Sol_140P2122R0038.pdf

This is a combined synopsis/solicitation for commercial items prepared in accordance with the format in Subpart 12.6, as supplemented with additional information included in this notice. This announcement constitutes the only solicitation; proposals are being requested and a written solicitation will not be issued. Solicitation Number 140P2122R0038 is issued as a Request for Proposal (RFP) which constitutes the entire solicitation. Proposals and with detailed breakdown are being requested.

This acquisition will be conducted pursuant to FAR Part 13. This solicitation document incorporates all mandatory commercial item provisions and clauses in effect through Federal Acquisition Circular 2022-06, effective May 26, 2022. This is a small business set-aside. The North American Industry Classification System (NAICS) code is 512110, Motion Picture and Video Production, and the related small business size standard is $35M.

The government anticipates award of one (1), firm-fixed price contract.

REQUIREMENT: The contractor shall provide all services, including labor, materials, equipment, facilities, fees, research, licensing, and travel necessary to produce one 12 to 15-minute ultra-high-definition (UHD) interpretive film with 5.1 surround sound and three 3-minute webisodes with stereo audio for Canyonlands National Park in Utah. Each program shall also be produced with Audio Description (AD), Subtitles for the Deaf and Hard of Hearing (SDH), and Closed Captions.

Due to space limitations, the complete commercial item specifications are contained in Solicitation Number 140P2122R0038. Interested contractors should download this document. The National Park Service is not responsible for locating or securing any information that is not identified in the proposal.

The following Federal Acquisition Regulation (FAR) clauses and provisions are applicable to this announcement and are available at www.acquisition.gov.

52.212-1 Instructions to Offerors-Commercial Items; 52.212-2 Evaluation-Commercial Items;

52.212-3 Offeror Representations and Certifications-Commercial Items; 52.212-4 Contract Terms and Conditions-Commercial Items; 52.212-5 Contract Terms and Conditions Required To Implement Statutes or Executive Orders-Commercial Items; 52.232-33 Payment by Electronic Funds Transfer-Central Contractor Registration; 52.233-4 Applicable Law for Breach of Contract Claim; and 52.245-1 Government Property.

Questions shall be sent via email to tavis_salas@nps.gov by 10:00am ED July 26, 2022. Questions submitted using any other method will not be entertained. The Point of Contact for this requirement is Tavis Salas, Contracting Officer. Offerors who contact anyone outside of the Office of Acquisition Management regarding this requirement, may automatically be excluded from competition.

All proposal information shall be submitted for receipt no later than 10:00 am ED, on August 18, 2022.

Offerors are hereby notified that if your proposal is not received by the date/time and at the location specified in this announcement, that it will be considered late. The proposal shall be submitted electronically via email to tavis_salas@nps.gov with the subject line clearly identifying “Solicitation Number 140P2122R0038 – CANY – Interpretive Film.” Offers by telephone, transmitted via facsimile (fax), or submitted using any other method will not be accepted.

All contractors must be registered in www.SAM.gov to be considered eligible for award.

http://www.sam.gov/ http://www.sam.gov/

SEE ADDENDUMIS CHECKED

CODE 18a. PAYMENT WILL BE MADE BY

CODE

FACILITYCODE

17b. CHECK IF REMITTANCE IS DIFFERENT AND PUT SUCH ADDRESS IN OFFER

OFFEROR

PHF

Harpers Ferry WV 25425 IDC Building 67 Mather Place DOI, NPS, HFC - Acquisition Managem

0009060803 CODE 16. ADMINISTERED BYCODE

X

X

X

512110

SIZE STANDARD:

100.00 % FOR:SET ASIDE:UNRESTRICTED ORPWA

RFPIFB

10. THIS ACQUISITION ISCODE

RFQ

14. METHOD OF SOLICITATION

13b. RATING

NAICS:

SMALL BUSINESS

08/18/2022 1000 ED

07/18/2022

2409975826Tavis Salas (No collect calls)

INFORMATION CALL:

FOR SOLICITATION 8. OFFER DUE DATE/LOCAL TIMEb. TELEPHONE NUMBER a. NAME

4. ORDER NUMBER3. AWARD/ 6. SOLICITATION

140P2122R0038

5. SOLICITATION NUMBER

SOLICITATION/CONTRACT/ORDER FOR COMMERCIAL ITEMS 1. REQUISITION NUMBER PAGE OF

1 107 0040576812OFFEROR TO COMPLETE BLOCKS 12, 17, 23, 24, & 30

TELEPHONE NO.

