Section_J_-_Att_No__002_SOW.pdf

RFQ: 140P8622Q0071

Section J - Attachment No. 002

NIKE Missile Site SF-88 in Marin Headlands, Golden Gate NRA

Introductory Video Production

Statement of Work

I. BACKGROUND

During the tense years of the Cold War, school children were trained to “duck and cover,” people-built bomb shelters in their backyards, and the news was full of brinkmanship between the US and the USSR. As the Cold War heated up in the early 1950s, a sense of imminent danger and fear of Soviet nuclear attack entered Americans’ daily lives. In response, from 1953 to 1974, the US Army constructed a nationwide system of Nike missile sites. At almost 300 locations across the country, Nike missiles carrying nuclear warheads were the last line of defense against potential attack from Soviet bombers. Nike Missile Site SF-88 in the Marin Headlands is the only restored site open to the public.

After WWII, a new generation of high-altitude bombers emerged, planes that could carry nuclear weapons and fly higher and faster than ground-based artillery could reach. To counter this threat, the army developed radar directed guided missiles. The new weapon, named Nike after the Greek goddess of victory, was intended to defend American cities and military bases against attack by the Soviet Union, and later, Communist China. One of the Marin

Headlands’ two Nike missile sites (there were twelve in the San Francisco defensive area), SF-88 opened in 1955 and was initially armed with slender Nike-Ajax missiles. In 1959, the army introduced the second-generation Nike- Hercules in response to Soviet bombers’ increased range. As technological advances in weaponry speeded up, intercontinental ballistic missiles

(ICBMs) replaced aircraft as the major threat, and the Nike-Hercules became obsolete. SF-88 was closed in 1974 and not long thereafter, was transferred to the National Park Service. The Nike

Missile Site is free and open to the public thanks to many dedicated volunteers. Ranger and docent tours are offered regularly.

Not only is the missile site a reminder of a tumultuous time, it also represents the end of more than two centuries of military coastal-defense fortifications here. Now part of Golden Gate

National Recreation Area, one of the world’s largest urban national parks, Nike Missile Site SF-88 is a dramatic symbol of the nuclear arms race, a central element of the Cold War. During ranger or docent-led programs, as the museum missiles are slowly lifted from their underground berths, the devastation they imply reminds visitors of an ongoing ethical debate: is the concept of

“mutual assured destruction” effective in preventing attacks by one country on another, and is it justified? What are the trade-offs between safety and freedom? security and privacy? And what are we willing to sacrifice for our perceived security?

II. PURPOSE

The purpose of this contract is to provide all audiovisual services to create one approximately 8 minute, high- definition (HD), introductory film for the NIKE Missile SF-88 Site in the Marin

Headlands, a part of the Golden Gate National Recreation Area (GOGA). Facilitated tours will provide our visitors with the “what” of the site- the physical plant, the historic artifacts, daily life of the soldiers who worked there etc. This introductory video is intended to inform them of the

“why” of the site. It will place the Nike Missile system in its historical context and provide connections to the experiences of current visitors. The film should serve as a lead into contemporary themes, common to the historical and modern-day context.

III. SCOPE OF WORK

The contractor shall provide all services including labor, materials, subject matter research, equipment, facilities, fees, and travel to produce one approximately eight minute long high-definition (HD) introductory interpretive film with Audio Description (AD), Subtitles for the Deaf and Hard of Hearing (SDH) Closed Captions; and copies of digital files for the Golden Gate

National Recreation Area, headquartered in San Francisco, CA.

Requirements

The following shall be demonstrated and reflected in the Treatment and Production Plan, and through all phases of the project.

A. Technical Requirements:

1. Video Format: High-Definition (HD) 1920x1080 pixel resolution Length: approximately

8 minutes

2. Audio: Minimum of 48kHz/16bit sampling rate and Stereo output Music: may also be appropriate but is not required

3. Accessibility: Audio Description (AD), On-screen Subtitles for the Deaf and Hard of

Hearing (SDH), and Closed Captions (.srt). NOTE: Audio Description may be written into the script, or it may be a separate audio track for broadcast onsite.

