Sol_140P1120Q0049.pdf

140P1120Q0049

1. REQUEST NO.

5a. ISSUED BY

NAME

a. NAME

c. STREET ADDRESS

d. CITY

10. PLEASE FURNISH QUOTATIONS TO

THE ISSUING OFFICE IN BLOCK 5a ON

OR BEFORE CLOSE OF BUSINESS (Date)

2. DATE ISSUED 3. REQUISITION/PURCHASE REQUEST NO. 4. CERT. FOR NAT. DEF.

UNDER BDSA REG. 2

AND/OR DMS REG.1

RATING

6. DELIVERY BY (Date)

7. DELIVERY

9. DESTINATION

a. NAME OF CONSIGNEE

b. STREET ADDRESS

PAGE OF PAGES

5b. FOR INFORMATION CALL: (No collect calls)

TELEPHONE NUMBER

AREA CODE NUMBER

8. TO:

b. COMPANY

e. STATE f. ZIP CODE

c. CITY

d. STATE e. ZIP CODE

IMPORTANT: This is a request for information, and quotations furnished are not offers. If you are unable to quote, please so indicate on this form and return it to the address in Block 5a. This request does not commit the Government to pay any costs incurred in the preparation of the submission of this quotation or to contract for supplies or services. Supplies are of domestic origin unless otherwise indicated by quoter. Any representations and/or certifications attached to this Request for Quotations must be completed by the quoter.

11. SCHEDULE (Include applicable Federal, State and local taxes)

THIS RFQ

REQUEST FOR QUOTATION

(THIS IS NOT AN ORDER)

IS IS NOT A SMALL BUSINESS SET ASIDEX

07/29/2020 0040486915

1 112

67 Mather Place IDC Building Harpers Ferry WV 25425

NPS, HFC - Acquisition Management 02/15/2023

NPS, Harpers Ferry Center

67 Mather Place

Harpers Ferry

WV 25425

304 535-6237Jason Albright

08/27/2020 1000 ET

FOB DESTINATION

OTHER

(See Schedule)X

ITEM NO.

(a)

SUPPLIES/SERVICES

(b)

QUANTITY

(c)

UNIT

(d)

UNIT PRICE

(e)

AMOUNT

(f)

North Cascades National Park Service Complex

The contractor shall provide all services, including labor, materials, equipment, facilities, fees, research, licensing, and travel necessary to produce one 18 to 20-minute ultra-high-definition (UHD) interpretive film with Audio Description (AD), Subtitles for the Deaf and Hard of Hearing (SDH), Closed Captions, and Spanish Language Subtitles; one Blu-Ray replicating master with cover and discface artwork; and one Digital Video Disc (DVD) replicating master with cover and discface artwork for North Cascades National Park Service Complex in Washington. All work shall be performed in accordance with the attached Scope Continued ...

12. DISCOUNT FOR PROMPT PAYMENT

a. 10 CALENDAR DAYS (%) b. 20 CALENDAR DAYS (%) c. 30 CALENDAR DAYS (%) d. CALENDAR DAYS

NUMBER PERCENTAGE

NOTE: Additional provisions and representations

13. NAME AND ADDRESS OF QUOTER

b. STREET ADDRESS

c. COUNTY

d. CITY e. STATE f. ZIP CODE

14. SIGNATURE OF PERSON AUTHORIZED TO

SIGN QUOTATION

16. SIGNER

a. NAME (Type or print)

c. TITLE (Type or print)

a. NAME OF QUOTER

AREA CODE

NUMBER

15. DATE OF QUOTATION

b. TELEPHONE are are not attached

AUTHORIZED FOR LOCAL REPRODUCTION

Previous edition not usable

STANDARD FORM 18 (REV. 6-95)

Prescribed by GSA - FAR (48 CFR) 53.215-1(a)

ITEM NO. SUPPLIES/SERVICES QUANTITY UNIT UNIT PRICE AMOUNT

NAME OF OFFEROR OR CONTRACTOR

2 112

CONTINUATION SHEET

REFERENCE NO. OF DOCUMENT BEING CONTINUED PAGE OF

(A) (B) (C) (D) (E) (F)

140P1120Q0049 of Work, consisting of 112 pages, and all attachments listed in the solicitation.

Legacy Doc #: NPS

00010 NOCA_227995_AV PRODUCTION

Product/Service Code: T006

Product/Service Description:

PHOTO/MAP/PRINT/PUBLICATION- FILM/VIDEO TAPE

PRODUCTION

Delivery: 02/15/2023

00020 NOCA_227995_AV PRODUCTION TRAVEL

Product/Service Code: T006

Product/Service Description:

PHOTO/MAP/PRINT/PUBLICATION- FILM/VIDEO TAPE

PRODUCTION

Delivery: 02/15/2023

00030 NOCA_227995_AV PRODUCTION-OPTION PHASE

Product/Service Code: T006

Product/Service Description:

PHOTO/MAP/PRINT/PUBLICATION- FILM/VIDEO TAPE

PRODUCTION

Delivery: 02/15/2023

NSN 7540-01-152-8067 OPTIONAL FORM 336 (4-86)

Solicitation Number 140P1120Q0049

SCOPE OF WORK

INTERPRETIVE FILM

NORTH CASCADES NATIONAL PARK SERVICE COMPLEX

WASHINGTON

I. BACKGROUND AND PURPOSE

The U.S. Congress established North Cascades National Park in 1968 to preserve “certain majestic mountain scenery, snowfields, glaciers, alpine meadows, lakes, and other unique glaciated features” … “for the benefit, use, and inspiration of present and future generations.” The beauty of these landscapes has inspired indigenous people, poets, writers, and artists for centuries, including 1950s beat poets and writers Jack Kerouac, Gary Snyder, and Philip Whalen, who served here as fire lookouts.

