Sol_140P2123R0028.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; quotes are being requested and a written solicitation will not be issued. Solicitation Number 140P2123R0028 is issued as a Request for Proposal (RFP) which constitutes the entire solicitation. Proposals 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 2023-02, effective March 16th, 2023. This is a total 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 $40M.

The Government anticipates award of one (1) best value, firm-fixed price contract.

REQUIREMENT: 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. The project shall include the production of an approximately 20-minute 4K UHD theater film; one 60-second 4K UHD trailer; and Sales and Theater Blu-Ray discs with custom artwork for the Office of Commemorations and Anniversaries (OCA).

Due to space limitations, the complete commercial item specifications are contained in Solicitation Number 140P2123R0028. 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.

Technical questions shall be sent via email to tavis_salas@nps.gov by 12:00 pm EDT, on May 15th, 2023. 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 12:00 pm EDT, on June 14th, 2023. 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 140P2123R0028 – “HAFC – WASO Office of Commemoration and Anniversaries 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

06/14/2023 1200 ED

05/08/2023

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

140P2123R0028

5. SOLICITATION NUMBER

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

1 105 0040615014OFFEROR 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

$40

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 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. The project shall include the production of an approximately 20-minute 4K UHD theater film; one 60-second 4K UHD trailer; and Sales and Theater Blu-Ray discs with custom artwork for the Office of Commemorations and Anniversaries (OCA).

(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

24.

AMOUNT

23.

UNIT PRICE

22.

UNIT

21.

QUANTITY

20.

SCHEDULE OF SUPPLIES/SERVICES

19.

ITEM NO.

Delivery: 09/01/2025

00010 CONTRACT

Product/Service Code: T016

Product/Service Description:

PHOTO/MAP/PRINT/PUBLICATION- AUDIO/VISUAL

00020 TRAVEL

Product/Service Code: T006

Product/Service Description:

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

PRODUCTION

32f. TELEPHONE NUMBER OF AUTHORIZED GOVERNMENT REPRESENTATIVE

32d. PRINTED NAME AND TITLE OF AUTHORIZED GOVERNMENT REPRESENTATIVE

105 2 of

Solicitation Number 140P2123R0028

SCOPE OF WORK

INTERPRETIVE FILM FOR

THE NATIONAL PARK SERVICE

OFFICE OF COMMEMORATIONS AND ANNIVERSARIES

I. BACKGROUND AND PURPOSE

America’s National Parks, Inspiring a More Perfect Union.

We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable rights, that among these are Life, Liberty, and the Pursuit of Happiness.

– Preamble to the Declaration of Independence, July 4, 1776

In 2026, the National Park Service will join the nation in commemorating the 250th anniversary of the Declaration of Independence. The aspirational vision in the Declaration of Independence defines the ideals that have set this nation on a course of continued/unfinished work toward a more perfect union. Throughout the commemoration, the National Park Service will proudly serve the American people by embracing our mission to provide opportunities for the enjoyment, education, and inspiration of this and future generations. National Parks will inspire a more perfect union by providing opportunities for celebrating, commemorating, and contemplating the meanings of the words in the Declaration and their relevance to our lives today.

The National Park Service cares for many of the sites that both illustrate the nation’s highest ideals and provide reminders to its contradictions. National Park Service sites serve to tell accurate, honest, transparent history; provide opportunities for learning and discussing hard truths and their legacies; and develop a shared understanding of the struggles and triumphs of all Americans to identify common ground and inspire unity. We also care for some of the most beautiful and inspirational natural resources in the world – places that instill pride in our citizenry and honor the indigenous peoples who cared for the land long before the Declaration of Independence was written.

As a country we have set aside National Parks as touchstones of American identity. By experiencing authentic places and engaging with the complex American story, as individuals and a community, we can increase connection to place, history, and people, as well as empathy towards each other.

The Office of Commemorations and Anniversaries (OCA) seeks to produce a new interpretive film to support visitors finding meaning and connection in the natural and cultural places that we steward. Launching in 2026, the film shall be incorporated into NPS visitor centers across the country, in partner venues, and through other distribution channels. Unlike most park service productions, this film will not be tied to a single or small group of sites and provides a unique opportunity to pull together stories from across the park service to tell a broader story.

The purpose of this contract is to provide all audiovisual services to create an approximately 20-minute 4K UHD theater film; one 60-second 4K UHD trailer;

and Sales and Theater Blu-Ray discs with custom artwork for the Office of Commemorations and Anniversaries (OCA).