4. Copies of all digital files, both final edited version for reproduction and archiving, and all source files used to build the final project

B. Overview of Production Requirements:

1. Graphics: basic title graphics are required, no additional 2-D or 3-D graphics or animations.

2. Interviews: at least five people to represent diverse voices, not required to appear on camera. Many audio recordings of past and present have already been recorded.

3. Narration: both on screen and voice over narration is anticipated. All narration shall be NPS staff.

4. On site recording: it is anticipated that a shot list will be developed to fit within a day or two of on-site shooting. The footage to capture might include modern footage of the site, it’s equipment in action, it’s context within the larger Marin Headlands Park setting, and an open house with volunteers and visitors using the site. Additionally, NPS will make available a uniformed NPS ranger familiar with the site for narrating intro and outro segments: demonstrating tour components, use of equipment, and possibly facilitating a school group visit. There is also a cadre of dedicated volunteers who maintain and interpret the site, most of whom served at this or other NIKE sites.

5. Audio: emphasis shall be on natural sounds, historical footage, or modern recordings.

Some audio may be recorded live on site- the launch warning klaxon, hatch doors, missile elevator, and M36 launcher assembly- all function, and all have loud and distinctive sounds. A musical score may also be appropriate but is not required.

6. Archival material: the GOGA (Golden Gate) Archives contains numerous historical artifacts, photos, printed materials, operations manuals, video, and audio recordings.

Many Living History audio interviews with people who served at Nike Missile sites around the country (and some at SF-88) are available.

7. Historical films: the Department of Defense (and both the Army and Air Force), as well as the Civil Defense Agency created short public service style films for general release. Some were shown in movie theaters, similar to news reels of the day, some were shown on television. Others were distributed on 16mm film to schools or other civic organizations. All are in the public domain, and we have approximately 2 hours of them on DVD and as digital files. Some are live action, some animated (Bert the

Turtle Ducks and Covers) and others include footage of nuclear tests.

C. Draft Themes Outline

Essential Questions

I. How much are we willing to pay, monetarily and through loss of our rights and life, for our personal safety and/or national security?

II. How do we balance security against freedom? Safety against privacy?

III. How much should civilians know about their government?

Contradictions

I. Nuclear arms as protection versus MAD (Mutually Assured Destruction)

II. Nuclear missiles in a major population center

III. Missile sites in a national park

IV. Technology today vs. then

Political Setting Of Cold War

I. The rise of communism

II. Russia as a superpower – technological/arms race

III. Korea and the Domino effect

IV. The cost of the arms race

Cold War Emotional Setting- Fear

I. Mutual Destruction of civilization possible

II. MAD only hours away

III. Civil defense drills

IV. Standoffs between world powers always looming

V. Secrecy around weapons

VI. Anti-war sentiment

Weapons of the Nike Era

I. Soviet and US bombers with nuclear payloads

II. Guided surface to air missiles

III. Movement toward ICBMs

Physical Setting of the Nike Sites

I. Located near major population centers and military targets

II. Must have long visual range for tracking and targeting

People That Operated the Nike System

I. Young soldiers and officers

II. Expendable

III. High security

End Of the Nike System

I. Move to ICBM facilities in remote locations

II. Phased closure

What’s Left of the System

I. SF-88 as the only “museum” site in the US today

II. It is the remnant of approximately 265 sites in the US and almost 30 sites around the world

III. Many people do not know what the ruins represent and did not even know at the time what the sites were

Relevancy To Today’s World

I. What has changed? What is still the same?

D. Style & Approach

General Style Requirements:

1. The film shall be interpretive in approach, drawing primarily from archival materials-photos, historical films, and living history audio interviews.

2. Use creative techniques that connect viewers emotionally and intellectually to the meanings and significance of the NIKE Missile sites. This includes NIKE Missile Site SF-88 specifically, as well as NIKE Missile Sites across the country and around the world.

3. Some new footage will be shot on site setting the current context of the site. It is expected that an NPS uniformed narrator will be appropriate.

4. The film is intended to set the context of the Nike site both historically, and as it is restored and maintained within a National Recreation Area.

5. The film will provide a window into the Cold War era in the United States, and the parallels and differences between the political climate then and now.

