirsten Quiñones Andrew Alger Contracting Officer Contract Specialist Bureau of Land Management Bureau of Land Management Headquarters Acquisitions Branch Headquarters Acquisition Branch Email: kquinones@blm.gov Email: aalger@blm.gov

Sections:

mailto:aalger@blm.gov

1. Statement of Work

2. Pricing Table

3. Clauses and Provisions

4. Addendum to FAR 52.212-1 Instructions to Offerors – Commercial Products and

Commercial Services

5. Addendum to FAR 52.121-2 Evaluation – Commercial Products and Commercial

Services

6. Attachment 1: Wage Determination

7. Attachment 2: Past Performance References

8. Attachment 3: Mock Call: Studio Production

9. Attachment 4: Mock Call: Field Production

Section 1: STATEMENT OF WORK

BLM National Training Center 9828 N 31st Ave.

Phoenix, AZ 85051 Project Title:

The Bureau of Land Management (BLM), National Training Center (NTC), Media Services Production/Technician Support Contract

Part 1: Background The NTC has a requirement for non-personal services for qualified studio, field, and virtual audio/visual technicians in several crafts to support Media Production at the BLM NTC through Blanket Purchase Agreements (BPAs). The primary objective of these BPAs is to support the BLM NTC Media Services Branch to provide a wide range of production support for technical media production and web-based products in support of NTC’s training and information dissemination mission. Instructional media production services provided by the Branch consist of converting traditional classroom training to a variety of web-based video, live broadcasts, and stand-alone media products. The branch develops and supports a broad range of media products and services including, but not limited to, high-definition and 4K video production, video conferencing, webinars, livestreams/telecasts, studio and remote location video productions, audio products, classroom audio-visual support, and in person, hybrid, and virtual event production.

Part 2: Scope of Work:

KEY PERSONNEL ARE IDENTIFIED WITHIN THE TITLE OF THE BELOW REQUIRED

LABOR CATEGORIES. NOTE- Qualified personnel will have five or more years’ experience in the following crafts as demonstrated by a resume that includes television production, large event support, and audio/visual support. Qualified engineers will have 5 or more years’ experience as demonstrated by a resume that includes configuring and supporting studios, control rooms, or remote broadcast production facilities.

1. A1 Lead Audio Technician (Key Personnel):

Is responsible for all audio for a given event or production. Responsible for setup and operation of Audio Desk/Mixing console, Interruptible Foldback (IFB), Intercom, point-to-point, and party-line (PL) channels, all incoming and out-going audio feeds, microphone levels, remote mix-minus setups, adjustment of limiters/compressors and all other ancillary audio gear to mix and perform a fully functional seamless production.

Task 1 – Setup and operation of audio equipment Task 2 – Monitoring and mixing audio levels for clarity and proper mixing of multiple signals without overmodulation Task 3 – Strikes (tears-down) equipment and event

2. A2 Assistant Audio Technician:

Usually assigned to the event A1. Assist’s an A1 with audio setup for a given event or production. At the direction of the A1, producer/director and/or BLM lead, sets up and tests all microphones, IFBs, and audio cabling as needed. A2 helps on-camera talent with placement of lavalier (LAV) and stick microphones. IFB earpieces, and other effects microphone placement as needed. Trouble shoots any audio related issues as needed and at the direction of the A1, producer/director or BLM lead. Works with stage manager, and other studio/field/classroom or production personnel to perform fully functional seamless production.

Task 1 – Setup and operation of microphones, IFBs, PL headsets Task 2 – Dressing cables and microphones in studio, on location, and on talent Task 3 – Assisting A1 with trouble-shooting signals during event Task 4 – Strikes event

3. Field ENG Audio Technician (Key Personnel):

Provides lead field audio for up to 4 different wireless or wired microphones. Expert with portable audio mixers, RF and shotgun microphones including boom poles, wind reduction gear and techniques, and general troubleshooting. Proactively prepares and wires up talent and natural sound opportunities. Rides audio levels and confirms recordings on digital recorder with time code, shooting camera, or both. Works with BLM lead/Producer, Talent, and other crew members to achieve fully functional seamless production. BLM may elect to have Field Audio Tech provide own equipment (if available) for additional negotiated kit fee.

Task 1 – Setup and operation of microphones, IFBs, PL headsets Task 2 – Monitor and Mix audio on-location with various recorders or setups Task 3 – Manages media/recordings as needed

4. Camera Jib Owner/Operator (jib equipment included in rate):

Provides own Jib equipment (typically 24’ or less reach) and performs jib setup/strike/movement of all gear. Provides all expertise and ancillary equipment needed to connect and operate a BLM provided camera to the operator provided jib. At the direction of the producer/director/director of photography (DP) or BLM lead, operates jib and camera to safely capture live or record jib camera moves (Pan/Tilt/Zoom/Sweep/Truck/Dolly and others) in a studio or classroom, on a set, or in the field.

Task 1 – Setup and operation of Jib equipment and associated cameras, monitors, and lenses.

Task 2 – Operates equipment at direction of producer/director/BLM lead.