II. SCOPE AND OBJECTIVES

II.1 SCOPE OF WORK

The project shall include the production of an approximately 20-minute 4K UHD theater film; one 60-second 4K UHD trailer; and Sales and Theater Blu-Ray discs with custom artwork for the Office of Commemorations and Anniversaries

(OCA).

A. 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. Note: the technical support and installation or distribution to the individual theaters is not part of this contract.

1. Overview of Technical Requirements

Film:

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

b) Length: 20 minutes (not including closing credits)

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: AV-165

Trailer:

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

i) Length: 60 seconds

j) Audio: 5.1 Surround Sound and Stereo

k) Music: An original score is required

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

m) Foreign Language Subtitles: Spanish

n) NPS Project Number: AV-166

Blu-ray Replicating Masters:

o) Sales Blu-ray Replicating Master

p) Theater Blu-ray Replicating Masters and 1,000 discs

2. Overview of Production Requirements

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

b) Original 4K UHD or higher footage of park units, including cultural and natural resources is required.

c) Stock UHD (4K UHD minimum) footage of park units across the U.S. is required. Stock footage shall match the production values and technical standards of the original footage unless otherwise approved by the COR.

d) Original or stock UHD (4K minimum) shall also include underwater footage, aerial footage, wildlife footage, timelapse photography, and night sky time-lapse photography unless otherwise approved by the COR.

e) All footage shall have high production value, including extensive use of dynamic camera motion: examples include gimbal, jib, dolly, and Unmanned Aircraft Systems (UAS).

f) Extensive sound design, sound effects, and an original score is required.

g) Archival material such as photographs, film/video footage, audio recordings, paintings, illustrations, newspaper headlines, documents, and other historic assets are required.

h) Raster graphics editing and motion graphics (e.g., Photoshop and After Effects) are required to digitally clean, enhance, and animate historic photos and other archival assets.

i) Title graphics are required.

j) Animations, graphics, dramatic readings by voice actors, narration, and reenactments are not required, but specifications are included for reference if they are part of a contractor’s proposed approach.

k) Interviews and on-camera talent are anticipated, the quantity and approach shall be included in the contractors proposed approach.

3. Overarching goals

The film shall:

a) Explore the impacts and influence of the Declaration of Independence through authentic stories illustrated by a representative range of NPS units and programs, all of which are set aside as touchstones of American identity.

b) Reflect National Park Service sites that both illustrate the nation’s highest ideals and provide reminders to its contradictions.

c) Highlight parks that feature some of the most beautiful and inspirational natural resources in the world – places that instill pride in our citizenry and honor the indigenous peoples who cared for the land long before the Declaration of Independence was written.

d) Inspire a more perfect union by providing opportunity for celebrating, commemorating, and contemplating the meanings of the words in the Declaration and their relevance to our lives today.

e) Explore how the aspirational vision in the Declaration of Independence defines the ideals that have set this nation on a course of continued work toward a more perfect union.

f) Provide insight into the way in which the Declaration of Independence has served as an instrument to both uplift the rights of some and deny the rights of others.

g) Vividly bring to life a diversity of people, places, landscapes, and stories and provide an immersive and emotionally engaging experience for viewers that promotes connection and empathy.

h) Be engaging and feel relevant and provide context to all park visitors, regardless of the park and venue in which they watch the film.

i) Contribute to a more empathetic and understanding citizenry.

j) Equip the next generation of citizens with historical context and relevancy to envision the future of democracy and citizenship.

k) Encourage viewers to be active participants in democracy—not just bystanders.

l) Encourage viewers to embrace visiting and connecting with parks as a reflection of American identity.

m) Be nuanced, and explore areas of tension, contradiction, and juxtaposition. Be unflinching and from a place of compassion.

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 extent to which each theme is addressed shall be discussed and determined in collaboration with NPS staff and the Contracting Officer's Representative (COR) after award, beginning at the post-award meeting.

The film shall:

a) Showcase the nation’s natural and cultural history.

b) Elevate the voices of people and communities, using first person perspectives where applicable.

c) Be nationally relevant and representative of the entire country by featuring a diversity of voices, faces, stories, perspectives, and imagery, including biodiversity and landscapes.

d) Highlight the role of National Parks as places that contribute to understanding, healing, and happiness.

e) Explore the importance of parks and public spaces in democracy.