6. The stylistic treatment shall be evergreen, that is, it shall not include material that will require updating soon.

E. NPS Contacts and Communications

Communications should be addressed to both the Contracting Officers Representative (COR) and the Project Manager, at a minimum. Final direction, within the COR’s authority, will come from the COR.

Contracting Officers Representative:

Michael Faw

Accessibility and Exhibit Specialist

Division of Interpretation & Education Golden

Gate National Recreation Area

Fort Mason, Building 201

San Francisco, CA 94123 michael_faw@nps.gov

(c) 415-272-1449

(w) 415-561-4736

Project Manager:

Maya Rodriguez

Visual Information Specialist - Media Team Lead mailto:michael_faw@nps.gov

Division of Interpretation & Education

Golden Gate National Recreation Area

Fort Mason, Building 201

San Francisco, CA 94123 maya_rodriguez@nps.gov

(c) 415-423-7827

(w) 415-561-4783

IV. Project Planning

A. Project Planning and Management:

The Contractor shall:

1. Produce a detailed, complete overall Project Schedule listing all submittals and review times, site visits, and closeout submittals. The contractor‐provided project schedule shall be submitted to the COR for review and approval within 10 workdays after the post award conference call/meeting. The contractor shall update the approved schedule and resubmit to the COR as needed over the life of the project.

2. Track work progress to ensure that the project is completed according to the schedule. Coordinate and confirm the dates for all submittals and meetings with the

COR.

3. Provide quality control to ensure that all elements of project work meet the requirements of the contract specifications as follows:

a) Inform the COR of any issues that could affect work quality or schedule.

b) Ensure that all work not acceptable or compliant with the specifications is corrected prior to review by the COR.

4. Facilitate Progress Meetings: Initiate, participate, and provide the agenda for biweekly telephone conference progress meetings with the contractor and the NPS.

Submit meeting notes no later than five days post meeting.

B. Pre‐Production Phase

Work performed during the Pre-Production phase centers on ensuring the project is logically structured and its goals are understood and realistically attainable within the budget, schedule, and other specified parameters.

Work in this phase shall include:

1. Post award conference call or meeting

a) Develop a rough schedule for the different phases of the project;

b) Discuss topics, themes, and other information necessary to develop the treatments for the video.

mailto:maya_rodriguez@nps.gov

2. Travel, Meetings, and Presentations, some of which will be in person and some of which will be virtual. The NPS uses MS Office 365 including Teams. The Project

Manager will set up a Teams channel with the capability of Team chat, video meetings, calendaring, and file uploads.

a) Prepare and submit a Trip Report for any in person onsite meetings digitally;

b) Prepare and submit meeting agendas in advance of meetings, and meeting minutes afterwards; Prepare and submit written response to COR review comments digitally.

C. Treatments

The Contractor shall first develop and submit 3 possible stylistic/narrative approaches to the project.

Each should be no more than 1 to 2 pages in length and may reference exiting footage to demonstrate look and feel.

Based on feedback from the NPS production team, the Contractor shall prepare a comprehensive

Treatment that reflects the in-depth discussions between the contractor, park staff, and COR during the post award conference call or meeting, and the contractor’s research.

1. The Treatment shall include the following:

a) Sources for program/content research;

b) Description of scenes, locations, and graphics, with sufficient detail to provide a sense of the proposed production;

c) Identification of all filming locations;

d) Stock footage and images (with descriptions and sources) proposed for the Production;

e) Proposed backdrop(s), style, and “look” for interview filming;

f) In cooperation with NPS, determine which NPS employees will be on camera or off camera in voiceover;

g) Proposed production techniques, for example, specialized cameras/techniques;

h) Proposed production schedule.

2. Accessibility

Audio Description (AD) and captions in Chinese, Spanish and English shall be required for all media, and shall meet the standards established in the Programmatic Accessibility Guidelines for

National Park Service Interpretive Media (full document available at https://www.nps.gov/subjects/hfc/accessibility.htm Chapter 3 on Audiovisual Programs and

Tour).