Task 3 – Strikes event

5. Camera Operator/Studio Technician (Key Personnel):

Sets up, operates, and strikes all Studio/Classroom/Field equipment in a studio/classroom/or other location including but not limited to studio/electronic news gathering (ENG)/point of view (POV)/robotic (ROBO) cameras, dollies, tripods, monitors, viewfinders, lens controls. During live and recorded events will operate cameras at the direction of the director. Works in a close and cooperative manner with Engineering and other studio personnel to achieve fully functional seamless production.

Task 1 – Setup and operation of cameras, monitors, cables, dollies, tripods, other associated equipment Task 2 – Operates equipment at direction of producer/director/BLM Lead.

6. Field/ENG/Cinema Camera Op/DP (Key Personnel):

Provides lead videography/director of photography (DP) services for video shoot. Responsible to interpret visually the story being captured through video imagery using a variety of cameras and techniques. Expert with operating cameras, utilizing correct camera, lens, and other ancillary gear to meet visual story requirements. Captures, names, manages data and video files in requested formats. Works in conjunction with Field Director/Producer to visualize and record enough images (B Roll) to tell story. Troubleshoots any video or monitoring issues that may come up during production. Works with other crafts including field audio and lighting and grips to achieve fully functional seamless production. BLM may elect to have Field ENG Camera Operator (OP)/DP provide own equipment (if available) for additional negotiated kit fee.

Task 1 – Setup and operation of cameras, cables, tripods, other associated equipment Task 2 – Operates equipment at direction of producer/director/BLM Lead.

7. Camera Shader/Video Technician:

Works in a close and cooperative manner with production engineers and other technicians in the setup and calibration of all cameras for a production. Technician “chip charts” cameras when necessary. Monitors and adjusts remote control panel (RCP) studio camera controllers for Iris, color, saturation, and other settings as needed. Uses eng/pov/robo camera menus, external frame syncs, color correctors, and other ancillary equipment as necessary to perform a matching seamless color/iris/paint look of all cameras on a particular show or event so they all match when cut together live or in post-production.

Task 1 – Setup and operation of cameras, cables, tripods, other associated equipment Task 2 – Works with lighting & camera technicians to achieve proper camera exposure, color balance through studio and field lighting conditions and camera controls.

Task 3 – Operates equipment at direction of producer/director/BLM Lead.

8. Live Graphics Operator:

Uses BLM provided Ross Expression live graphics system to create, build, edit, and run live graphics for a control room event. Uses BLM provided Ross Blackstorm Clips playout server to play out preproduced clips and video content. Take live on-air direction from the director to display and run pre-produced full-page/lower-third/bug graphics, interstitials, and short video clips as needed to achieve fully functional seamless production.

Task 1 – Setup and operation of graphics system and clips playout server and associated equipment Task 2 – Creation and loading of visual graphics, text and video content for event Task 3 – Operation and playback of graphics/video content at direction of producer/director/BLM lead.

Task 4 – Saving of all event information/graphic elements/video content as requested Task 5 – Strikes event

9. EIC/E1 (Engineer-in-Charge):

Responsible for setup and configuration of all studio/field/monitoring/transmission equipment needed to perform a fully functional and seamless production. Previous knowledge of BLM provided studio and engineering equipment plant highly desirable including but not limited to Hi-Definition Serial Digital Interface (HD-SDI) and Audio Engineering Society (AES) routers patch, frame synchronizers, triax/eng/pov/robo cameras, video switchers, audio mixers, fly packs, panels, and other ancillary equipment is a must. In performance of mission, EIC may have to trouble shoot and find creative work around due to equipment/cable failures or integration of different types/brands of equipment. Shall be able to create and terminate cables as needed and work and close and cooperative manner with event producer/director and/or BLM lead to achieve fully functional seamless production.

Task 1 – Setup and configuration of all associated electronic equipment associated with event Task 2 – Monitor and troubleshoot any issues that appear with media systems Task 3 – Start and monitor transmission signals and recording equipment Task 4 – Save all event configurations, information, and media as requested Task 5 – Strikes event (including leading crew in this task as needed)

10. E2 (Second Engineer or Engineer assist):

Assists E1/producer/director and/or BLM lead in setup and configuration of all studio/field/monitoring/transmission equipment needed to perform a fully functional and seamless production. In performance of mission, may have to trouble shoot and find creative work around due to equipment/cable failures or integration of different types/brands of equipment. Shall be able to create and terminate cables as needed and work in a close and cooperative manner with event producer/director and/or BLM lead to achieve fully functional seamless production.

Task 1 – Setup and configure all associated electronic equipment associated with event Task 2 – Monitor and trouble-shoot any issues that appear with media systems Task 3 – Start and monitor transmission signals and recording equipment Task 4 – Save all event configurations, information, and media as requested Task 5 – Strikes event (including leading crew in this task as needed)

11. Make-Up and Stylist (makeup kit included in rate):

Personnel provide own makeup kit as part of rate. Applies make-up and provides hair and style services and wardrobe advice to on-camera talent as needed for studio and field productions. Pays attention to how on-camera talent looks throughout production event and adjusts makeup, hair and wardrobe as needed. Notes wardrobe and look of talent for continuity purposes when event is multi-day (or otherwise as needed). Works with production team and other technicians to achieve fully functional seamless production.