What services and benefits to the nation to parks provide?

The Film shall NOT:

f) Focus solely on the ‘Revolutionary War’ parks.

g) Be a linear historical account.

h) Have a ‘host’ or be dominated by narration.

i) Feel like a news piece or ‘made for TV’ (it should feel like a cinematic experience)

j) Be specific to the 250th Anniversary. The film will be released during the anniversary but shall be evergreen and relevant for many years to come.

k) Provide an idealistic or jingoistic view of America, but rather a balanced view of our successes and challenges, and an acknowledgement that the American experience means different things to different people. The film shall celebrate our commonalities without sugarcoating our differences.

l) Be limited in scope and only relevant to particular types of park units.

5. Location and Representation Requirements

To represent the diversity of the National Park Service, footage is required from the following locations unless otherwise approved by the COR. Footage shall highlight the diversity of American natural and cultural resources. The areas below are listed by regions and type of park, for every location there will be overlap between these two lists.

The contractor shall provide and work with a location advisor / historian familiar with the park service.

a) The film shall include footage (original or stock) from National Park Units within each of the Department of Interior’s Unified Regions, including:

(1) Region 1: North Atlantic-Appalachian

(2) Region 2: South Atlantic-Gulf (Includes Puerto Rico and the

U.S. Virgin Islands)

(3) Region 3: Great Lakes

(4) Region 4: Mississippi Basin

(5) Region 5: Missouri Basin

(6) Region 6: Arkansas-Rio Grande-Texas-Gulf

(7) Region 7: Upper Colorado Basin

(8) Region 8: Lower Colorado Basin

(9) Region 9: Columbia-Pacific Northwest

(10) Region 10: California-Great Basin

(11) Region 11: Alaska

(12) Region 12: Pacific Islands (American Samoa, Hawaii. Guam, Commonwealth of the Northern Mariana Islands)

A map of the regions can be found here:

https://www.nps.gov/media/photo/collection-item.htm?pg=7347320&cid=305fb7af-a71b-469b-941e-a98b439c882f&id=3b65f32a-30fc-407f-b634- 13c5e31ff4b3&sid=56d5810041ef49bf9e0157f2c8fb441b&p=1&s ort=relevance

b) The following types of park units shall be represented. To learn more about each, visit: https://www.nps.gov/aboutus/national-park-system.htm:

(1) National Battlefields / Battlefield Parks / Battlefield Sites /

Military Parks

(2) National Historic Sites / Historical Parks / International

Historic Sites

(3) National Lakeshores

(4) National Memorials

(5) National Monuments

(6) National Parkways

(7) National Parks / Preserves / Reserves

(8) National Recreation Areas

(9) National Rivers / Wild and Scenic Rivers and Riverways

(10) National Scenic Trails

(11) National Seashores

6. Style & Approach

General style requirements. The film shall:

a) Be interpretive in approach, drawing from technical, informational, scientific, historical, and cultural sources, and incorporating creative techniques that connect viewers emotionally and https://www.nps.gov/media/photo/collection-item.htm?pg=7347320&cid=305fb7af-a71b-469b-941e-a98b439c882f&id=3b65f32a-30fc-407f-b634-13c5e31ff4b3&sid=56d5810041ef49bf9e0157f2c8fb441b&p=1&sort=relevance https://www.nps.gov/media/photo/collection-item.htm?pg=7347320&cid=305fb7af-a71b-469b-941e-a98b439c882f&id=3b65f32a-30fc-407f-b634-13c5e31ff4b3&sid=56d5810041ef49bf9e0157f2c8fb441b&p=1&sort=relevance https://www.nps.gov/media/photo/collection-item.htm?pg=7347320&cid=305fb7af-a71b-469b-941e-a98b439c882f&id=3b65f32a-30fc-407f-b634-13c5e31ff4b3&sid=56d5810041ef49bf9e0157f2c8fb441b&p=1&sort=relevance https://www.nps.gov/media/photo/collection-item.htm?pg=7347320&cid=305fb7af-a71b-469b-941e-a98b439c882f&id=3b65f32a-30fc-407f-b634-13c5e31ff4b3&sid=56d5810041ef49bf9e0157f2c8fb441b&p=1&sort=relevance https://www.nps.gov/media/photo/collection-item.htm?pg=7347320&cid=305fb7af-a71b-469b-941e-a98b439c882f&id=3b65f32a-30fc-407f-b634-13c5e31ff4b3&sid=56d5810041ef49bf9e0157f2c8fb441b&p=1&sort=relevance https://www.nps.gov/aboutus/national-park-system.htm https://www.nps.gov/aboutus/national-park-system.htm intellectually to the meanings and significance of park service stories.

b) Immerse viewers in unique and captivating views of park units and sweeping views of diverse American landscapes/landmarks.

c) Immerse viewers in the story with relatable and engaging characters. When applicable, the film shall tell the story from a first-person perspective. Including interviews that are warm and authentic and demonstrate vulnerable and joyful connections.