Audio description audibly describes visual content important to understanding the content and context of a program. People who are blind or have low vision are the primary audience, but audio description can also be used by people who have print disabilities or auditory learning styles. Audio description provides the viewer with information that further describes the visual https://www.nps.gov/subjects/hfc/accessibility.htm content not provided in the primary audio track and is a typically a separate audio track synchronized with the program’s primary audio track.

a) All Scripts and edits required under this contract shall be paced to accommodate a secondary AD narration track. The Scriptwriter shall incorporate “natural pauses” where no primary narration is spoken, into the script -OR- the script must be written so that full and complete audio description of images, people, and visual elements are described within the narration. The latter is preferred. Regardless of the chosen approach, the

Contractor shall provide all Audio Described content;

b) Three Closed Captioned .SRT files shall be produced with captions in English, Spanish, and

Chinese. These versions will be delivered online. The NPS shall be responsible for obtaining all Spanish and Chinese translations, and provide them to the Contractor;

c) A final version with Open Captions in English shall be produced for delivery at the Nike

Missile site on a large video monitor. This version will play on a continuous loop as an introduction for all visitors;

3. Scripts

For each video program, the contractor shall develop and submit, digitally, a shooting script for each location shoot no later than 14 calendar days prior to the start of filming according to the following requirements.

a) Includes specific shots to be acquired based on the latest approved draft;

b) Interviews to be acquired;

c) Recommendation for or against narration;

d) Scripts shall be created in Microsoft Word and presented in a two‐column format with numbered scenes, visual information, and cueing in the left column; and narrative dialogue, and sound effects in the right column;

e) All pages shall be numbered;

f) The script cover shall contain the program title, date, client organization and address, and the Contractor’s name, address, and telephone number;

g) After receipt of COR comments for each draft script, prepare and submit written response to COR review comments digitally;

h) Scripts shall incorporate all required, agreed upon changes; multiple drafts may be required until a final script is approved by the COR.

4. Casting

a) Contractor shall work with NPS to determine cast for each short. Professional actors are not required. It is intended that park staff would be interviewed and used to provide all of the narration and action.

D. Production Phase Work performed during the Production phase centers on the acquisition of media and other supporting material. The following shall be the required submittals during this phase for all media:

1. Filming Schedule

The Contractor shall work with NPS to establish a filming schedule. The final schedule will be submitted, digitally, for each location shoot no later than 14 calendar days prior to the start of filming.

The Filming Schedule will include:

a) Location(s) and time(s) for filming

b) Scenes to be filmed at each location with script references

c) Cast involved in the shoot

d) Contractor’s emergency contact information

2. Principal Photography

After each location shoot and interview filming session, submit all footage and footage logs for review. Footage shall be submitted as digital files on two identical hard drives for reference and review. All synchronous audio shall be included with digital files. Footage logs shall be submitted digitally. The requirements for filming shall be:

a) Footage shall originate in a professional, tapeless, high-definition format(s) or higher resolution format/Codec preapproved by the COR;

b) The frame rate for all video products shall be 23.97P (24P);

c) All digital files shall be backed up by the contractor on redundant hard drives;

d) All footage shall be logged. Logs shall include:

i. Date of filming

ii. Location of filming

iii. Description of scenes including any discrete scene numbers

iv. Camera used

v. Type of audio recorded

vi. Other information pertinent to identifying the footage

vii. Prepare and submit written response to COR review comments digitally.

3. Sound Recording

a) After each location shoot and interview filming session, submit all sound logs for review digitally;

b) Wild and sync sound shall be recorded throughout filming and shall be included in the final edited production when appropriate;

c) All audio shall be digitally recorded with a sampling rate of 48kHz (kilohertz) or better and a bit rate of 16 bits or better;

d) Sound shall be recorded on professional digital recorders.

e) All sound recordings shall be logged. Logs shall include:

i. Date of filming

ii. Location of filming

iii. Description of scenes including any discrete scene numbers

iv. Name of person/character speaking

v. Type of audio recorded (wild, background, sync)

vi. Other information pertinent to identifying the audio recordings

vii. Prepare and submit written response to COR review comments digitally.