Task 1 – Provide all associated tools and supplies Task 2 – Applies makeup, helps selects styles of clothes, styles hair, and supports talent with their on-camera appearance Task 3 – Monitors look of talent during event for appearance and continuity Task 4 – Strike all make-up/style associated supplies, equipment, and wardrobe. Assists on-camera talent with removal of makeup as needed.

12. Studio Floor Manager:

Acts as director’s eyes/ears in studio/on-set/in-classroom to help on-camera talent follow correct camera, hit marks, or hit cues. Floor manager follows along on event script or run down to help talent during complex productions and keeps track of usable takes during live-to-tape productions. Coordinates talent movement on and off set as needed and assists with other talent requests throughout the production day. Helps with placement of microphones and IFB when needed. Helps coordinate and track camera blocking when needed. Works with production team and other technicians to achieve fully functional seamless production.

Task 1 – Assists with setup of studio/set/location Task 2 – Provides guidance (at direction of Director) to all on-set activities for placement of cameras, talent, monitors Task 3 – Follows run of show and cues talent to cameras or spiked positions Task 4 – Strikes event

13. Studio Lightning and Set Technician/Gaffer:

Designs, sets up, and operates lighting for production events. Uses ladders and lifts when needed. Hangs and powers lights. Operates lighting board or portable dimmers. Uses C-stands, flags, scrims, silks, soft boxes, and other standard light equipment to add and remove light as needed to create a properly lit set for production purposes. Works in close coordination with video shader/engineer/utilities to achieve proper look as requested by producer/director and/or BLM lead. Monitors lighting during field production and makes adjustments when needed. Works with production team and other technicians to achieve fully functional seamless production.

Task 1 – Assesses studio/set/location for lighting needs Task 2 – Designs and sets up lighting and gaffer equipment as needed to provide proper looks of event at direction of producer/director/BLM lead Task 3 – Makes adjustments as necessary to any lighting or gaffing equipment throughout event Take 4 – Strikes event

14. Technical Director (Key Personnel):

Work with Ross Carbonite Video Switcher, AJA Frame Syncs, Pesa Router and other studio equipment to setup live wipe and multi-box effects to create live or live to tape look of production. Switches sources and activates keys and effects on director’s call to create visual vision of director. Works closely with video engineers to make sure incoming camera, graphic, remote, and other feeds are appropriately routed and configured. Sets up macros and e-mems as needed to achieve directors’ vision for how production will be cut during live or live to tape production. Coordinates cueing of recordings and iso feeds and any switches or effects displayed by on-set monitors or monitor walls. Assists director with overall communication to entire crew during production day and runs a full “Fax” check prior to production commencing. Works with production team and other technicians to achieve fully functional seamless production.

Task 1 – Gathers all info from producer/director/BLM lead in event requirements for use of switcher/digital video effects (DVE)/routers/monitor feeds etc.

Task 2 – Configures switcher and all associated equipment and effects for event Task 3 – Faxes (pre-checks) all visual equipment and cameras with operators and engineers Task 4 – Visually mixes all images produced from event in real time at direction of director Take 5 – Strikes event

15. Producer (Key Personnel):

For studio/field/classroom/in-person productions, provides standard producer roll including but not limited to: talking to and cueing talent through IFBs, creating and following event rundowns, writing, or editing script when needed, cueing the director to upcoming segments and/or remotes, and working with technicians to create appropriate graphics, video roll-ins, interstitials, or other elements to create a fully developed live or live to tape event. Provides feedback for talent/instructors on their organization and delivery of material. In the event of a Field Production, provides timelines, schedules, coordinates site visits, interviews, and when appropriate performs interviews. Directs field camera operations and DPs (Directors’ of Photography) in what visual materials to collect. In the event of post-production, provides guidance to graphics producers and editors in the creation and organization of audio and visual material to realize a fully finished media production that meets the needs of the intended audience in an effective and aesthetically pleasing format. In the case of a virtual production, provides pre and post event tracking of content, organization of rundowns and works with technical staff before during and after event to achieve a fully functional seamless production.

Task 1 – Gathers all info on requirements for event or production from director/BLM lead.

Task 2 – Organizes timelines, run of show, or other associated images, graphics, and documents to achieve fully functional seamless production Task 3 – Works with talent during event through organization, and on intercom to guide overall content flow of event Task 4 – Saves all event information as requested

16. Director (Key Personnel):

The Director is the contractor’s primary point of contact that maintains control and responsibility for all other contractor employees during call order performance. For Studio/field/classroom in-person productions provides overall guidance on look and feel of event production. Directs all technicians in what is needed from their craft to achieve overall production. Organizes rehearsals and provides feedback to SMEs, Producer, on-camera talent, after dry runs. Directs live events and “calls show” including directing camera operators where to point and focus, TDs when to switch cameras, graphics operators when to bring in and remove graphics, and audio mixers when to open and close microphones and cue other music or sound effects. In conjunction with Engineers and TDs and Tape operators plans out transmission paths, schedules, and isolation recordings of material.