Tribal representation shall allow people to express their culture in their own words.

d) Provide an immersive and emotionally engaging experience for viewers, with interweaving storylines that reveal connections between people, places, and events.

e) When applicable, include historic assets and primary sources, such as archival photographs, film/video footage, audio recordings, paintings, illustrations, newspaper headlines, and documents.

f) Have a soundtrack with ample breathing room for rich, multilayered sound design, music, and audio description.

g) Provide a rich ‘sense of place’.

h) Be visually rich and use visual density to quickly communicate big concepts and weave together different ideas and create meaning and connection.

i) Not tell viewers what to think, but rather allow them to draw their own conclusions.

j) Be honest and open with struggles, while being inspiring and hopeful at the core.

k) Incorporate an inviting and disarming sense of lightheartedness and humor through the edit, even when the subject matter is serious.

7. Emotional and Intellectual Response

It is the intent of this film to elicit a strong emotional response from the viewer, regardless of where they are watching the film.

The film shall:

a) Avoid an emphasis on blame, shame, and guilt.

b) Provoke viewers to feel empathy; to feel hope; and to feel inspired.

c) Provoke viewers to feel pride in the natural resources, landscapes, and biodiversity owned by all Americans.

d) Provoke viewers to consider experiences and viewpoints that differ from their own.

e) Encourage viewers to reflect on the meaning of freedom, patriotism, and democracy.

8. Production team

a) The contractor shall provide a production team experienced with successfully working on sensitive topics and supportive of diversity and inclusion.

b) The contractor shall provide a diversity and inclusion coordinator who shall inform the development of film content and approach through all phases of the project. Note: the term “diversity” means the practice of including the many communities, identities, races, ethnicities, backgrounds, abilities, cultures, and beliefs of the American people, including underserved communities.

c) The contractor shall provide a historian with documented expertise in research, publication, and public discourse on American history, including an emphasis on Indigenous, African American, and Women’s history. The historian shall inform the development of themes, key messages, and specific content to connect the film and park service to the larger historical narrative and how that informs how we move forward.

9. Native American coordination

a) The NPS will be working with an NPS-appointed task force for some phases of review. Additional review times may be required for some phases, such as the Pitch Deck and Rough Cut, and these will be discussed prior to developing the overall schedule.

b) The reviews are required to ensure that all communication and media content produced or collected is respectful and accurate.

c) The park service will coordinate the task force and consolidate all comments.

10. Honorariums

a) Any honorariums, travel, or other expenses for talent or interviews shall be the responsibility of the contractor.

11. Compliance

a) The contractor shall research and follow all safety and resource protection rules and regulations for all park units and obtain any required permits and other permissions.

b) The contractor shall coordinate with non-NPS sites and landowners for filming on their property, both for exterior and interior filming.

All required permits and fees for filming on non-NPS land shall be the responsibility of the contractor.

c) All filming shall be performed in strict accordance with all compliance requirements and regulations imposed by the federal or state government, or private landholders per the National Historic Preservation Act (NHPA) and the National Environmental Policy Act (NEPA) in regard to accessing a proposed filming location(s), such as a culturally sensitive landscape or historic property, or the proposed use of specialized filming equipment at a specific location(s).

d) The contractor shall adhere to Leave No Trace principles at all times while in the park.

e) The Production Plan shall include specific information pertaining to all compliance requirements.

12. 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 resources.

d) Reflect the value of parks.

e) Reflect diversity and cultural sensitivity.

f) Ensure inclusive, accurate and up-to-date terminology when describing people, backgrounds, and identities. Recognize that with each step in history, language will change, and that words are important because they can reveal unintended bias.

g) Not endorse or advocate for a commercial brand.