17a. CONTRACTOR/

Harpers Ferry WV 25425 IDC Building, 67 Mather Place NPS, Harpers Ferry Center

15. DELIVER TO

Denver CO 80225 P.O.Box 25287 MS WCP

9. ISSUED BY

7.

2. CONTRACT NO.

EFFECTIVE DATE

$35.00

18b. SUBMIT INVOICES TO ADDRESS SHOWN IN BLOCK 18a UNLESS BLOCK BELOW

ISSUE DATE

DELIVERY FOR FOB DESTINA-

TION UNLESS BLOCK IS

MARKED

11.

SEE SCHEDULEX

12. DISCOUNT TERMS

THIS CONTRACT IS A

RATED ORDER UNDER

DPAS (15 CFR 700)

13a.

SERVICE-DISABLED

VETERAN-OWNED

SMALL BUSINESS

HUBZONE SMALL

BUSINESS

8(A)

NPS, WASO - WCP Contracting

WOMEN-OWNED SMALL BUSINESS

(WOSB) ELIGIBLE UNDER THE WOMEN-OWNED

SMALL BUSINESS PROGRAM

EDWOSB

24.

AMOUNT

23.

UNIT PRICE

22.

UNIT

21.

QUANTITY

20.

SCHEDULE OF SUPPLIES/SERVICES

19.

ITEM NO.

The purpose of this contract is to provide all audiovisual services to produce a new 12 to 15-minute interpretive film and three 3-minute webisodes for Canyonlands National Park. All programs shall be produced in 4K ultra-high-definition (UHD) video. The interpretive film shall have a 5.1 surround soundtrack. The webisodes shall be stereo audio.

Continued ...

(Use Reverse and/or Attach Additional Sheets as Necessary)

HEREIN, IS ACCEPTED AS TO ITEMS:

X

XX

DATED

Tavis Salas

. YOUR OFFER ON SOLICITATION (BLOCK 5),

INCLUDING ANY ADDITIONS OR CHANGES WHICH ARE SET FORTH

COPIES TO ISSUING OFFICE. CONTRACTOR AGREES TO FURNISH AND DELIVER

ARE

ARE

31c. DATE SIGNED

27b. CONTRACT/PURCHASE ORDER INCORPORATES BY REFERENCE FAR 52.212-4. FAR 52.212-5 IS ATTACHED. ADDENDA

31a. UNITED STATES OF AMERICA (SIGNATURE OF CONTRACTING OFFICER)

30c. DATE SIGNED 31b. NAME OF CONTRACTING OFFICER (Type or print)

ALL ITEMS SET FORTH OR OTHERWISE IDENTIFIED ABOVE AND ON ANY ADDITIONAL

SHEETS SUBJECT TO THE TERMS AND CONDITIONS SPECIFIED.

27a. SOLICITATION INCORPORATES BY REFERENCE FAR 52.212-1, 52.212-4. FAR 52.212-3 AND 52.212-5 ARE ATTACHED. ADDENDA

26. TOTAL AWARD AMOUNT (For Govt. Use Only)

OFFER

STANDARD FORM 1449 (REV. 2/2012)

Prescribed by GSA - FAR (48 CFR) 53.212

ARE NOT ATTACHED.

ARE NOT ATTACHED.

AUTHORIZED FOR LOCAL REPRODUCTION

PREVIOUS EDITION IS NOT USABLE

30b. NAME AND TITLE OF SIGNER (Type or print)

30a. SIGNATURE OF OFFEROR/CONTRACTOR

28. CONTRACTOR IS REQUIRED TO SIGN THIS DOCUMENT AND RETURN

25. ACCOUNTING AND APPROPRIATION DATA

29. AWARD OF CONTRACT:

REF.

32e. MAILING ADDRESS OF AUTHORIZED GOVERNMENT REPRESENTATIVE

32c. DATE 32b. SIGNATURE OF AUTHORIZED GOVERNMENT REPRESENTATIVE

ACCEPTED, AND CONFORMS TO THE CONTRACT, EXCEPT AS NOTED:

32a. QUANTITY IN COLUMN 21 HAS BEEN

RECEIVED INSPECTED

40. PAID BY39. S/R VOUCHER NUMBER38. S/R ACCOUNT NUMBER

37. CHECK NUMBER

FINALPARTIAL

36. PAYMENT

FINALPARTIAL

35. AMOUNT VERIFIED

CORRECT FOR

34. VOUCHER NUMBER33. SHIP NUMBER

COMPLETE

32g. E-MAIL OF AUTHORIZED GOVERNMENT REPRESENTATIVE

42d. TOTAL CONTAINERS42c. DATE REC'D (YY/MM/DD)

42b. RECEIVED AT (Location)

42a. RECEIVED BY (Print)

41c. DATE41b. SIGNATURE AND TITLE OF CERTIFYING OFFICER

41a. I CERTIFY THIS ACCOUNT IS CORRECT AND PROPER FOR PAYMENT

STANDARD FORM 1449 (REV. 2/2012) BACK

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AMOUNT

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UNIT

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SCHEDULE OF SUPPLIES/SERVICES

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ITEM NO.

