Sol_140P2125R0050.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 140P2125R0050 is issued as a Request for Proposal (RFP) which constitutes the entire solicitation. 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 2025-05, effective 7 August 2025. This is a 100% small business set-aside. The North American Industry Classification System (NAICS) code is 512110, Motion Picture & Video Production and the related small business size standard is $40.0M.

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

REQUIREMENT: Independently, and not as an agent of the government, the contractor shall provide all services including labor, materials, equipment, facilities, and travel necessary to perform audiovisual services to create a 12-minute primary film, a 5-minute secondary film, a 60-second trailer and 2-4 standalone animation excerpts for Pecos National Historical Park.

Due to space limitations, the complete commercial item specifications are contained in Solicitation Number 140P2125R0050. 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 Products and Commercial Services and addendum;

52.212-2 Evaluation-Commercial Products and Commercial Services and addendum; 52.212-3 Offeror Representations and Certifications-Commercial Products and Commercial Services; 52.212-4 Contract Terms and Conditions-Commercial Products and Commercial Services; 52.212-5 Contract Terms and Conditions Required To Implement Statutes or Executive Orders-Commercial Products and Commercial Services; 52.232-33 Payment by Electronic Funds Transfer-System for Award Management; 52.233-4 Applicable Law for Breach of Contract Claim; and 52.245-1 Government Property.

NOTE: The Government intends to conduct the evaluation process for this requirement in two phases for the duration of the open solicitation:

Phase 1: Advisory Review (Volume I)

Phase 2: Evaluation of Proposals and Selection (Volumes II, III, and IV)

Questions shall be sent via email to robert_adamson@nps.gov by 3:00 pm ED 28 Aug 2025. Questions submitted using any other method will not be entertained.

Only Phase 1 proposal information and documents shall be submitted for receipt no later than 1:00pm ED, on 1 Oct 2025. Participation in Phase I is a mandatory element to participate in phase II.

• Advisory notifications will be sent to offerors approximately fifteen (15) days after Phase 1 due date.

Phase 2 proposal information and documents shall be submitted for receipt no later than 1:00pm ET, on 12 Nov 2025.

Proposal documents submitted using any other methods will not be entertained. The Point of Contact for this requirement is Robert Adamson, Contracting Officer. Offerors who contact anyone outside of the Office of Acquisition Management regarding this requirement may automatically be excluded from competition.

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 robert_adamson@nps.gov with the subject line clearly identifying “Solicitation Number 140P2125R0050 – PECO 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/

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

0011283480 CODE 16. ADMINISTERED BYCODE

X

X

X

512110

SIZE STANDARD:

100.00 % FOR:SET ASIDE:UNRESTRICTED ORPWA

REQUEST FOR

PROPOSAL

(RFP)

INVITATION

FOR BID (IFB)

10. THIS ACQUISITION ISCODE

REQUEST FOR

QUOTE (RFQ)

14. METHOD OF SOLICITATION

13b. RATING

NORTH AMERICAN INDUSTRY

CLASSIFICATION STANDARD

(NAICS):

SMALL BUSINESS

11/12/2025 1300 ES

08/15/2025

3015020076Robert Adamson (No collect calls)

INFORMATION CALL:

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

4. ORDER NUMBER3. AWARD/ 6. SOLICITATION

140P2125R0050

5. SOLICITATION NUMBER

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

1 117 0044018125OFFEROR 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 FREE ON BOARD

(FOB) DESTINATION UNLESS

BLOCK IS MARKED

11.

SEE SCHEDULEX

12. DISCOUNT TERMS THIS CONTRACT IS A RATED

ORDER UNDER THE DEFENSE

PRIORITIES AND ALLOCATIONS

SYSTEM - DPAS (15 CFR 700)

13a.

SERVICE-DISABLED

VETERAN-OWNED

SMALL BUSINESS

(SDVOSB)

HUBZONE SMALL

BUSINESS

8(A)

NPS, WASO - WCP Contracting

WOMEN-OWNED SMALL

BUSINESS (WOSB)

ECONOMICALLY DISADVANTAGED

WOMEN-OWNED SMALL

BUSINESS (EDWOSB)

24.

AMOUNT

23.

UNIT PRICE

22.

UNIT

21.

QUANTITY

20.

SCHEDULE OF SUPPLIES/SERVICES

19.

ITEM NO.