North Cascades National Park Service Complex (also referred to throughout as ‘the park’) is located in Washington State along the Canadian border, approximately 100 miles northeast of Seattle.

The park comprises three units: North Cascades National Park, Ross Lake National Recreation Area, and Lake Chelan National Recreation Area. Together, they protect approximately 684,305 acres in the broader North Cascades ecosystem.

The purpose of North Cascades National Park is to preserve a dynamic wilderness landscape of dramatic alpine scenery including a vast expanse of glaciated peaks, countless cascading streams, and deep forested valleys for the benefit and inspiration of all.

The purpose of Ross Lake National Recreation Area is to conserve the scenic, natural, and cultural values of the Upper Skagit River Valley and surrounding wilderness, including the hydroelectric reservoirs and associated developments, for outdoor recreation and education.

The purpose of Lake Chelan National Recreation Area is to conserve the scenic, natural, and cultural values of the Lower Stehekin Valley, Lake Chelan and surrounding wilderness, and outdoor recreation and education while respecting the character of the remote Stehekin community.

The park encompasses a vast “sea of peaks” with more than 300 glaciers, sawtoothed rock pinnacles, myriad creek and riverine systems, alpine and sub-alpine meadows, and vast expanses of wilderness. Its rugged topography is home to a multitude of plant, animal, and fish species. Rare lichens, ancient cedars, Chinook salmon, bald eagles, marmots, mountain goats, bears, and more than 3,000 identified species share and are dependent on this diverse and expansive landscape. Human evidence spans almost 10,000 years of habitation, use, and technological development.

Ninety-four percent of the park is part of the Stephen Mather Wilderness, which, when combined with adjacent U.S. Forest Service designated wilderness, provides a two-million-acre contiguous wilderness area. Designated wilderness adjacent to the park contributes to the extensive nature of the North Cascades ecosystem, making it part of the largest contiguous designated wilderness in Washington State and one of the largest in the lower 48 states.

The North Cascades National Park Service Complex provides educational and scientific opportunities that support the understanding and preservation of park resources and values, while also contributing to public enjoyment and understanding.

As a library, laboratory, and classroom, North Cascades National Park Service Complex invites us to explore and understand the natural world and our place in it, and to apply the acquired knowledge to regional, national, and global challenges.

Most visitation occurs along the North Cascades Scenic Highway, which bisects the park.

The average visitor does not have the time, training, equipment, and/or physical ability to access the remote backcountry areas of the park. To contribute to public enjoyment and understanding, the North Cascades National Park Service Complex seeks to produce a new film that shall connect viewers to the extensive remote wilderness.

The new 18 to 20-minute, ultra-high-definition (UHD), surround-sound interpretive film shall educate and inspire viewers. The film shall create an experience that immerses viewers in the rugged wilderness and unique habitats of the North Cascades and invites viewers to join the National Park Service as stewards of this special place.

Additional information about the park is available at www.nps.gov/noca.

The purpose of this contract is to provide all audiovisual services to create one 18 to 20-minute, ultra-high-definition (UHD), surround-sound interpretive film for North Cascades National Park Service Complex in Washington. Optional elements include seven 2 to 3-minute UHD exhibit videos and one 2 to 3-minute UHD trailer.

II. SCOPE AND OBJECTIVES

II.1 SCOPE OF WORK

The contractor shall provide all services, including labor, materials, equipment, facilities, fees, research, licensing, and travel necessary to produce one 18 to 20-minute ultra-high-definition (UHD) interpretive film with Audio Description (AD), Subtitles for the Deaf and Hard of Hearing (SDH), Closed Captions, and Spanish Language Subtitles; one Blu-Ray replicating master with cover and discface artwork; and one Digital Video Disc (DVD) replicating master with cover and discface artwork for North Cascades National Park Service Complex in Washington.

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

1. Overview of Technical Requirements

Film:

a) Video Format: 4K Ultra-High-Definition (UHD) 3840x2160 resolution

b) Length: 18 to 20 minutes

c) Audio: 5.1 Surround Sound and Stereo

d) Music: An original score is required

e) Accessibility: Audio Description (AD), On-screen Subtitles for the Deaf and Hard of Hearing (SDH), and Closed Captions

f) Foreign Language Subtitles: Spanish

g) NPS Project Number: TV-1540

DVD and Blu-ray Replicating Masters

h) Replicating masters shall feature the 18 to 20-minute film; bonus features

(seven exhibit videos and one trailer) if optioned; navigation menu; user-selectable English and Spanish subtitles; and user-selectable audio description.

i) Original artwork is required for DVD and Blu-ray sleeves and disc faces.

j) See Section II.2.E.2. DVD and Blu-ray Replicating Masters and Packaging

Design for exact specifications.