Task 1 – Provides overall direction to crew on look and feel of event Task 2 – Assigns crew to positions for event Task 3 – Calls show providing real-time direction to all technicians on look and sound of show.

Task 5 – Provides guidance on strike of show as appropriate

17. Teleprompter Operator:

Works with Production team including subject matter experts (SMEs), on-camera talent, producer, director, and BLM lead to load and edit pre-scripted material into BLM provided teleprompter. Assists with rehearsals and makes adjustments and edits of material for better readability. Coaches on-camera talent in the use of a prompter when needed. Makes sure all text files are properly named, cued up, and marked up prior to live or live to tape event production. Operates prompter as talent needs to achieve seamless and natural delivery of material on and off camera. Works with production team and other technicians to achieve fully functional seamless production.

Task 1 – Gathers all info from producer/director/BLM lead in event requirements for scripting and teleprompting of information to talent.

Task 2 – Loads and edits all scripts and cues onto teleprompter Task 3 – Follows talent during scripted spoken segments with teleprompter equipment

18. Utility/Grip Works with all other technician crafts and assists with any general cable running, lighting, gaffing, set or equipment placement, movement, or connections or terminations as requested to perform a fully functional seamless production. Depending on show size, may be assigned to one or more departments or work helping all departments as needed.

Task 1 – Sets up equipment and cables at direction of BLM lead/engineers.

Task 2 – Monitors certain assigned equipment during event including cables, lighting or gaffing gear, cameras, dollies, or other equipment

19. Captioning/Transcription/File Conversion:

Provides live real-time captioning for live and live to tape events. Does preparation work as needed to pre-load names of presenters and other special language and acronyms for best overall viewer experience. Does minor revisions and quality control of live transcripts after event. Provides timely post event transcripts in requested formats including but not limited to .pdf, .doc, .scc, .srt,.vtt or other webvtt or requested (future) formats.

Task 1 - Gathers all info from producer/director/BLM lead of event requirements for real-time live captioning of event Task 2 – Provides live captions of event in whatever format needed

Task 3 – Checks post event transcript for obvious errors, saves all event information as requested, provided all transcript formats as needed

20. Male and Female Voiceover:

Provides voice over recordings of written material. At direction of producer/director/BLM lead and/or SMEs adjusts vocal delivery and pronunciation of words to invoke correct meaning of material. Recordings may take place at BLM, other studio, or other remote location while being monitored by BLM staff/specialists. and if remote, recorded files may need to be transmitted to BLM via electronic means.

Task 1 – Receives script and does research of content for spoken delivery Task 2 – Takes direction from producer/director and/or BLM lead in the style and vocal delivery of spoken material in real time while being recorded Task 3 - Saves and delivers all event information as requested

**Male And Female Voiceovers will be auditioned and selected at BPA Call Order level. (Note- Potential vendors shall be evaluated on the quality and reputation of the local talent agencies they have business relationship with.)

21. On-Camera Talent/Actor:

Works with event/production director to provide on camera moderation or roll acting on an as needed basis. Interprets scripts, takes direction and adjusts delivery of material to invoke correct meaning of material. Provides multiple takes when needed. Depending on type of project, talent/actors may be required to rehearse and memorize some material. Casting for talent/actors through a talent agency and auditions may be required at no cost to government.

Task 1 – Receives script and does research of content for on-camera performance of material Task 2 – Takes direction from producer/director and/or BLM lead in the style, interpretation, and delivery of material in real time while being recorded Task 3 - Saves and delivers all event information as requested

**On-Camera Talent/Actors will be auditioned and selected at BPA Call Order level.

22. Virtual Event Technician:

Provides real-time live virtual event support and direction for Teams, Zoom, and other platform Events. Depending on type of event and request, technician shall staff and participate in pre-event meetings, create event reservations and registration pages, provides registration reports, provides behind the scenes event logistics and troubleshooting, creates meetings rooms when needed, helps with connection issues, provides technical support to presenters and attendees, and provides post event reports. Works with BLM lead and event SMEs as needed to achieve a fully functional seamless production.

Task 1 – Gathers all info from producer/director/BLM lead in event requirements for virtual event

Task 2 – Provides guidance and expertise on large and small events. Troubleshoots in real time issues and performs corrections and on-the-fly training to executives, instructors, panelists, and participants on the operation of the platform.

Task 3 – Provides lead technical support of virtual platform during event including all troubleshooting Task 4 – Records event and provides recording with or without editing as requested

23. Video Editor/Graphics/Web Creator (Key Personnel):

Provides creative video editing, graphics, web and content at the direction of BLM lead and SME Staff. Receives broad ideas and video or graphics materials from BLM and produces visually pleasing layout, visuals, audio, and graphics to invoke effective and correct meaning of material. Technician shall provide revisions as requested and make corrections when needed to achieve vision of BLM for production. Technician shall be an expert in the use of such tools as the Adobe Creative suite, other graphics and web authoring tools as needed, and shall be a self-starter and problem solver in creating visuals and graphics to meet visual requirements. Technicians shall be required to provide their own video editing/graphics/web creator equipment unless otherwise noted.