Contractor shall provide all services including labor, materials, equipment, facilities, and travel necessary to perform audiovisual services to create a 12-minute primary film, a 5-minute secondary film, a 60-second trailer and 2-4 standalone animation excerpts for Pecos National Historical Park

00010 Interpretive films for Pecos National Historical Continued ...

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

HEREIN, IS ACCEPTED AS TO ITEMS:

XX

DATED

Robert Adamson

. 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 (FEDERAL ACQUISITION REGULATION) FAR 52.212-1, 52.212-4. FAR 52.212-3

AND 52.212-5 ARE ATTACHED. ADDENDA

26. TOTAL AWARD AMOUNT (For Government Use Only)

OFFER

STANDARD FORM 1449 (REV. 11/2021)

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: REFERENCE

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. 11/2021) BACK

24.

AMOUNT

23.

UNIT PRICE

22.

UNIT

21.

QUANTITY

20.

SCHEDULE OF SUPPLIES/SERVICES

19.

ITEM NO.

Park (PECO).

Product/Service Code: T016

Product/Service Description:

PHOTO/MAP/PRINT/PUBLICATION- AUDIO/VISUAL

Delivery: 02/24/2028

Period of Performance: 01/05/2026 to 05/05/2028

00020 PECO AV Film Travel

Product/Service Code: T016

Product/Service Description:

PHOTO/MAP/PRINT/PUBLICATION- AUDIO/VISUAL

Delivery: 02/24/2028

Period of Performance: 01/05/2026 to 05/05/2028

32f. TELEPHONE NUMBER OF AUTHORIZED GOVERNMENT REPRESENTATIVE

32d. PRINTED NAME AND TITLE OF AUTHORIZED GOVERNMENT REPRESENTATIVE

117 2 of

Solicitation # 140P2125R0050

TABLE OF CONTENTS

SCOPE 4

PURPOSE/BACKGROUND 4

SCOPE OF WORK 5

SPECIFICATIONS & SUBMITTALS 18

DEVELOPMENT & PRE-PRODUCTION PHASE 20

PRODUCTION PHASE 26

POST-PRODUCTION PHASE 33

MARKETING & DISTRIBUTION PHASE 40

FINAL DELIVERABLES & CLOSEOUT 41

PERIOD OF PERFORMANCE 43

DELIVERABLES & DESTINATION POINT 43

LIST OF ATTACHMENTS 49

PAYMENT SCHEDULE 50

CLAUSES 51

PROVISIONS 66

INSTRUCTIONS FOR THE PREPARATION OF PROPOSALS 92

EVALUATION FACTORS & CRITERIA 111

SCOPE OF WORK

INTERPRETIVE FILMS FOR

PECOS NATIONAL HISTORICAL PARK

I. PURPOSE AND BACKGROUND

A. Purpose:

The purpose of this project is to create a pair of interpretive films that explore the rich, layered history and continuing cultural relevance of Pecos National Historical Park. The films will deepen visitor understanding of the site as a place of ancestral Pueblo heritage, colonial encounter, resistance, adaptation, archeological innovation, and enduring cultural synthesis.

The final products will serve on-site, online, and outreach audiences, and will emphasize authenticity of place through the voices of Pueblo, Hispanic, and other local community members. The films will help answer critical questions: What does it mean to care for a place?

What does it mean to be of a place? How do cultures converge, survive, and co-exist over time?

B. Background:

Pecos National Historical Park, located in northern New Mexico, preserves over 12,000 years of human history and cultural exchange. The park includes the ancestral Pecos Pueblo, Spanish colonial mission church, parts of the Santa Fe Trail, the Civil War battlefield of Glorieta Pass, and the Forked Lightning Ranch—each reflecting a distinct chapter in the region’s complex past.

Pecos Pueblo, established around 1100 CE, was once a vibrant community strategically positioned between the Great Plains and the Rio Grande Valley. It served as a major center for trade and cultural exchange among Pueblo peoples and Plains tribes. The arrival of the Spanish in the 16th century led to the construction of the first mission church and introduced dramatic cultural and religious shifts.

In the 19th century, the Santa Fe Trail brought commerce and migration through the area, while the Battle of Glorieta Pass in 1862 marked a pivotal moment in the Civil War’s western theater.

In the 20th century, the landscape was transformed again with the establishment of the Forked Lightning Ranch, later associated with figures like Tex Austin and actress Greer Garson.