2. Overview of Production Requirements

Refer to Section II.2.C. Production Phase for specifications.

a) Original 4K UHD footage from all four seasons, emphasizing the park’s scenic beauty, unique ecosystems, and diverse wildlife;

b) Original 4K UHD aerial footage (altitude above 400 feet) from at least two different seasons using a gyro-stabilized mount, including alpine regions;

c) Original 4K UHD underwater footage: The primary objective shall be to acquire underwater footage of salmon. Underwater filming shall be shallow and accessible from the ground, a boat, or snorkeling. No scuba diving is required;

d) Special dynamic camera motion: this may include Unmanned Aircraft Systems (UAS);

e) Wildlife footage: a variety of wildlife footage shall be required to meet general project goals, but no specific wildlife behaviors are required;

f) Time-lapse photography;

g) Night sky photography;

h) Graphics: basic title graphics are required, no additional 2-D or 3-D animation or graphics are required;

i) Interviews: at least five people to represent diverse voices, not required to appear on camera;

j) Music: emphasis shall be on natural sounds, but an original score is required;

k) Archival material: no archival material is required.

3. Overarching goals

a) Viewers shall be able to virtually experience the rugged, vertical, backcountry areas of the park, especially the high alpine regions. An emphasis will be on providing a sense of scale and perspective. Aerial and on-the-ground filming shall showcase remote areas in the park that are difficult to access and that the majority of visitors never see. The film shall provide a surrogate wilderness experience and an opportunity to deeply connect with park resources that may be otherwise inaccessible to the average visitor.

b) The film shall vividly bring to life the park’s unique habitats, wildlife, and remote wilderness and provide an immersive and emotionally engaging experience for viewers. Evident will be themes of interconnectedness and change. The film shall convey the following topics, listed in order of importance.

(1) North Cascades Landscapes

(2) Glaciers

(3) Ecosystem and Biodiversity

(4) Wilderness

(5) Culture and History

4. Content

The following elements shall be woven into broader storylines and themes. Not all content needs to be explicitly covered by narration or dialogue but shall be visually or implicitly represented in the film. The descriptions are excerpts from Attachment F – NOCA Foundation Document and are provided for context.

The themes/topics are listed in order of importance and the bold text is most relevant to the film.

a) North Cascades Landscapes: North Cascades landscapes, defined by majestic mountain scenery that includes alpine meadows, countless cascades, towering mountains, and forested valleys, were formed by dynamic ecological and geophysical processes that are still active in the park today. Natural soundscape, dark night skies, and good air quality predominate, supporting natural ecosystem function and providing an unrivaled wilderness experience.

b) Glaciers: Glacial and hydrologic processes that shaped the mountains in the past are still at work today. The park contains more than 300 active glaciers, including ice fields, cirque glaciers, and hanging glaciers, that create unique microclimates and habitats and are dramatic indicators of climate change.

c) Ecosystem and Biodiversity: Extensive tracts of intact habitat, dramatic variability in geology and climate, good air and water quality, and predominantly unimpeded and dynamic ecosystem processes such as fire, flooding, mass wasting, and avalanches all contribute to the outstanding mosaic of habitats and biological communities that make up the North Cascades Ecosystem. The low-elevation old-growth forests along major drainages, extensive alpine meadows maintained by heavy snowfall, and water-associated habitats including glaciers, snow fields, lakes, ponds, tarns, wetlands, rivers, and streams support a diversity of native species and wildlife communities. These distinctive ecological conditions are essential in maintaining a number of rare and listed species, viable populations of resident terrestrial species and anadromous fish species, and habitat for mammal species with extensive home ranges such as wolves, wolverines, fishers, and grizzly bears.

d) Wilderness: The North Cascades and its community of life exist as a functioning natural ecosystem that is anchored by more than 2.2 million acres of contiguous, designated wilderness that extends beyond the borders of the park. The Stephen Mather Wilderness retains its primeval nature and remains essentially unhindered and free from human control and manipulation; however, important historic structures are preserved. The mixed terrain of the park, from valley floors and subalpine meadows to glaciers, snow fields, couloirs, and rocky escarpments of solid gneiss and granite, provides for rich wilderness experiences. Extremely rugged terrain and vast areas without trails provide opportunities for exploration, solitude, and unconfined recreation.

e) Culture and History: The North Cascades have long inspired history, legends, and traditions, and human experiences in the North Cascades landscape span millennia.

Culture and history shall be a relatively minor emphasis in the film and shall focus on human connections to natural resources. The voice of American Indian/First Nations shall be represented.

5. Style & Approach

General style requirements:

a) The film shall be interpretive in approach, drawing from technical, informational, scientific, historical, and cultural sources, and incorporating creative techniques that connect viewers emotionally and intellectually to the meanings and significance of park resources.

b) The focus is primarily on providing an immersive experience, less on conveying specific information points.

c) The film shall show (not just 'tell') and visually demonstrate core themes.

The landscape shall speak for itself, without needing to tell viewers ‘what to think’. The film shall inspire curiosity as much or more than it provides answers.

d) The film shall provide an authentic window into the North Cascades ecosystem and people who feel connected to and inspired by the park, providing viewers an opportunity to develop their own connections and inspiration. An emphasis shall be on the wilderness values and the awe and grandeur of the landscape.

e) The stylistic treatment shall be evergreen, while reflecting both the timelessness of the rugged wilderness and the immediacy of the ecosystem.

f) The film shall create an immersive experience and sense of place. The film shall feature rich and continuous sound design that is reflective of the place and activities represented.

g) Unless otherwise approved by the COR, the narrative shall be woven together by multiple diverse voices (at least five) expressing their connection to the park. These people do NOT need to be seen on camera.