00010 HAFC CANY Film

Product/Service Code: T006

Product/Service Description:

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

PRODUCTION

Delivery: 09/30/2025

Period of Performance: 09/01/2022 to 09/30/2025

00020 HAFC CANY Film Travel

Product/Service Code: T006

Product/Service Description:

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

PRODUCTION

Delivery: 09/30/2025

FOB: Destination

Period of Performance: 09/01/2022 to 09/30/2025

32f. TELEPHONE NUMBER OF AUTHORIZED GOVERNMENT REPRESENTATIVE

32d. PRINTED NAME AND TITLE OF AUTHORIZED GOVERNMENT REPRESENTATIVE

107 2 of

CANY – AV - Interpretive Film and Webisodes Solicitation 140P2122R0038

SCOPE OF WORK

INTERPRETIVE FILM & WEBISODES FOR

CANYONLANDS NATIONAL PARK

I. BACKGROUND AND PURPOSE

Canyonlands National Park is in southeastern Utah, on the Colorado Plateau. The area is mostly high desert characterized by eroded sedimentary rocks including several distinct types of sandstone, shale, and limestone formations. It is rugged and spectacular country. Summers are hot with occasional occurrence of violent thunderstorms. Winters can be cold, with occasional snow. Springs and fall temperatures are usually pleasant.

Canyonlands National Park encompasses approximately 527 square miles. The confluence of the Colorado and Green rivers lies within the park and divide the park into four districts: 1) Island in the Sky, 2) Needles, 3) the Maze, and 4) the rivers themselves. While the districts share a primitive desert atmosphere, each retains its own character and offers different opportunities for exploration and encounters with natural and cultural history. The three primary districts are not directly linked by any roads, so travel between them requires 2 to 6 hours by car.

Northwest of The Maze, outside of the main park boundary, is Horseshoe Canyon, a day-use area with stunning American Indian petroglyphs and pictographs.

The Colorado and Green rivers wind through the heart of Canyonlands, cutting through layered sedimentary formations to form deep and distinctly different canyons. Both rivers are characterized by gentle gradients upstream of the confluence, where “flat water” reaches are ideal for travel in canoes and kayaks. In Cataract Canyon below the confluence, a long series of large rapids provide an opportunity for visitors to experience a world-class reach of whitewater boating.

Island in the Sky is positioned between the two great rivers above the confluence and forms the norther and most-visited region of the park. It is comprised of two sections, the mesa top above and the White Rim below.

In this district, visitors can look down on both rivers, view much of the rest of the park, and experience expansive scenic vistas that extend across intervening plateaus and dissected canyons. The mesa top is notable for its extensive grasslands and numerous scenic viewpoints, and is accessible by automobile, bicycle, and foot, with several hiking trails down to the White

Rim. The White Rim is traversed by a rough, primitive road that can be traveled by bicycle, four-wheel-drive vehicle, or by foot.

The Needles district forms the southeast corner of Canyonlands and was named for the colorful spires of Cedar Mesa sandstone that dominate the area. The district’s extensive backcountry trail system provides many opportunities for long day-hikes and overnight trips. Foot trails and four-wheel-drive roads lead to several notable park features.

The Maze is the wildest and least accessible district, ranking as one of the most remote areas in the United States. Travel to the Maze requires more time and a greater degree of self-sufficiency because of the remote location, difficult roads, and primitive trails. Rarely do visitors spend less than three days in the Maze.

Horseshoe Canyon contains some of the most significant rock marking panels in North America. The Great Gallery, the best-known panel in Horseshoe Canyon, includes well-preserved, life-sized figures with intricate designs. Other canyon sights include spring wildflowers, sheer sandstone walls, and mature cottonwood groves along the intermittent stream in the canyon bottom.

Together, the districts of Canyonlands National Park preserve 337,598 acres of colorful canyons, mesas, buttes, fins, arches, and spires in the heart of southeast Utah’s high desert.