Today, the park offers a unique lens into centuries of adaptation, conflict, and continuity. It helps visitors explore how diverse communities have shaped and been shaped by this powerful landscape.

The films will screen in the visitor centers, but the secondary audience is broader. The films will be widely distributed, including venues around New Mexico and online.

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

II. SCOPE AND OBJECTIVES

II.1 SCOPE OF WORK

The project shall include the production of a 12-minute primary film, a 5-minute secondary film, a 60-second trailer, and 2-4 standalone animation excerpts.

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.

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

1. Overview of Technical Requirements

a) Technical requirements for all films:

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

(2) English language version: Including English language narration, any text on screen, Audio Description (AD), On-screen Subtitles for the Deaf and Hard of Hearing (SDH), and Closed Captions

(3) Spanish language: On-screen Subtitles for the Deaf and Hard of Hearing (SDH), and Closed Captions

b) Primary Film:

(1) Length: 12 minutes (NOT including credits)

(2) Audio: 5.1 Surround Sound and Stereo

(3) Music: An original score is required

(4) NPS Project Number: AV-0226

c) Secondary Film:

(1) Length: 5 minutes (NOT including credits)

(2) Audio: 5.1 Surround Sound and Stereo

(3) Music: An original score is required

(4) NPS Project Number: AV-0227

d) Trailer:

(1) Length: 60 seconds

(2) Audio: 5.1 Surround Sound and Stereo

(3) Music: An original score is required

(4) NPS Project Number will be assigned at a later date

e) Animation excerpts

(1) Two to four videos, excerpts from the other films, that can be used independently.

(2) Audio: Stereo

(3) NPS Project Numbers will be assigned at a later date

2. Overview of Audience and Distribution Considerations

a) The primary distribution venue is the theater at the E.E. Fogelson Visitor Center.

b) The primary audience includes park visitors interested in the cultural and historical significance of the site. This includes tourists exploring northern New Mexico, school or university groups, and individuals with a personal or cultural connection to the region.

c) The film shall also meaningfully connect with the local community, including Jemez Pueblo, other traditionally associated tribes, and the region’s Hispanic and Catholic communities—many of whom visit the site to honor cultural ties and family histories.

d) Secondary distribution includes off-site presentations and online platforms. The primary film should be relevant beyond the park, offering broader relevance and insight into themes of cultural convergence, identity, and continuity.

e) The secondary audience may not be familiar with Pecos National Historical Park specifically, but may have interests in related topics such as archeology, pottery, Indigenous history, New Mexico heritage, Catholicism, and cultural preservation.

3. Overview of Production Requirements

Refer to Section II.2.C. Production Phase for full specifications. The following technical elements are required as part of the production effort:

a) Original footage: Original 4K UHD or higher footage of the park is required, including the following specialties: aerial, timelapse, night sky time-lapse.

b) Camera Movement & Visual Style: All footage shall demonstrate high production value, with an emphasis on dynamic camera movement to create visual interest. Examples include (but are not limited to) the use of gimbals, sliders, jibs, dollies, or Steadicam-style stabilization tools.

c) Sound Design: A robust and immersive sound design is required. Layered ambient soundscapes and accurate sound effects should enhance the storytelling.

d) Music: Music must be culturally and geographically appropriate.

e) Animation & Graphics: Animation and graphic elements are required.

f) Archival Materials: Use of archival material is required, examples include footage, photographs, documents, oral history recordings.

g) Narration: Narration is not required; however, if the contractor’s proposed creative approach includes narration, it must adhere to the specifications outlined in this document.

h) Interviews and On-Camera Appearances: The films are anticipated to include people, including interviews (primarily off-camera) and observational footage of individuals engaged in relevant activities. The contractor shall describe the anticipated number, type, and stylistic approach to interview and character footage in their proposed production plan.

4. Content of each film

a) Film A: Primary Film:

(1) Overarching goals, core themes and content, and other specifications for the overview theater film are detailed in the sections below.

(2) This film shall be cinematic and very high production value. The audience for this film is broader.

b) Film B: Secondary Film:

(1) A 5-minute, visually dynamic, animation-forward explainer or interpretive piece that offers a fast-paced overview of Pecos National Historical Park.