These voices may be supplemented by narration, but it is not required.

h) Any inclusion of people in the film shall give special attention to diversity, including ethnicity, age, and gender. Tribal representation shall allow people to express their culture in their own words.

i) Careful consideration shall be given to the framing of the impacts of a changing climate to invite real conversation without triggering political turn-offs. While climate change is a major management and scientific concern for the park, the focus of this film shall be on illustrating the tangible changes that can be seen within the park and exploring the potential impacts of those changes. The film shall emphasize the protective benefits of wilderness designation while also acknowledging that the designation is not a complete solution to resource threats.

j) Keywords: Authentic, accessible, immersive, with intellectual and emotional appeal.

k) Additional notes can be found in Attachment E – NOCA Onscreen Talent.

6. Emotional Response

It is the intent of this film to elicit a strong emotional response from the viewer, whether they are watching it at the park or 3,000 miles away.

The film shall inspire viewers to feel:

a) Awed, humbled, and connected to inaccessible areas of the park and to the grand sense of scale.

b) Inspired to explore—internally or externally—and to grow from their experience at the park.

c) Appreciative of seasonal changes at the park, and how weather, climate, and elevation influence the landscape, flora, and fauna they see around them.

d) Inspired to find ways to be a good steward (and concerned to realize that while protected, the park is still very vulnerable).

7. NPS Branding & Content Framing

The film shall:

a) Reflect responsible use of the outdoors

b) Reflect best practices for safety

c) Reflect respect for the resource

d) Reflect the value of parks

e) Reflect the value of parks for stewardship

f) Reflect diversity

g) Reflect cultural sensitivity

h) Reveal broader connections to humanity

i) Not endorse or advocate for a commercial brand

8.Honorariums

Some tribal member participation may require honorariums, and this shall be the responsibility of the park. Any honorariums, travel, or other expenses for other talent shall be the responsibility of the contractor.

9. Production team

The contractor shall provide a production team experienced and seasoned with working safely and effectively in challenging technical alpine conditions, and in producing natural history interpretive films.

The contractor shall provide an expedition style production that includes filming in designated wilderness areas. The contractor shall spend periods of time filming in remote backcountry locations under challenging and extreme weather conditions. Travel to and from some filming locations may require a full day in each direction. This shall be reflected in the production plan and schedule.

The contractor shall capture natural and cultural history subject matter and wildlife behavior. The contractor shall provide a production that is visually driven. The production shall feature elegant aesthetics and shall be relevant in content and style to the park for many years to come.

10. Location Requirements

To represent the diversity of the park ecosystems, filming is required in the following locations unless otherwise approved by the COR. The areas below are listed by both ecoregions and official boundaries, for every location there will be overlap between these two lists. See Attachment G – Location Information for location examples. The contractor shall provide and work with a location advisor familiar with the park.

a) The park can be divided into four geographic regions by park and road boundaries, the film shall include footage from each of the four geographic regions:

i. North Cascades National Park, north of Hwy 20

ii. North Cascades National Park, south of Hwy 20

iii. Ross Lake National Recreation Area

iv. Lake Chelan National Recreation Area

b) The park can be divided into ecoregions based on rainfall and elevation. The film shall include footage representing each of the following seven ecoregions:

i. Low elevation forests: Eastern, drier

ii. Low elevation, old growth forests: Western, wetter

iii. Montane Forests: Eastern, drier

iv. Montane Forests: Western, wetter

v. Subalpine: Eastern, drier

vi. Subalpine: Western, wetter

vii. Alpine

11. Compliance

Ninety-four percent of the park, as well as much of the surrounding area, is designated wilderness and presents specific filming challenges:

a) The contractor shall research and follow all resource protection rules and regulations of the park and other land management agencies and obtain any required permits and other permissions. This includes filming permits and backcountry permits (https://www.nps.gov/noca/planyourvisit/wilderness-trip-planner.htm).

b) All appropriate safety procedures shall be practiced during the course of this production to ensure the well-being of all crewmembers. A safety plan is required when working in the backcountry.

c) There may be some specific sensitive wildlife areas that shall be off-limits to filming during certain times of the year. Park biologists shall review production plans, shooting scripts, and filming schedules for any concerns, and the contractor shall adjust locations and/or schedule as needed. The park cannot provide a detailed list in advance but will notify the contractor as early in the process as possible.

d) The contractor shall adhere to Leave No Trace principles at all times while in the park. See Leave No Trace Principles online: https://lnt.org/learn/7-principles.

e) Review Attachment F – NOCA Foundation Document to learn more about designated wilderness.

12. Logistical Challenges and Known Risk Factors

a) The contractor shall provide and work with a location advisor familiar with the park to assist with planning and logistics.

b) On-site travel and logistics are exceedingly difficult. Very little of the park is accessible by road, some of the park is accessible by boat, but much of it shall require travel by foot (or packing) to access filming locations.

c) Due to the remoteness of most locations, multiple-day backpacking trips shall be required to enable filming during ideal light conditions (including golden hour).

d) The contractor shall have the physical ability, equipment, and skills necessary for safely filming and camping in remote alpine backcountry locations.

e) Due to wilderness restrictions, flight insertions are not possible.

f) In addition to sites being difficult to access, the environmental conditions make the park operationally very difficult. The terrain and environmental conditions can be extremely challenging, strenuous, and technical.

g) Other environmental factors that can complicate filming include heat during the summer months; frequent rain, wind and snow during the rest of the year; and a range of wildlife from bears to mosquitoes.

h) Windows of opportunity for filming can be fleeting, especially in the winter.