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

The purpose of this contract is to provide all audiovisual services to produce a new 12 to 15-minute interpretive film and three 3-minute webisodes for Canyonlands National Park. All programs shall be produced in 4K ultra-high-definition (UHD) video. The interpretive film shall have a 5.1 surround soundtrack.

The webisodes shall be stereo audio.

The interpretive film shall help visitors gain an understanding and appreciation of the significance of Canyonlands National Park; educate viewers on the cultural and natural history of this extraordinary landscape; immerse visitors in the rugged wilderness and unique habitats of the Canyonlands; and inspire viewers to join the National Park Service as stewards of this special place. The film shall be played on regular intervals at the Island in the Sky and Needles visitor centers and will also be available on the park website.

The webisodes shall offer a deeper exploration into some of the park’s key stories and resources, and shall be presented at the park, in classrooms, and on the park website. One of the webisodes shall utilize computer animation to illustrate and explain the geologic history and significant features of the park. Another webisode shall utilize new first-person oral history interviews and archival materials to discuss the cultural history and significance of the region. The theme of the third webisode shall be developed during the treatment phase of the project.

II. SCOPE AND OBJECTIVES

II.1 SCOPE OF WORK

This project shall be for the production of one 12 to 15-minute ultra-high-definition (UHD) interpretive film with 5.1 surround sound and three 3-minute webisodes with stereo audio for Canyonlands National Park in Utah. Each program shall also be produced with Audio Description (AD), Subtitles for the Deaf and Hard of Hearing (SDH), and Closed Captions. All programs shall only be produced in English under this contract.

A. General Requirements The contractor shall provide all services, including labor, materials, equipment, facilities, fees, research, licensing, and travel necessary to produce all audiovisual media in accordance with the specifications as detailed in this SOW and its attachments.

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

1. Interpretive Film (NPS Project Number CANY AV-0143):

a. Specification Overview:

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

2) Length: 12 to 15 minutes

3) Language(s): English only

4) Audio: 5.1 surround sound and stereo

5) Music: An original score is required

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

7) Multiple shoots: Original 4K UHD footage (with sync natural sound whenever possible) of the park in three seasons (spring, fall, and winter), emphasizing the park’s scenic beauty, unique landscape, and diverse flora and fauna, is required. Also required is footage of park visitors recreating in the park in a variety of ways, as well as NPS staff and volunteers working in the park.

8) 4K UHD aerial footage is required under this contract though aerial filming is not. Aerial footage exists in places like Shutterstock, America By Air, Pond 5, etc.

9) Wildlife footage: a variety of wildlife footage shall be required to meet general project goals, but no specific wildlife behaviors are required; stock footage may be necessary to portray some of the more-elusive park wildlife.

10) Special dynamic camera motion, including time-lapse photography, is required.

11) Night sky photography is required.

12) Archival material and stock footage shall be incorporated.

13) On-camera oral history interviews with at least five people, representing diverse voices, are required.

14) Professional voiceover narration is required.

b. Themes:

To varying degrees, the new film shall touch upon each of the interpretive themes listed below (excerpted from Attachment F_ CANYFoundationDocument). These themes shall inform the development of the film’s treatment and script and are the foundation upon which the content of the film shall be created. The film cannot examine every park story in detail; yet it must offer more than just a superficial glimpse of the park. The narrative and visual shall create an interpretive “tapestry” of interweaving storylines, revealing connections between the natural and cultural worlds, people, and places, and stirring in the visitor a sense of wonder and awe, and a desire for personal discovery through exploration of the resources. Film content shall be discussed and determined in collaboration with park staff and the Contracting Officer's Representative (COR) after award, beginning at the post award meeting to be held at the park.

1) Geology. The vast and diverse geologic landscapes of Canyonlands National Park are a result of the power of the

Colorado River, the persistence of gravity, and the promise of intermittent rainfall in an arid environment.

2) Rivers. Canyonlands National Park’s Green and Colorado rivers are the lifeblood of the region and provide a stage upon which the history of exploration and development of the American West unfold.

3) Wildness. The remote nature of the backcountry of Canyonlands National Park provides opportunities for visitors to discover and enjoy the wildness and solitude of the desert.

4) Desert Ecology. The climate, diverse geology, and life forms of Canyonlands National Park form a rich, interconnected desert ecosystem.

5) Prehistoric Cultural Resources. The petroglyphs, pictographs, granaries, and other traces of ancestral Puebloans found in Canyonlands National Park serve as windows into the region’s rich human history and help us better understand and appreciate the lives of these prehistoric people and their relationship with the land.