4. NPS Release Form and License Agreements

a) The use of the National Park Service Release Form is mandatory for all cast appearing in or providing content for all media produced. See NPS Release Form;

b) For restricted, copyrighted material used in the productions, the contractor shall clear and negotiate price, terms, and conditions of all elements for use, including all rights with publishers and copyright holders; and pay all costs and fees.

c) Licenses with indemnification clauses signed on behalf of the National Park Service shall not be accepted;

d) All content shall have the appropriate documentation of the associated use rights. Any content requiring a license or permission shall have the signed license agreement or grant of permission to use. All open source or public domain sources shall come with documentation reflecting the open nature of the content;

e) Contractors shall not assume that government‐furnished images or other project planning partners are copyright‐free; contractors shall verify each source and its copyright status;

f) Unless otherwise specified in an individual task order, the minimum requirements for all licensed content are onetime, nonexclusive use rights for the lifetime of the project to display publicly and display on the internet;

g) Prepare and submit written response to COR review comments digitally.

E. Postproduction Phase Work performed during the Postproduction phase begins after all media elements have been acquired, and ends with the submittal of Final Deliverables.

The following tasks shall be required during this phase for all media:

1. Submit a Rough Cut and corresponding Edit Script digitally in accordance with the following requirements:

a) Rough cut and edit script shall include enough of the structure and content to evaluate the validity of the approach and to determine if changes are needed to enhance clarity and strengthen the goals and objectives of the program;

b) Prepare and submit written response to COR review comments digitally.

2. Fine Cut and Edit Script

Submit Fine Cut edits, each cut’s corresponding edit script, and a draft document of production credits in the latest version of Word, digitally, in accordance with the following requirements:

a) Fine Cut shall contain final narration, a selection of approved composer’s music, sound effects, photographs, stock footage, graphic images, and production credits;

b) Prepare and submit written response to COR review comments digitally.

3. Revised Fine Cut and Edit Script

Submit Revised Fine Cut edits, each cuts corresponding edit script, and a document with final production credits, digitally, in the latest version of Word in accordance with the following requirements:

a) Revised Fine Cuts, edit scripts, and production credits shall incorporate the required, agreed upon changes from the Fine Cut stage;

b) Prepare and submit written response to COR review comments digitally.

4. Review and Revision of Accessibility Components

Submit Final Revised Fine Cut with captions and audio description, each cuts corresponding edit script, digitally, in the latest version of Word in accordance with the following requirements:

a) Captions in English, Spanish, and Chinese shall be accurate and meet guidelines described in the Programmatic Accessibility Guidelines for National Park Service Interpretive Media

(Attachment A);

b) Audio description shall be written by a professional audio describer pre‐approved by the

COR and shall meet guidelines described in the Programmatic Accessibility Guidelines for

National Park Service Interpretive Media (Attachment A).

5. Slates and Labeling for Program Tape Masters

All slates and labeling for master tapes, discs, and other digital sources produced under this contract shall be formatted as follows:

National Park Service

Four Letter Park Acronym e.g. GOGA

Title of Program As determined during production

TRT: XX:XX e.g. 21:27; total running time of the Program

Audio Configuration e.g. mono, stereo, 5.1 surround

Caption & Audio Description Information e.g. SDH; AD on Channel 4

Production Company Contractor’s name

Mastering Date final masters were produced

V. DELIVERABLES AND DESTINATION POINT

Upon completion of the project, the following program media shall be submitted to the COR:

1. A hard drive with the following items:

a) Digital file of final film in High Definition (HD)

b) Digital files of final film with open captions in High Definition (HD)

c) Digital files of final clips in High Definition (HD)

d) All caption files in .SRT file format (English Spanish Chinese)

e) Final Audio Description track and all audio description audio files

f) All original audio sources, labeled, with logs

g) All original or raw footage direct from camera in native format, labeled, with logs

h) All final scripts

i) NPS release forms, license agreements for restricted materials, and identification of public domain materials All other documents and logs

2. All deliverables shall be sent to the COR:

Michael Faw Accessibility and Exhibit Specialist Division of Interpretation & Education Golden Gate National Recreation Area Fort Mason, Building 201 San Francisco, CA 94123 michael_faw@nps.gov

(c) 415-272-1449

(w) 415-561-4736 National Park Service U.S. Department of the Interior mailto:michael_faw@nps.gov