The contractor shall closely monitor local conditions and be able to deploy a film crew quickly to take advantage of weather, plant life, and wildlife filming opportunities.

i) Other than fire lookouts, there are no structures or shelters in the back country. There are no power sources.

j) Review Attachment G – NOCA Location Information for example locations.

k) Review the website nps.gov/NOCA to view maps and learn more about access.

13. Park Assistance and Resources

a) The park shall assist the contractor with securing backcountry permits and campsites to be used when filming. All NOCA camping fees shall be waived.

b) The park shall assist with securing filming permits. All NOCA filming permit fees shall be waived.

c) The park shall assist with UAS permits if proposed. All NOCA UAS permitting fees shall be waived.

d) The park can provide the following assistance with transportation via boat on Lake Ross:

(1) Up to two separate days that are specifically for the film crew, this can include pick-up/drop-offs for accessing more remote locations, or for filming along Ross Lake.

(2) In addition, the park shall provide up to four drop-offs or pick-ups by boat along Ross Lake if coordinated and combined with other park operations already occurring.

(3) The park’s current boat is a work boat that is 32 feet long and can carry up to 26 people. The boat is open, so it does not provide cover from the weather. It travels approximately 5-8 miles an hour depending on the weather.

(4) There is no cost to the contractor for this service.

(5) The contractor is not required to use the park boat. See the following link for information regarding any restrictions:

https://www.nps.gov/noca/planyourvisit/boating-and-fishing.htm

e) The park shall furnish subject matter expertise to assist with filming in the river. There is no cost to the contractor for this service.

f) The park does not have any archival film/video footage, but does have a limited number of photos, such as images for glacier monitoring. The film is not required to have archival material.

II.2: SPECIFICATIONS AND SUBMITTALS

This contract includes the following specifications and required submittals as detailed below:

A. OVERALL SPECIFICATIONS:

1. Project Management

The contractor shall assign a Project Manager to oversee the contract. The Project Manager shall:

a) Be the primary point of contact between the contractor and the Contracting

Officer (CO) and the Contracting Officer’s Representative (COR).

b) Have full authority to act for the contractor on all matters.

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

(1) Provide routine inspections of ongoing work.

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

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

d) 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.

e) Ensure that contractor staff adhere to the communication protocol set forth by the Contracting Officer (CO), as follows:

(1) The contactor shall only communicate with the Contracting Officer and

COR. Unless otherwise specified by the COR, no direct contractor-to-park communication is permitted except during phone calls, meetings, or site visits arranged and attended by the COR.

f) Initiate, participate, and provide the agenda for monthly telephone conference progress meetings with the COR and, as needed, other National Park Service (NPS) and contractor staff. The contractor shall provide a toll-free conference number for the calls. The contractor shall submit meeting notes to the COR no later than five business days after each meeting.

2. Format and Method for Submitting Deliverable Documents and Film Edits

a) All documents shall be submitted to the COR electronically via email, unless otherwise approved by the COR.

b) All documents shall be created in the latest version of Microsoft Word.

Documents shall be dated, have headers, and page numbers.

c) Document file names shall include the park alpha code, deliverable description, version #, and date submitted. File names shall use camel case when needed. Per best practices, no spaces or punctuation other than underscores shall be used. Example: NOCA_ProductionPlan_v2_date.

d) All film edits shall be submitted digitally via the Harpers Ferry Center File Transfer Protocol (FTP) site, unless otherwise approved by the COR.

3. NPS Release Forms and License Agreements

The contractor shall obtain all rights and permissions from the owners/holders of restricted copyrighted materials for use in the films under this contract. The contractor shall submit an inventory of all copyright agreements for all assets used in the final films as part of the completion report. All license agreements and release forms shall be approved by the COR prior to use.

a) The use of the National Park Service Release Form is mandatory for all “Talent” (including interview subjects, actors, narrators, musicians, and music composers) appearing in or providing content for all media produced.

Refer to Attachment A – NPS Individual Release Form and Attachment B

– NPS Materials Release Form.

b) For restricted, copyrighted material used in the production, 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. Refer to Section XXIV – Clauses by Reference, 52.227-17 Rights in Data - Special Works.

c) Licenses with indemnification clauses signed on behalf of the National Park Service shall not be accepted. Refer to Attachment C – NPS Amendment to License Agreement for an example amendment to standard license agreements.

d) All acquisitions of restricted material shall have documented signed agreements in the name of the National Park Service.

e) The following use rights shall be required: All uses, all media, all locations, in perpetuity.

4. Accessibility

a) The completed film shall meet all NPS accessibility guidelines, which can be found at: https://www.nps.gov/subjects/hfc/accessibility.htm

b) Contractor shall produce Audio Description (AD), Subtitles for the Deaf and Hard of Hearing (SDH), and Closed Captions for the films.

c) Contractor shall pace all scripts and edits to accommodate a secondary AD narration track. The writer and editor shall incorporate “natural pauses” (where no narration or interviews occur) into the script.