6) Cultural Landscapes. Past human activities have influenced and shaped what we see and experience in Canyonlands National Park today.

c. Content

The following elements shall be woven into the broader storylines and themes. Not all content needs to be explicitly covered by narration or dialogue but shall be visually or implicitly represented.

The themes/topics were noted by park staff as important to include but does not represent an exhaustive and comprehensive list.

1) Water

a. Its role in the formation of the landscape

b. Its importance to life in the high desert

c. Its role in cultural/historic and present-day use

2) The Rivers

a. The river as an “artery of human activity” and “lifeline of the desert”

i. Recreation, travel, lifeways

3) People – DIVERSITY of people is essential

a. Human History

i. Ancestral/Native Americans

1. “We are still here”

2. Petroglyphs/pictographs

ii. Cowboys/Ranchers

iii. Miners & others “commodifying” the resources

b. Present-day human activity

i. NPS

1. Establishment of the park (1960s)

ii. Visitors –diverse individuals and groups

1. youth, families, older visitors, individuals

2. Scale of recreation – “dial up your desired level of adventure to match your ability”

a. Hikers, climbers, bikers, 4-wheel drivers, campers, boaters, etc.

3. Concessioners

iii. Researchers, scientists, archeologists, etc.

c. Night-sky

i. Designated as a “Gold-Tier International Dark Sky Park”

d. Soundscape of Canyonlands & protecting the quiet

e. Flora & Fauna

i. Biological Soil Crust

ii. Grasslands

iii. Seasonal changes

iv. Rare and iconic wildlife species

1. Desert bighorn sheep, raptors, etc.

f. Wilderness

i. Does not necessarily mean “untouched”

ii. Accessible WITH THE WORK

g. Climate change

i. Careful consideration shall be given to the framing of the impacts of a changing climate to invite conversation without triggering political conflict. While climate change is a major management and scientific concern for parks, the focus in 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.

d. Style and Approach

1) The Interpretive Film shall replace an existing 15-minute orientation film that was produced in 1998. The original production can be viewed at:

https://www.nps.gov/cany/learn/photosmultimedia/orientationv ideo.htm.

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

3) The Interpretive Film shall provide an immersive and emotionally engaging experience for viewers, with interweaving storylines which reveal connections between people, places, and events.

4) 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.

5) The film shall inspire curiosity and provide viewers with the opportunity to develop their own connections.

6) Not all content needs to be explicitly conveyed by quotes or narration but shall be visually or implicitly represented in the film.

7) The narrative shall be woven together by multiple diverse voices expressing their connection to the park. These voices shall be supplemented by professional narration.

i. Additional notes can be found in Attachment I_CANYPeople

8) Special attention shall be given to the inclusion and representation of diversity, including ethnicity, age, gender, and physical ability. Refer to Attachment D_NPS2021StyleGuide for appropriate terminology.

9) The script shall allow ample breathing room for sound effects, music, and audio description.

10) The film shall feature rich and continuous sound design that is reflective of the place and activities represented.

https://www.nps.gov/cany/learn/photosmultimedia/orientationvideo.htm https://www.nps.gov/cany/learn/photosmultimedia/orientationvideo.htm

11) The stylistic treatment shall be evergreen and shall avoid trendy, cable television-style direction, editing, sound effects, and graphics that would date the production.

2. Webisode 1 (NPS Project Number CANY AV-0144):

a. Specification Overview:

1) Video Format: 4K UHD High Definition (HD) 3840 x 2160 resolution

2) Length: 3-minutes

3) Audio: Stereo sound

4) Language(s): English

5) Music: original score is required

6) Professional narration is required

7) Computer-generated imagery (CGI) three-dimensional (3-D) animation is required.

8) Accessibility: AD, SDH, and CC file

b. Themes, Content, Style, and Approach:

1) The theme of this webisode shall be “Geology.”

2) Computer animation sequences shall illustrate the complex geologic forces and processes that have shaped the vast and diverse landscape of Canyonlands National Park.

3) The animation style shall be determined through a creative design approach with the park and the COR, including treatments and storyboards.

4) Hi-level “birds-eye view” imagery of the park, such as from Google Maps, shall be incorporated for reference and scale.

5) The program shall include the following topics:

a. The role of water in the formation and changing of the landscape,

b. Geologic forces such as deposition, erosion, and uplift,

c. The rock strata and deposited layers (geologic “layer cake”) in the Canyonlands area of the Colorado Plateau,

d. The distinctive rock formations present in the different park districts,

e. The role of salt in the landscape, including Upheaval Dome.