13. Resources:

a) The following subject websites highlight different park stories and may be helpful as preliminary research:

(1) https://www.nps.gov/subjects/tellingallamericansstories/index.

htm

(2) https://www.nps.gov/subjects/tellingallamericansstories/whow eare.htm

(3) https://www.nps.gov/subjects/tellingallamericansstories/strugg lestriumphs.htm

(4) https://www.nps.gov/subjects/tellingallamericansstories/adven tures-in-history.htm

(5) https://www.nps.gov/articles/publications-diverse.htm

(6) https://www.nps.gov/articles/000/making-a-democracy.htm

(7) https://www.nps.gov/subjects/teachingwithhistoricplaces/inde x.htm

(8) https://www.nps.gov/subjects/heritagetravel/discover-our-shared-heritage.htm

(9) www.nps.gov/subjects/labor/index.htm

(10) www.nps.gov/subjects/womenshistory/women-s-stories-of.htm

b) Attachment H – WASO Vision for the 250th, provides background information about the National Park Service’s vision for the 250th broadly, not specific to the film. When available, the NPS will provide access to updated resources that provide additional information about the agency’s overall vision for the 250th. This is not a content outline for the film.

c) Attachment I – AASLH Field Guide, is ‘The Field Guide for the Semiquincentennial – Making History at 250” published by the American Association for State and Local History. This document is not specific to the National Park Service, but the themes are relevant. Note that the film shall be evergreen and not directly about the 250th Anniversary.

https://www.nps.gov/subjects/tellingallamericansstories/index.htm https://www.nps.gov/subjects/tellingallamericansstories/index.htm https://www.nps.gov/subjects/tellingallamericansstories/whoweare.htm https://www.nps.gov/subjects/tellingallamericansstories/whoweare.htm https://www.nps.gov/subjects/tellingallamericansstories/strugglestriumphs.htm https://www.nps.gov/subjects/tellingallamericansstories/strugglestriumphs.htm https://www.nps.gov/subjects/tellingallamericansstories/adventures-in-history.htm https://www.nps.gov/subjects/tellingallamericansstories/adventures-in-history.htm https://www.nps.gov/articles/publications-diverse.htm https://www.nps.gov/articles/000/making-a-democracy.htm https://www.nps.gov/subjects/teachingwithhistoricplaces/index.htm https://www.nps.gov/subjects/teachingwithhistoricplaces/index.htm https://www.nps.gov/subjects/heritagetravel/discover-our-shared-heritage.htm https://www.nps.gov/subjects/heritagetravel/discover-our-shared-heritage.htm http://www.nps.gov/subjects/labor/index.htm http://www.nps.gov/subjects/womenshistory/women-s-stories-of.htm http://www.nps.gov/subjects/womenshistory/women-s-stories-of.htm

14. Government Furnished Property

a) The park service has a limited selection of 4K footage that can be provided for use in this project. See Attachment G - HFC 4K Footage Log for additional information.

15. Production Budget

a) For this project, the offeror shall design to a budget of $450,000 to $520,000, which shall include a stock and archival license allowance of at least $32,000.

b) Offerors shall include an allowance of $32,000 for use rights/licensing fees for archival and stock media. If the contractor is unable to secure the required use rights within the available $32,000 budget, the contractor shall seek guidance from the COR and Contracting Officer on acceptable alternatives. If the contractor secures the required use rights for less than $32,000, the Total Award Amount shall be reduced accordingly. (Based on their proposed approach, the contractor may set a higher allowance in their proposal, and the above will apply to that amount).

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 in YEARMODA format.

File names shall use camel case when needed. Per best practices, no spaces or punctuation other than underscores shall be used.

Example: WASO_ProductionPlan_v2_20240127.

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, License Agreements, and Copyright

a) 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.

(1) 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. Updated release forms may be provided by the NPS during the performance of the contract.

(a) If using Attachment B – NPS Materials Release Form, the agreement must include:

(i) The below-referenced National Park Service Project

(ii) Future National Park Service Projects

(iii) Unlimited Rights

(2) 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 XVII – Clauses by Reference, 52.227-17 Rights in Data - Special Works.

(3) Licenses with indemnification clauses signed on behalf of the National Park Service shall not be accepted.

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

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

b) Contractor shall register and assign to the U.S.

Government copyright in all data first produced in the performance of this contract pursuant to FAR 52.227-17(c)(1).