B. DEVELOPMENT AND PRE-PRODUCTION PHASE

Work performed during the Development Phase centers on ensuring that the project is logically structured, and its goals are understood and realistically attainable within the contractor’s budget, schedule, and other specified parameters. For each deliverable, multiple drafts may be required until approved by the COR. The contractor shall prepare and submit written response to COR review comments, including any questions or points for clarification. Work in this phase shall include:

1. Post-Award Conference Call

The contractor (at a minimum, the Producer and Project Manager) shall participate in a one-hour post-award teleconference with the Contracting Officer (CO), COR, and park staff. Time and date shall be determined between the COR and contractor after award.

2. Post-Award Meeting

The contractor shall attend a five-day Post-Award Meeting, taking place at locations within the North Cascades National Park Complex. The total meeting time distributed between the days shall be 40 to 55 hours. The Post-Award meeting shall be attended by a minimum of the Producer, Director, and Writer listed as Key Personnel. Schedules and dates shall be determined by the contractor and COR after award.

a) The on-site Post-Award meeting shall include:

(1) Orientation to key team members, the park experience and specific resources to be addressed in the project;

(2) Weather dependent, a limited tour of the park including access points and potential filming locations.

(3) Review the Scope of Work, project schedules, and table of deliverables;

(4) Review and discuss program content, interpretive themes, goals, and objectives;

(5) Review all accessibility requirements for the project;

(6) Review requirements for use rights in relation to acquisition of materials;

(7) Review park resources and materials for possible inclusion in the programs or for background research;

(8) Identify additional sources for research and materials.

b) Within 10 business days of the meeting, the contractor shall submit a Report to the COR. The report shall include:

(1) Brief outline of what occurred (including people and locations).

(2) Brief outline of information provided by any Subject Matter Experts

(SMEs).

(3) Project brief summarizing the results and principle agreements reached during the meeting.

c) Prepare and submit written response to COR review comments.

3. Project Schedule

The contractor shall produce a detailed, complete overall Project Schedule listing all submittals and review times, and closeout submittals. Review times shall account for multiple revisions. The goal of this schedule is to map out broad time windows for each stage of the process. The project schedule shall be submitted via email in the latest version of Microsoft Word or Excel to the COR for review and approval no later than 15 business days after the Post-Award Meeting. The contractor shall update the approved schedule and resubmit to the COR as needed over the life of the project.

4. Research

The contractor shall be responsible for performing content research. If required, the contractor shall be responsible for researching, acquiring, and licensing all elements not originally produced such as graphics, artwork, photographs, archival and historic photographs and footage, stock footage, music, and sound effects in order to create the final production. This is not a separate submittal, but shall be required for successful completion of treatments, scripts, rough cuts, and other project submittals.

5. Proposed Narrative Approaches

Based on the Post-Award Meeting and research, the contractor shall prepare and submit a minimum of three different proposed approaches for the narrative storyline and style of the film. Each of these shall be submitted as Word documents, two to three pages in length. The proposals shall include a brief synopsis and outline different creative approaches (style) and different narrative approaches (story) based on the contractor’s understanding of the project. These approaches shall provide enough information to give a sense of the style of the production and shall cover, in less detail, the information listed in Section II.2.B.6 Treatment and Production Plan. Links or files of existing films/excerpts can be included as examples for illustrating style ideas. The purpose of this phase is to explore multiple creative options early on before investing time and effort in the more detailed Treatment and Production Plan. Multiple drafts may be required until approved by the COR. The contractor shall prepare and submit a written response to COR review comments, including any questions or points for clarification.

6. Treatment and Production Plan

Based on the approved Narrative Approach, the contractor shall prepare and submit a Treatment and Production Plan for the film. The Production Plan for this project shall play a large role in the success of the film. The Treatment and Production Plan must align and must demonstrate an understanding of contract requirements. The North Cascades National Park Service Complex poses unique production challenges such as limited access, unpredictable weather, and difficult travel, and care shall be taken in this stage to ensure a feasible plan to overcome these challenges and known risks. The contractor shall maximize weather/seasonal opportunities with light and agile crews that can quickly respond to a variety of conditions. The contractor shall provide and work with a location advisor familiar with the park to assist with planning and logistics.

Multiple drafts may be required until approved by the COR. The contractor shall prepare and submit a written response to COR review comments, including any questions or points for clarification.

a) Broadly, the Treatment shall reflect the following:

(1) The contract requirements, especially Section II.1.A. Requirements;

(2) The in-depth discussions between the contractor, COR, and any park staff, park partners, consultants, or advisors during the on-site post award meeting;

(3) The contractor’s research;

(4) A creative approach that is appropriate for a broad range of viewers of all ages, ethnicities, and abilities;

(5) A creative approach that is “evergreen” and that does not include content or production techniques that date the film.

b) Specifically, the Treatment shall include the following:

(1) Narrative overview of the proposed creative approach to the storyline and storyteller(s) and how this meets the goals of the film;

(2) Description of the proposed story threads and visual highlights;

(3) Description of any proposed on-screen participants (including the role each plays in the film’s narrative);

(4) Description of any proposed interview subjects or profiles, including biographical information and field of expertise for each.