3. Webisode 2 (NPS Project Number CANY AV-0145):

a. Specification Overview:

1) Video Format: 4K UHD High Definition (HD) 3840 x 2160 resolution

2) Length: 3-minutes

3) Audio: Stereo sound

4) Language(s): English (Native language voiceovers may be included)

5) Professional narration is not required

6) The narrative shall be woven together by multiple diverse voices.

7) Music: original score is required

8) Original, unique footage for each webisode is required with minimal re-use of footage from the Interpretive film.

9) New, on-camera 4K UHD oral histories shall be filmed with no fewer than five subjects, representing a diversity of stories.

10) Archival imagery such as photographs, paintings, illustrations, newspaper headlines, documents, and other historic assets is required

11) Accessibility: AD, SDH, and CC file

b. Themes, Content, Style, and Approach:

1) The theme of this webisode shall be “Cultural History.”

2) The program shall feature first-person accounts collected from the oral histories, interspersed with original footage and archival materials.

3) The program shall feature a balanced mix of voices and stories, including multiple perspectives from:

a. Ancestral/tribal representatives

b. Ranchers and “cowboys”

4) Refer to Attachment D_NPS2021StyleGuide for appropriate terminology.

4. Webisode 3 (NPS Project Number CANY AV-0146):

a. Specification Overview:

1) Video Format: 4K UHD High Definition (HD) 3840 x 2160 resolution

2) Length: 3-minutes

3) Audio: Stereo sound

4) Language(s): English

5) Music: original score is required for each webisode

6) Professional narration is required

7) Accessibility: AD, SDH, and CC file

b. Themes, Content, Style, and Approach:

6) The theme of this webisode shall be developed and determined through the treatment phase.

a. A potential theme proposed by the park staff is defining “wild” and that “wilderness” and “wildness” mean different things to different people.

B. Logistics, Compliance, and Safety

Canyonlands National Park is primarily a backcountry park with limited accessibility and presents specific filming challenges.

1) The contractor shall research and follow all safety and 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. For filming on NPS land, the park shall issue a permit to the contractor for the length of the project. Acquisition of permits for filming on non-NPS land shall be the responsibility of the contractor.

https://www.nps.gov/cany/planyourvisit/permitsandreservations.htm

2) 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 and shall be submitted with the production plan.

3) There may be some specific sensitive areas that shall be off-limits to filming or require additional safety/logistical measures. 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.

4) On-site travel and logistics are exceedingly difficult. Very little of the park is accessible by maintained roads and much of it shall require travel by foot (or packing) to access filming locations. The contractor shall have the physical ability, equipment, and skills necessary for safely filming in remote backcountry locations. All appropriate safety procedures shall be practiced during the course of this production to ensure the well-being of all crewmembers. A safety plan, approved by https://www.nps.gov/cany/planyourvisit/permitsandreservations.htm the COR, is required when working in the backcountry.

5) Due to the remoteness of many locations identified for filming, multiple-day backpacking and backcountry camping trips shall be required to enable filming during ideal light conditions (including “golden hour”).

6) There are very limited facilities in the park and none in the backcountry.

There are no structures or shelters. There is no potable water. There are no power sources.

7) In addition to sites in the park being difficult to access, the environmental conditions make the park operationally very difficult.

The terrain and environmental conditions can be extremely challenging and strenuous. Other environmental factors that can complicate filming include heat and sun; lack of shade; lack of drinking water; lightning and flash floods; cliff edges and loose rock; and wildlife including black bears and venomous animals such as snakes; scorpions, and black widow spiders.

8) 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.

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

10) The Production Plan shall include specific information discussed during the post award on-site visit pertaining to all compliance requirements.

11) Review the park website to view maps and learn more about access and safety considerations.

C. Park Assistance and Resources

1. The park shall assist the contractor with securing permits and campsites to be used when filming on NPS property. All permit and camping fees shall be waived.

2. Collaboration with Native American representatives is required to ensure that all communication and media content produced or collected is respectful and accurate. The park shall facilitate communication and collaboration with Native American representatives and pay any consultation fees. All collaboration and communication between the contractor and Tribal representatives shall be coordinated through the COR. The contractor shall be responsible for paying for any travel and https://lnt.org/learn/7-principles honorariums to Native American representatives who participate in oral history filming.

3. The park does have historic imagery and contemporary footage of whitewater rafting and 4-wheel vehicle recreation for use in rough cuts and fine cuts, but the contractor shall be responsible for acquiring these and all other archival assets and verifying that they are at full resolution suitable for 4K production. The contractor is also responsible for ensuring that the appropriate licenses and use rights are obtained and noted.