Task 1 – Gathers all info and materials from producer/director/BLM lead on video project requirements and edit or graphic or web style needed Task 2 – Provides expertise and guidance on visual options Task 3 – Performs all graphic production, video editing, web page construction to meet project requirements Task 4 – Makes adjustments and drafts as needed to complete production Task 4 – Saves and delivers all project multimedia content, materials, drafts and final products, and other project information as requested

24. Writer/Script Supervisor

For studio/field/classroom/in-person productions provides standard writer roll including but not limited to: collecting information on content through various means including gather documents, background interviews, research, and other means. Organizing and writing outlines, concepts papers, and draft and final scripts. Working as a team member to pitch and adjust ideas in a close and collaborative manner with SMEs and internal and external clients. In the event of post-production, provides guidance and re-writes to graphics producers and editors in the creation and organization of audio and visual material to realize a fully finished media production that meets the needs of the intended audience in an effective and aesthetically pleasing format.

Task 1 – Gathers all info on requirements for event or production from director/BLM lead including but not limited to research, background interviews, periodicals, reviewing other relevant similar materials, and other means.

Task 2 – Organizes timelines, run of show, or other associated images, graphics, and documents to achieve fully functional seamless production Task 3 – Works with BLM lead/Producer/Director, SMEs and talent during event through organization, and on intercom to track script adherence, collect and distribute revisions, make on-set suggestions, and other related information.

25. On-Camera Extra/Background Actor:

Works with event/production director to provide background or not speaking roles for productions. Takes direction and adjusts non-verbal delivery of appearance to invoke correct meaning of material. Provides multiple takes when needed. Extras may be asked to provide one or two own casual or business casual clothing options when appearing on-camera. Any custom/uniform/personal protective equipment will be provided by the BLM when needed. Casting for talent/actors through a talent agency and auditions may be required at no cost to government.

Task 1 – Receives summary of extra or non-speaking on-camera role.

Task 2 – Takes direction from producer/director and/or BLM lead in the style, interpretation, and delivery of material in real time while being recorded Task 3 – Receives and wears any makeup, clothing, or other physical appearance adjustments required by project extras/non-speaking talent descriptions.

Task 4 – Returns any BLM furnished wardrobe/equipment once job is completed.

26. Camera Assist/Digital Media Wrangler

Provides assistance to director of photography (DP) and camera operators during video shoot. Expert with setting up camera including menus, lenses, tripods, gimbals, monitors, RF transmitters and receivers, and other ancillary gear to meet visual story capture requirements. Captures, names, manages data and video files in requested formats. Troubleshoots any video or monitoring issues that may come up during production. Works with other crafts including field audio and lighting and grips to achieve fully functional seamless production.

Task 1 – Assists DPs and camera operators with setup of cameras including camera menus, cables, tripods, media, and other associated equipment.

Task 2 – Inventories, moves, and adjusts equipment including cameras, media, lenses, digital data, and all associated ancillary gear as requested by Camera Op/DP/Director.

Task 3 – Acts as digital wrangler and organizer for all digital media and assets associated with project. Work includes organizing into folders, renaming, backing up, and quality control checking digital assets.

Task 4 – Strikes event.

27. Production Assistant (PA)

Provides general assistance to producer/director/DP or other designated position while in studio, on-set, and during pre and post production. General duties include coordination of crew and talent, errands, collection, and distribution of materials for various positions and departments. Position requires a general knowledge of a working set, studio, or other general media production or event. Works with other crafts including field audio and lighting and grips to achieve fully functional seamless production.

Task 1 – Provides general assistance to producer/director/DP or other key crew member.

Task 2 – Runs errands. Keeps track of crew, materials, schedules, and other associated production elements.

Task 3 – Other duties as assigned Task 4 – Strikes event.

Part 3: Special Requirements:

Additional Duties: All crafts may be required to perform other closely related duties as assigned up to 15% of their normal contracted work period. These special requirements are of the type typically expected of the commercial industry.

Examples:

-Camera operators assist with lighting or placing microphones (miking) on-set talent or interviewees in the field.

-Utilities reframing lockdown camera/s, positioning a light and other duties/functions that are considered closely related as per industry standards.

Credentials: Engineers, virtual meeting technicians, and others needing access to government computers or networks will be required to pass a National Agency Check Inquire (NACI) to be able to access government computer systems.

Part 4: Contractor furnished Equipment:

The equipment, hereunder referred to as “kit #”, will be required to be furnished by the contractor when specified in the Call Order. These kits may not be required for each Call Order.

Kit requests will most often be associated with above crafts 3,4,5, and 6. Offerors shall provide kit fee pricing in the equipment table in Section 2 Pricing Table of this solicitation.