(5) Proposed style of filming for original material;

(6) Sources for additional program/content research;

(7) Description of proposed scenes and locations, with sufficient detail to provide a sense of the proposed production, including narrative on how this meets the content and location requirements;

(8) Description of proposed original musical score;

(9) Description of any proposed narration;

(10) Stock footage and images (with descriptions and sources) proposed for the production;

(11) Estimated percentage of the program(s) that shall be comprised of original footage, on-screen participants, interviews, narration, and stock footage;

(12) Links or files of existing films/excerpts can be included as examples for illustrating style ideas.

c) The Production Plan shall include the following:

(1) Proposed schedule for pre-production, production, and post-production, including the number of days of filming (this shall be an expanded version of the Project Schedule);

(2) Identification of all filming locations, including information about any required permits, a rationale for each location, proposed production techniques for each location, and logistics and safety report for each location;

(3) Description of proposed approach for any aerial filming;

(4) Proposed backdrop(s), style, “look”, and content intent for any interview or profile filming;

(5) Proposed production techniques such as specialized cameras and equipment and special approaches (examples: UAS, gimbals, cranes, dollies, sliders, jibs, camera mounts, underwater, slow-motion, time-lapse);

(6) Proposed camera(s) with specifications;

(7) Acknowledgement and plans to address the unique production challenges, compliance requirements, and known risks specific to this project.

7. First Draft Script

a) The Contractor shall develop a draft script based on the approved treatment and production plan.

(1) The first draft script shall demonstrate the proposed storyline, narrative arc, and pacing.

(2) It should be apparent in the draft script that the themes are being addressed and that the film covers the required eco-regions and geographical locations.

(3) Narration and interview soundbites are not expected to be fully fleshed out, notations that convey the goal of the spoken content and how it advances the story are sufficient for the first draft.

b) The contractor shall develop and submit all scripts in accordance with the following requirements:

(1) The first draft script may be in a two-column format or a single-column screenplay format.

(2) During the production phase, all scripts shall be 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.

(3) Script shall be submitted in the latest version of Microsoft Word.

(4) All pages shall be numbered.

(5) The script cover shall contain the program title, production number, date, client organization and address, and the Contractor’s name, address, and telephone number.

c) The contractor shall prepare and submit a written response to COR review comments, including any questions or points for clarification.

C. PRODUCTION PHASE

Work performed during the Production phase centers on the acquisition of media and other supporting material. The work submittals shall be phased by seasonal shoot windows; the filming can start with any season. The contractor shall propose the timing and duration of the shoot windows (approximately 3 months each) as part of the Project Schedule. (Note that helicopter and UAS use is not permitted between July 4th and Labor Day.)

The contractor shall also propose the total number and length of any shoots during the window. The use of a shoot window instead of a particular number of shoots is intended to allow flexibility in the schedule, while providing a benchmark for submittals, approval, and payment. The contractor shall determine the number of shoots and locations needed to fulfill the requirements of the contract.

The contractor shall provide and work with a location advisor familiar with the park to assist with planning and logistics. All productions shall minimize the impact to natural and cultural resources, this shall be reflected in the crew size and gear selection. For each task, multiple drafts may be required until approved by the COR. The contractor shall prepare and submit a written response to COR review comments, including any questions or points for clarification. Submittals during Production Phase:

1. Submittals during the Production Phase:

a) Updated project schedule based on approved Treatment and Production

Plan.

b) Spring Shoot(s): Shooting Script, Filming Schedule, and Post-Shoot

Deliverables;

c) Summer Shoot(s): Shooting Script, Filming Schedule, and Post-Shoot

Deliverables;

d) Fall Shoot(s): Shooting Script, Filming Schedule, and Post-Shoot

Deliverables;

e) Winter Shoot(s): Shooting Script, Filming Schedule, and Post-Shoot

Deliverables;

2. Specifications during Production Phase:

a) Shooting Script and Filming Schedule Prior to each shoot the following submittals are required unless otherwise agreed to by the COR:

(1) Develop and submit a Shooting Script and Filming Schedule for each location shoot no later than 21 calendar days prior to the start of filming.

(2) The Shooting Script shall include:

(i) Scenes to be filmed at each location, with script references

(ii) Any interviews to be acquired

(3) Filming Schedule shall include:

(i) Number of film crew members

(ii) Film crew travel and lodging/camping information

(iii) Daily crew call times

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

(v) Contractor’s emergency contact information

(vi) Copies of permits, if shooting in restricted locations or with restricted equipment

(vii) Safety and contingency plans

(viii) General gear and equipment list

b) Principal Photography

Specifications:

(1) Footage shall originate in Ultra-High-Definition (4K UHD), using a professional camera.

(i) Minimum of 13 stops of dynamic range

(ii) Minimum sensor size of “Super 35” or 35mm Full Frame”

(iii) Camera raw file format(s)

(2) Synchronous in camera, or using a post-process, the contractor shall produce low-resolution proxy files for playback by COR using the latest version of QuickTime Player.

(3) The frame rate shall be 23.97P (unless shooting time-lapse or slow-motion).

(4) Contractor shall adjust camera exposure and white balance according to lighting, location, and time of day; ensure all footage is in sharp focus; provide camera moves that are smooth and at a speed that minimizes camera blur; ease in and out of pans and tilts so that starts and ends can be used as lock-downs themselves; and ensure lenses are free from dirt and dust.