4. The park shall furnish subject matter experts for planning and reviews.

However, a dedicated park staff member may not be available to accompany the crew for remote and multi-day filming trips.

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, COR, and HFC Project Manager.

2) 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 in, 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 or a link utilizing NPS-approved video conferencing software for the calls. The contractor shall submit meeting notes via email 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. The contractor shall cc the HFC Contracting Officer on all email communications.

c. Unless otherwise specified, all documents shall be created in the latest version of Microsoft Word. Documents shall be dated and versioned, with headers and page numbers.

d. Document file names shall include the park alpha code (CANY), AV program number, deliverable description, version number, and date submitted. File names shall use CamelCase when needed. Per best practices, no spaces or punctuation other than underscores shall be used.

Example: CANY_AV0143_ProductionPlan_v2_051722.

e. All film edits shall be submitted digitally via the Harpers Ferry Center Microsoft Teams 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. All license agreements and release forms shall be approved by the COR prior to use. The contractor shall submit an inventory of all copyright agreements for all assets used in the final films as part of the completion report.

a. The use of the National Park Service Release Form is mandatory for all “Talent” (including interview subjects, actors, reenactors, narrators, musicians, and music composers) appearing in or providing content for all media produced. Refer to Attachment A_ NPSIndividualReleaseForm and Attachment B_ NPSMaterialsRelease 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 AmendmentToLicenseAgreement 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. All acquisitions of unrestricted or public domain material shall have a statement from the source verifying the unrestricted or public domain status. Web links are not acceptable verification.

f. All acquired images and footage releases and licenses shall be accompanied by a thumbnail or photocopy of the material.

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

4. Accessibility

a. The completed films shall meet all NPS accessibility guidelines. Refer to Attachment E_NPSProgrammaticAccessibility.

Additional information 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 (.srt and .vtt) for the Interpretive Film and webisodes.

c. Contractor shall pace all scripts and edits to accommodate an AD narration track. The writer and editor shall incorporate natural pauses (where no narration or interviews occur) into the script. The AD track shall not be obscured by the score or sound effects.

B. DEVELOPMENT AND PRE-PRODUCTION PHASE

https://www.nps.gov/subjects/hfc/accessibility.htm

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 web-based video conference with the Contracting Officer, COR, and park staff. Time and date shall be determined between the COR and contractor after award.

a. The post-award conference call shall include:

1) Orientation to key team members,

2) Review of the Scope of Work, project schedule, and table of deliverables,

3) Review all accessibility requirements for the project,

4) Review requirements for use rights in relation to acquisition of materials.

b. Within five business days after the post-award call, the contractor shall submit detailed call notes to the COR via email.

2. Post-Award Site Meeting The contractor shall attend a five-day Post-Award Meeting at the park with the COR. 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 COR, park, and contractor after award.

a. The on-site post-award meeting shall include:

1) Orientation to key park staff, and specific resources to be addressed in the project,

2) A tour of the park, potential filming locations, and discussion of logistical challenges and considerations while filming,

3) Review and discuss program content, interpretive themes, goals, and objectives,

4) Review Park resources and materials for possible inclusion in the programs or for background research.

b. Within 14 business days after the meeting, the contractor shall submit a report to the COR. The report shall include:

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

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

(SMEs).

3) Project brief summarizing the results and key decisions made during the meeting.

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

3. Project Schedule Within 14 business days after the Site Meeting, the contractor shall produce a detailed, complete overall Project Schedule listing all submittals, review times, and final deliverables. Submittal and 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. 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. The contractor shall also 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 used 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 two different proposed narrative approaches for the storylines and styles of the Interpretive Film and Webisodes #1 and #2, and a minimum of three different proposed approaches for the content and style of Webisode #3. Each of these shall be submitted as Word documents, one to two pages in length.

The proposals shall include a brief synopsis and outline different creative approaches (style) and 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 – Treatments 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 Treatments and Production Plans. 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. Treatments and Production Plan Based on the approved Narrative Approaches, the contractor shall prepare and submit Treatments and a Production Plan for the Interpretive Film and Webisodes. The Production Plan for this project shall play a large role in the success of the project. The Treatments and Production Plan shall align and demonstrate an understanding of contract requirements. Care shall be taken in this stage to ensure a feasible plan to overcome any production challenges and risks identified during the post-award meeting. 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. – General

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 does not include content or production techniques that date the film.

6) A separate Treatment is required for each program.

b. Specifically, the Treatments 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 and webisodes.

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) Proposed style of filming for original material.

5) Sources for additional program/content research.

6) 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.

7) Description of proposed original musical score.

8) Description of proposed narration.