Kit 1. Large cinema camera field kit with grip and electrical package:

- 2 cinema cameras shooting minimum 4k 10bit (Sony PXW-FX9 or Canon C300MKIII or equivalent)

- 2 tripods with fluid heads sized to handle built-out camera weight with accessories or (Sachtler or Manfrotto or equivalent)

- 2 cinema quality prime lens kits (24mm, 35mm, 50mm, and 85mm) or zoom lens kits (16-35mm, 24-70mm, and 70-200mm) or equivalent

- 2 shotgun mic (Sennheiser or Sony or equivalent)

- 2 lav mic system (Sennheiser/Wisycom/Lectrosonics or equivalent)

- Recording media for up to 10 hours of recording time at 4k 10bit per camera

- Minimum 3 light fixtures with variable color temperature control with stands, able to be powered both by ac power or gold or v mount batteries (LitePanel, Aputure or equivalent)

- Grip kit including multiple c-stands, flags, silks, scrims to meet standard interview setup requirements inside and outside (Matthews or equivalent)

- Assorted xlr, bnc and other cables, bags, covers, carts, and expendables (batteries/tape/etc.) for fully functional cinema field kit

Kit 2. Single cinema camera field kit package:

- 1 cinema camera shooting minimum 4k 10bit (Sony PXW-FX9 or Canon C300MKIII or equivalent)

- 1 tripods with fluid head sized to handle built-out camera weight with accessories or (Sachtler or Manfrotto or equivalent)

- 1 cinema quality prime lens kit (24mm, 35mm, 50mm, and 85mm) or zoom lens kit (16- 35mm, 24-70mm, and 70-200mm) or equivalent

- 1 shotgun mic (Sennheiser or Sony or equivalent)

- 1 lav mic system (Sennheiser/Wisycom/Lectrosonics or equivalent)

- Recording media for up to 10 hours of recording time at 4k 10bit per camera

- Assorted xlr, bnc, HDMI and other cables, bags, covers, carts, and expendables (batteries/media cards/etc.) for fully functional cinema field Kit

Kit 3. Grip and electrical package only:

- Minimum 3 light fixtures with variable color temperature control with stands, able to be powered both by ac power or gold or v mount batteries (LitePanel, Aputure or equivalent)

- Grip kit including multiple stands, c-stands, flags, silks, rags, and single/double scrims to accomplish standard interview setup requirements either indoors or outdoors (Matthews or equivalent)

- Assorted xlr, bnc, and other cables, bags, covers, carts, and expendables (batteries/tape/etc.) for fully functional interview field lighting and grip kit

Kit 4. Video monitoring kit:

- Video monitoring kit including video transmitter/receiver package (TeraDek 500-foot range or equivalent)

- Director’s monitor cage with hand grips (Wooden or equivalent)

- Handheld 7” video monitor (SmallHD 703 monitor or equivalent)

- Assorted cables and batteries to make fully functional wireless video monitoring system from primary camera to producer

Kit 5. Large field audio kit:

- 6 Track recorder – (Sounds Device or equivalent)

- 4 Wireless transmitters packs (Wisycom/Lectrosonics or equivalent)

- 4 Wireless receiver packs (Wisycom/Lectrosonics or equivalent)

- 4 Lav mics (Sanken CosD11 or equivalent)

- 2 Handheld mics (Electro-Voice RE50B or equivalent)

- 2 Shotgun mics (Schoeps CMIT 5U or equivalent)

- 2 IFBs (Lectrosonics or equivalent) for wireless monitoring

- 2 BoomPoles (PSC or K-Tek or equivalent up to 8’)

- 3 Sony headphones

- 4 Timecode generators receivers (Besto Boxes or equivalent)

- 2 Smart slates (Denecke or equivalent)

- 2 Carts

- Assorted xlr, bnc, and other cables, bags, covers, and expendables (batteries/tape/sound blankets/etc.) for fully functional field audio kit

6. Small field audio kit

- 4 Track recorder – (Sounds Device or equivalent)

- 2 Wireless transmitters packs (Wisycom/Lectrosonics or equivalent)

- 2 Wireless receiver packs (Wisycom/Lectrosonics or equivalent)

- 2 Lav mics (Sanken CosD11 or equivalent)

- 2 Handheld mics (Electro-Voice RE50B or equivalent)

- 1 Shotgun mic (Schoeps CMIT 5U or equivalent)

- 2 IFBs (Lectrosonics or equivalent) for wireless monitoring

- 1 BoomPole (PSC or K-Tek or equivalent up to 8’)

- 3 Sony headphones

- 2 Timecode generators receivers (Besto Boxes or equivalent)

- 1 Smart slate (Denecke or equivalent)

- 1 Cart (production cart)

- Assorted xlr, bnc, and other cables, bags, covers, and expendables (batteries/tape/sound blankets/etc.) for fully functional field audio kit

Part 5: Government Furnished Property (GFP)

The determination of Government Furnished Property and Information shall be made at the BPA Call Order level and incorporated within the statement of work.

Part 6: Period of Performance:

The period of performance for this requirement is a base year and four (4) option years. The estimated periods of performance are as follows:

Base Year:

Option Year 1:

Option Year 2:

Option Year 3:

Option Year 4:

July 24, 2023 – July 23, 2024 July 24, 2024 – July 23, 2025 July 24, 2025 – July 23, 2026 July 24, 2026 – July 23, 2027 July 24, 2027 – July 23, 2028

Part 7: Place of Performance:

Bureau of Land Management, National Training Center 9828 N 31st Ave.