(5) Scenes shall be aesthetically framed; horizons shall be level; scenes shall be shot during ideal lighting conditions for the subject matter, with a special emphasis on golden hour;

(6) Special effects filters shall not be used unless pre-approved by the

COR.

(7) All cameras shall be mounted on a sturdy tripod with fluid head, Steadicam, gimbal, slider, or other stabilizing device. Handheld camerawork shall only be approved by the COR if specifically called for in the script and deemed appropriate to the program.

(8) Wildlife footage shall be accomplished using long, fast lenses to acquire detailed, full frame compositions from an ethical distance.

(9) Lighting is required for interior filming.

c) Sound Recording

(1) Wild and sync sound shall be recorded throughout filming and shall be included in the final edited production when appropriate.

(2) All audio shall be digitally recorded with a sampling rate of 48kHz

(kilohertz) or better and a bit rate of 24 bits or better.

(3) Sound shall be recorded on a professional digital recorder (if not recorded on camera).

(4) Audio shall be recorded synchronous to the camera, and on multiple separate channels.

(5) Microphones shall be isolated on separate channels.

(6) Recordings shall be at the optimum levels, so the volume is neither too low nor peaking.

(7) The contractors shall position microphones to minimize extraneous noise sources.

d) Interviews

(1) The contractor shall arrange and conduct any interviews based on the approved treatment and production plan.

(2) Interview audio shall be recorded using a lavaliere microphone and a second microphone, with an audio feed into the camera and a second recorder or other approved redundant system.

(3) Any interviews filmed inside shall be professionally lit, three-point lighting at a minimum, with set-up to include pre-approved backdrop(s), style, and “look” for interview filming.

(4) All exterior interviews shall be done in locations with even, natural lighting conditions that are quiet and free from human-made noise or loud natural sound.

(5) The Contractor shall be responsible for all honorariums and fees, including travel costs, associated with conducting the interviews, except as noted for tribal representatives.

(6) The contractor shall prepare and submit transcriptions of all interviews to the COR.

e) Aerial Filming

(1) Aerial footage (above 400 feet) of the park, including the alpine regions, is required.

(2) Aerials shall demonstrate the vastness of the park and the interconnectedness of the regions.

(3) Helicopter flights are not permitted between July 4th and Labor Day.

(4) Aerial footage shall be acquired using a gyro-stabilized mount such as

Cineflex or equal.

(5) For the purpose of this Statement of Work, unmanned aircraft systems

(UAS), shall fall under the category of ‘Specialized Dynamic Camera Motion’, not ‘Aerial Filming’.

(6) The National Park Service shall assist with creating a Minimal Requirement Analysis Report and Compliance Report, required for all flights.

(7) The park is surrounded by other federally designated wilderness areas.

Flight paths outside of park boundaries may require additional permitting and permission processes with these agencies.

(8) Flights are typically staged out of the Marblemount Ranger Station (outside the park), Newhalem gravel pit, Diablo or Ross Lake overlooks, Colonial Creek Boathouse, Hozomeen, Bridge Creek or Canyon Creek trailheads (outside the park), Swamp Creek gravel pit (outside the park), or the Stehekin Airstrips.

(9) A minimum of three mornings and three evenings total of aerial filming in the park is required. Shall occur in the winter and at least one other season.

(10) The majority of aerial filming shall occur during early morning and late afternoon “golden hour” light.

(11) Images shall be steady, smooth and free of aircraft vibrations.

(12) Pans and tilts shall be avoided during takes.

(13) Images shall be free of obstructed views such as the aircraft structure, insects, dirt, water drops, and sun flares.

(14) Shots shall be artistically composed to create a dynamic and dramatic look and feel while documenting the subject. Elements such as lighting and framing shall be taken into consideration in order to achieve this goal.

f) Specialized Dynamic Camera Motion

(1) Footage from specialized dynamic camera motion shall be fluid, moving, and stable.

(2) Motion shall be used to be engaging, reflect a high production value, and help tell the story.

(3) Examples of specialized dynamic camera motion equipment include gimbals, Steadicams, sliders, cable cams, and unmanned aircraft systems (UAS).

(4) Any equipment proposed shall be listed in the production plan for approval by the COR. The contractor shall work with the park on any required permitting, especially for production in wilderness areas.

(5) If the contractor proposes operating a UAS, the NPS shall assist with permitting and approval. There shall be no NPS fees associated with this process. Approval is dependent on Department of Interior, National Park Service, and other government policies and may be revoked at any time.

(6) UAS flights are not permitted between July 4th and Labor Day.

(7) The contractor shall provide flight company information including names and certifications of UAS pilots and operators, the make and model of the proposed UAS device including on-board camera system specifications, and a certificate of authority to operate under Federal Aviation Administration (FAA) Small Unmanned Aircraft Regulations (Part 107).

(8) UAS shall not be authorized for filming wildlife.

(9) A representative of the National Park Service shall be present during all UAS filming.

g) Stock and Archival Footage and Photographs

(1) Archival material is not required for this project.

(2) All stock and archival footage and photographs proposed for use shall be pre-approved by the COR.

(i) The contractor shall submit footage and photos for review in a digital format pre-approved by the COR.

(ii) Stock footage shall have originated in a film format that is comparable to original footage required by this contract.

(iii) All stock footage shall be available for use in its native format.

(iv) All stock footage shall meet the aesthetic and technical specifications for…