9) Stock footage and images (with descriptions and sources) proposed for the production.

10) Estimated percentage of the program(s) that shall be comprised of original footage, oral histories and interviews, archival assets, CGI, animation, stock footage, narration, and other elements.

11) 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, including desired campsites and number of days.

3) Description of proposed approach for any computer-generated imagery (CGI) and animations.

4) Proposed production techniques such as specialized cameras and equipment and special approaches (examples: gimbals, cranes, dollies, sliders, jibs, camera mounts, slow-motion, time-lapse). UAS is not allowed in NPS sites at this time.

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

6) Proposed on-screen text look, font(s), and style(s).

7) Proposed camera(s) with specifications.

8) Safety Plan that addresses the approach to the unique production challenges, compliance requirements, and known risks specific to this project and Canyonlands National Park.

7. Draft Script (Interpretive Film)

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) Narration and interview quotes are not expected to be fully fleshed out in the first draft script; notations that convey the goal of the spoken content and how it advances the story are sufficient at this point.

3) Subsequent drafts shall be fleshed out with narration, dialogue, interview quotes, and other details based on client feedback, additional research, and footage collected during the production phase.

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

1) The first draft script shall be in a two-column 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 narration, 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. Multiple drafts may be required until approved by the COR.

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

8. Storyboards (Webisodes)

a. The Contractor shall develop a draft storyboard for each webisode based on the approved treatments and production plan.

1) The first draft storyboards shall demonstrate the proposed content, visuals, text, and pacing.

2) Visuals are not expected to be final or full resolution in the first draft; placeholder images that convey the design intent are sufficient for the first draft.

3) On-screen text (keywords, statistics, quotes, etc.) shall be proposed, as shall the fonts, colors, and sizes.

4) Subsequent drafts shall be fleshed out with visuals, on-screen text, and other details based on client feedback, additional research, and footage collected during the production phase.

b. The contractor shall develop and submit all storyboards in accordance with the following requirements:

1) Storyboards shall be delivered as color PDF files with gridlines to indicate the location of the video wall mullions. The overall grid and individual tiles shall have a 16:9 aspect ratio to match the final formatting.

2) Printable page size shall be standard 8 ½ x 11”.

3) All pages shall be numbered.

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

c. Multiple drafts may be required until approved by the COR.

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

e. Once final storyboards are approved by the COR, the contractor shall prepare draft scripts for each webisode.

C. PRODUCTION PHASE

Work performed during the Production phase centers on the acquisition of media and other supporting material. Due to park staff availability and the logistical challenges of travel and reaching various sites within the park and the backcountry, the contractor shall propose three shoots: a short winter shoot and two long shoots in spring and fall. The contractor shall also propose shoot windows as well as the total length of each of the shoots. Oral history interview participants and availability shall also be included in the proposed schedule. The shoot schedule shall be submitted as part of the Project Schedule. Efforts should be made to avoid shooting during federal holidays due to increased visitation.

The contractor shall provide and work with a park biologist and safety coordinator to assist with planning, logistics, and recruitment. All field shoots shall minimize the impact to natural and cultural resources, and this shall be reflected in the crew size and gear selection.

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

For each task, multiple drafts may be required until approved by the COR.

1. Submittals during the Production Phase:

a. Updated Project Schedule based on approved Treatment and Production Plan.

b. Confirmed oral history interview participants and availability.

c. Winter Shoot: Shooting Script, Filming Schedule, and Post-Shoot

Deliverables.

d. Spring Shoot: Shooting Script, Filming Schedule, and Post-Shoot

Deliverables.

e. Fall Shoot: Shooting Script, Filming Schedule, and Post-Shoot

Deliverables.

2. Specifications during the 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 to the COR 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:

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

b) Any narration, dialogue, or quotations proposed for each scene

3) The Filming Schedule shall include:

a) Names, titles, and phone numbers for all film crew members

b) Film crew travel and lodging information

c) Daily crew call and wrap times

d) Location(s) and time(s) for filming, including backcountry and campsite information

e) Oral history interviewee contact information and filming location info

f) Contractor’s emergency contact information

g) Copies of permits if shooting in restricted locations or with restricted equipment

h) Safety, contingency, and compliance plans

i) General gear and equipment list

b. Principal Photography Specifications are as follows, unless otherwise approved by the COR:

1) Footage shall originate in Ultra-High-Definition (4K UHD, 3840 x

2160 resolution) using a professional camera and lenses pre-approved by the COR.

a) Minimum of 13 stops of dynamic range

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

c) Camera raw file format(s)

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

3) The…