Phoenix, AZ, 85051

In some instances, the contractor might be required to travel to field locations to be determined within the continental US at call order level. All travel costs will be negotiated at Call Order level and be in accordance with the Federal Travel Regulations (FTR) and Federal Acquisition Regulation (FAR) 31.205-46.

Virtual Production may be performed from remote locations when deemed appropriate by BLM.

Part 8: Schedule:

Production shall typically be scheduled Monday through Friday, 07:00 am to 5:00 pm Phoenix, Arizona local time. Reporting “Call Times” for contractors will vary with BPA Call. Not all call times will be known at the time of BPA Call execution but will be provided no less than 48 hours before reporting date.

Additional hours may be available at the request of BLM and the availability of the contractor.

Replacements for already awarded events shall be with candidates that are equally qualified and approved by BLM.

Federal Holidays

It is highly unlikely that a project falls on a federal holiday, but if determined necessary, rates will reflect commercial practices. Holidays observed by the contractor shall include all legal holidays observed by the Government. These holidays are:

New Year's Day Martin Luther King Day Columbus Day President's Day

Memorial Day Independence Day Labor Day Veterans' Day

Thanksgiving Day Christmas Day Juneteenth

Part 9: General Training

The Contractor is responsible for all training for its employees except when training can only be provided by the BLM.

Part 10: Identification of Contractor Employees

All contract personnel are required to identify themselves as contractors. Whether attending meetings or working in other situations where their contractor status is not obvious to third parties, they must make their status known to avoid creating an impression that they are Government employees.

Section 2: Pricing Table

Provide a labor category price list for each labor category applicable to this procurement. Include rates for base year and all option years. The BLM appreciates any available discounts.

Offeror’s quoted fixed-priced full day (10 hours), half day (5 hours), and over time (hourly) rates shall include, but are not limited to, all labor, equipment (including those identified in section 4 of the statement of work, materials, and State and Federal taxes including worker’s compensation.

Table 1: Labor Category Rates # BLM Labor Category Hours Base

Year Rate

Option Year 1 Rate

Option Year 2 Rate

Option Year 3 Rate

Option Year 4 Rate

1 A1 Lead Audio Technician Full day 1 A1 Lead Audio Technician Half day 1 A1 Lead Audio Technician Over time 2 A2 Assistant Audio Technician Full day 2 A2 Assistant Audio Technician Half day 2 A2 Assistant Audio Technician Over time 3 Field ENG Audio Technician Full day 3 Field ENG Audio Technician Half day 3 Field ENG Audio Technician Over time 4 Camera Jib Owner/Operator (jib included in rate) Full day 4 Camera Jib Owner/Operator (jib included in rate) Half day 4 Camera Jib Owner/Operator (jib included in rate) Over time 5 Camera Operator/Studio Technician Full day 5 Camera Operator/Studio Technician Half day 5 Camera Operator/Studio Technician Over time 6 Field ENG Camera Op/DP Full day 6 Field ENG Camera Op/DP Half day 6 Field ENG Camera Op/DP Over time 7 Camera Shader/Video Technician Full day

7 Camera Shader/Video Technician Half day 7 Camera Shader/Video Technician Over time 8 Live Graphics Operator Full day 8 Live Graphics Operator Half day 8 Live Graphics Operator Over time 9 EIC/E1 (Engineer-in-Charge) Full day 9 EIC/E1 (Engineer-in-Charge) Half day 9 EIC/E1 (Engineer-in-Charge) Over time 10 E2 (Second Engineer or Engineer assist) Full day 10 E2 (Second Engineer or Engineer assist) Half day 10 E2 (Second Engineer or Engineer assist) Over time 11 Make-Up and Stylist (makeup kit included in rate) Full day 11 Make-Up and Stylist (makeup kit included in rate) Half day 11 Make-Up and Stylist (makeup kit included in rate) Over time 12 Studio Floor Manager Full day 12 Studio Floor Manager Half day 12 Studio Floor Manager Over time 13 Studio Lightning and Set Technician

(LD or Lighting Director) Full day

13 Studio Lightning and Set Technician (LD or Lighting Director)

Half day

13 Studio Lightning and Set Technician (LD or Lighting Director)

Over time

14 Technical Director Full day 14 Technical Director Half day 14 Technical Director Over time 15 Producer Full day 15 Producer Half day 15 Producer Over time 16 Director Full day 16 Director Half day 16 Director Over time