4. Accessibility

a) The completed film shall meet all NPS accessibility guidelines, which may be updated during the duration of the project:

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

b) Contractor shall produce Audio Description (AD), and Subtitles for the Deaf and Hard of Hearing (SDH), including open and closed captions.

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

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) and COR. Time and date shall be determined between the COR and contractor after award.

2. Post-Award Meeting

The contractor shall attend a Post-Award Meeting at the Harpers Ferry Center in Harpers Ferry, WV. The meeting shall consist of two consecutive eight-hour days. The Post-Award Meeting shall be attended by a minimum of the Project Manager, 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 and the project.

(2) Review the Scope of Work, project schedules, and table of deliverables.

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

(4) Review all accessibility requirements for the project.

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

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

(7) 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 principal 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. Including the proposed number of shoots. Review times shall account for multiple revisions. Contractor may propose an overlap or combination of submittals when appropriate. 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.

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 in order to create the final productions. This research is not a separate submittal, but shall be required for successful completion of treatments, scripts, rough cuts, and other project submittals.

5. Pitch Deck

Based on the Post-Award Meeting and research, and feedback on the contractor’s pitch in the original proposal, the contractor shall prepare and submit a pitch deck. The pitch deck will be used with stakeholders outside the core NPS team.

The pitch deck shall include the following:

a) Logline

b) Brief synopsis (core concept, storyline, main plot points, key characters and motivation, and locations)

c) Outline of creative approach including the visual styling, pacing of edit, sound design and music.

d) Possible variations.

e) Images or files of existing films/excerpts shall be included as examples for illustrating style ideas.

f) Overall production approach (i.e., stock vs original filming, time in field, post production approach, graphics).

g) Proposed approach for recruiting and screening any onscreen characters or interview candidates.

The pitch shall demonstrate:

h) How the show is nationally relevant in all parks.

i) How the approach aligns with the overarching goals of the project.

j) How the show will reflect a diversity of places and people.

k) How it will address the inherent contradictions/juxtapositions, balance the overall tone, and bring together disparate concepts.

l) How the show will appeal to a diverse range of viewers.

m) How the production approach is realistic within the project timeline.

n) How the production and final show incorporate an emphasis on diversity and inclusion.

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

Upon approval of the Pitch Deck, the contractor shall prepare and submit a Treatment and a Production Plan for the film. The Treatments and Production Plan shall align and shall 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. The plan shall incorporate an emphasis on diversity and inclusion. 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 NPS staff, partners, consultants, or advisors during or after 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) Draft logline.

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

(3) Description of the proposed story threads and visual highlights.

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

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

(6) Proposed style of filming for original material.

(7) Sources for additional program/content research.

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

(9) Description of proposed original musical score.

(10) Description of any proposed narration.

(11) Examples of stock footage and images (with descriptions and sources) proposed for the production.

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

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

(4) Description of proposed approach for payment of honoraria to interviewees.

(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) and lenses with specifications.

(7) Description of proposed approach for researching and incorporating archival assets and stock footage.

(8) 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) Narration, interviews, and character 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, interviews, character 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 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) 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.

C. PRODUCTION PHASE

Work performed during the Production phase centers on the acquisition of media and other supporting material. The contractor shall propose the number of shoots, locations, and duration of each shoot needed to fulfill the requirements of the contract. This shall be included in the overall project schedule.

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.

1. Submittals during the Production Phase:

a) Updated project schedule based on approved Treatment and Production Plan.

b) For each shoot:

(1) Shooting Script, Filming Schedule

(2) Production Review Package

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:

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

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

(c) Interview questions.

(3) Filming Schedule shall include:

(a) Number of film crew members

(b) Film crew travel and lodging information

(c) Daily crew call times

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

(e) Contractor’s emergency contact information

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

(g) Safety, contingency, and compliance plans

(h) List of production equipment

b) Principal Photography

(1) Footage shall originate in Ultra-High-Definition or higher, using a professional camera and lenses preapproved by the

COR.

(a) Minimum of 15 stops of dynamic range

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

Frame”

(c) Camera raw file format(s)

(d) Professional cinema lenses are required and shall be submitted and approved by the COR. Industry standard examples include Cooke, Vista, Angenieux, etc.

(2) The contractor shall produce HD-resolution proxy files (either synchronous in camera or by using a post-production process) 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 lockdowns 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) 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 be non-visible to the camera and to minimize extraneous noise sources.

d) Interviews

(1) The contractor shall arrange and conduct 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…