17 Teleprompter Operator Full day 17 Teleprompter Operator Half day 17 Teleprompter Operator Over time 18 Utility/Grip Full day 18 Utility/Grip Half day 18 Utility/Grip Over time 19 Captioning / Transcription / File Conversion Hourly 19 Captioning / Transcription / File Conversion Over time 20 Male and Female Voiceover Hourly 20 Male and Female Voiceover Over time 21 On-Camera Talent/Actor Full day 21 On-Camera Talent/Actor Half day 21 On-Camera Talent/Actor Over time 22 Virtual Event Technician Full day 22 Virtual Event Technician Half day 22 Virtual Event Technician Over time 23 Video Editor / Graphics / Web Content Creator Hourly 23 Video Editor / Graphics / Web Content Creator Over time 24 Writer/Script Supervisor Full day 24 Writer/Script Supervisor Half day 24 Writer/Script Supervisor Over time 25 On-Camera Extra/Background Actor Full day 25 On-Camera Extra/Background Actor Half day 25 On-Camera Extra/Background Actor Over time 26 Camera Assist/Digital Media Wrangler Full day 26 Camera Assist/Digital Media Wrangler Half day 26 Camera Assist/Digital Media Wrangler Over time 27 Production Assistant (PA) Full day 27 Production Assistant (PA) Half day 27 Production Assistant (PA) Over time

Provide fixed-rate pricing for kits that may be required to be furnished by the contractor at Call level in accordance with Section 4 of the Statement of Work.

Table 2: Kit Equipment Rates Equipment Daily Rate Weekly Rate

Kit 1 Kit 2 Kit 3 Kit 4 Kit 5 Small Field Audio Kit

Section 3: Clauses and Provisions

Clauses

52.252-2 Clauses Incorporated by Reference (Feb 1998)

This contract incorporates one or more clauses by reference, with the same force and effect as if they were given in full text. Upon request, the Contracting Officer will make their full text available. Also, the full text of a clause may be accessed electronically at this/these address(es):

www.acquisition.gov

FAR

Reference

Description Dates

52.203-3 Gratuities Apr 1984 52.204-4 Printed or Copied Double-Sided on Postconsumer Fiber Content

Paper May 2011

52.204-9 Personal Identity Verification of Contractor Personnel Jan 2011 52.204-13 System for Award Management Maintenance Oct 2018 52.204-18 Commercial and Government Entity Code Maintenance Aug 2020 52.204-19 Incorporation by Reference of Representations and Certifications Dec 2014 52.204-25 Prohibition on Contracting for Certain Telecommunications and

Video Surveillance Services or Equipment Nov 2021

52.209-9 Updates of Publicly Available Information Regarding Responsibility Matters

Oct 2018

52.212-4 Contract Terms and Conditions – Commercial Products and Commercial Services

Dec 2022

52.232-40 Providing Accelerated Payments to Small Business Subcontractors

Mar 2023

52.237-2 Protection of Government Buildings, Equipment, and Vegetation Apr 1984

CLAUSES INCORPORATED BY FULL TEXT

52.212-5 Contract Terms and Conditions Required to Implement Statutes or Executive Orders – Commercial Products and Commercial Services (Jun 2023)

(a) The Contractor shall comply with the following Federal Acquisition Regulation (FAR) clauses, which are incorporated in this contract by reference, to implement provisions of law or Executive orders applicable to acquisitions of commercial products and commercial services:

(1) 52.203-19, Prohibition on Requiring Certain Internal Confidentiality Agreements or Statements (JAN 2017) (section 743 of Division E, Title VII, of the Consolidated and Further Continuing Appropriations Act, 2015 (Pub. L. 113-235) and its successor provisions in subsequent appropriations acts (and as extended in continuing resolutions)).

https://www.acquisition.gov/far/part-52#FAR_52_203_19

(2) 52.204-23, Prohibition on Contracting for Hardware, Software, and Services Developed or Provided by Kaspersky Lab and Other Covered Entities (NOV 2021) (Section 1634 of Pub. L. 115-91).

(3) 52.204-25, Prohibition on Contracting for Certain Telecommunications and Video Surveillance Services or Equipment. (NOV 2021) (Section 889(a)(1)(A) of Pub. L. 115-232).

(4) 52.209-10, Prohibition on Contracting with Inverted Domestic Corporations (NOV 2015).

(5) 52.232-40, Providing Accelerated Payments to Small Business Subcontractors (MAR 2023) ( 31 U.S.C. 3903 and 10 U.S.C. 3801).

(6) 52.233-3, Protest After Award (AUG 1996) ( 31 U.S.C. 3553).

(7) 52.233-4, Applicable Law for Breach of Contract Claim (OCT 2004) (Public Laws 108-77 and 108-78 ( 19 U.S.C. 3805 note)).

(b) The Contractor shall comply with the FAR clauses in this paragraph (b) that the Contracting Officer has indicated as being incorporated in this contract by reference to implement provisions of law or Executive orders applicable to acquisitions of commercial products and commercial services:

X (1) 52.203-6, Restrictions on Subcontractor Sales to the Government (JUN 2020), with Alternate I (NOV 2021) ( 41 U.S.C. 4704 and 10 U.S.C. 4655).

__ (2) 52.203-13, Contractor Code of Business Ethics and Conduct (NOV 2021) ( 41 U.S.C. 3509)).

__ (3) 52.203-15, Whistleblower Protections under the American Recovery and Reinvestment Act of 2009 (JUN 2010) (Section 1553 of Pub. L. 111-5).