Informally referred to as “Pecos in 5 Minutes,” this film will highlight the many layers of the site’s history, archeology, and intercultural exchange through animation, graphics, narration, historic imagery, and original footage.

(2) The tone should be high energy, designed to capture attention and make complex themes accessible to a broad audience. While the production will be polished and professional, it does not need to match the cinematic tone of the primary film. It is intended principally for in-person and online visitors who are looking for a concise and engaging introduction to the park.

(3) Content may include a broad overview of key park features and stories, with a focus on:

(a) Battle of Glorieta Pass

(b) Forked Lightning Ranch

(c) Other elements including:

(i) The significance of the landscape and its location

(ii) Santa Fe Trail

(iii) Trading Post

(iv) Pueblo and Spanish Mission sites for context, but with less emphasis since they will be the focus of the primary film.

(4) While production may occur in parallel with the primary film, there should be minimal duplication in content. The two films may have distinct styles that reflect their different purposes, but they should complement one another and feel cohesive when viewed together.

c) Animation assets

(1) Animation assets may be pulled from either film. These clips will be adapted from existing animations in the films but edited to function as standalone pieces. This may involve modifications to elements such as audio, on-screen text, and the way each animation begins or ends.

(2) The goal is to repurpose animation assets for broader interpretive use, including educational settings such as school presentations or online platforms.

5. Overarching Goals

The primary film for Pecos National Historical Park shall serve as the signature interpretive audiovisual experience for the E.E. Fogelson Visitor Center and as a key storytelling tool for off-site audiences. The film shall convey the layered cultural, historical, and archaeological significance of the site and support long-term visitor engagement, learning, and reflection. 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.

a) The film shall:

(1) Provide viewers with a meaningful and accessible introduction to the site, helping them understand that what may first appear as just a rocky landscape is a vital cultural site with living ties to Indigenous and local communities.

(2) Highlight Pecos as a crossroads of history and culture—a place shaped over centuries by ancestral Pueblo peoples, Spanish colonial forces, Catholic missionaries, archaeologists, preservationists, and the communities who continue to care for it today.

(3) Foster a sense of connection and emotional resonance by portraying the site as a living landscape, not simply a historic or archaeological artifact.

(4) Explore the complexity and coexistence of multiple cultural narratives, emphasizing evolving understandings and minimizing reductive or binary interpretations of history.

(5) Appeal to both park visitors and broader audiences, including those interested in topics such as archeology, pottery, Native cultures, New Mexico history, and Catholicism, while ensuring the film remains specific to the stories and people of Pecos.

(6) Be produced with long-term relevance in mind, using a narrative and visual style that will remain impactful and accessible for the next 25–30 years.

b) The film shall not:

(1) Serve as an orientation video. The film shall not include wayfinding instructions, facility overviews, or other content focused on directing visitors on how to use park amenities.

(2) Be structured around a host or rely predominantly on narration. Narration may be used to support storytelling but shall not dominate the film or replace a strong visual and character-driven narrative.

(3) Focus exclusively on a few individuals. While personal stories and interviews may be included, the primary subject of the film shall be the landscape, history, and layered significance of Pecos National Historical Park.

(4) Be produced in the style of a promotional video, television news feature, or travel show. The film shall be cinematic in tone and visual approach, designed to foster reflection and emotional engagement.

(5) Include generic content about the American Southwest or national archeology themes unless directly tied to the stories, resources, and interpretive goals of Pecos National Historical Park. All content shall be site-specific and place-based.

6. Core themes and content

The film shall visually and thematically address the following required content areas.

These themes shall not be presented as a checklist or in isolation, but shall be thoughtfully integrated into a cohesive and place-based narrative structure that supports the overarching goals of the project.

a) Cultural and Historical Continuity The film shall interpret the following elements of Pecos’ cultural heritage:

(1) The enduring presence and cultural persistence of Pueblo peoples, with specific attention to the ancestral Pecos Pueblo and its relationship to present-day Jemez Pueblo.

(2) Key events in Spanish colonial history, including the construction and destruction of the first church, the Pueblo Revolt, and the rebuilding of the second mission church.

(3) The region’s role as a corridor of movement and cultural exchange— highlighting the convergence of Indigenous, Hispanic, Catholic, and Anglo histories.

b) Archeology and Changing Perspectives The film shall explore the evolution of archaeological understanding and practice, including:

(1) Pecos as the foundational site for modern Southwestern archeology, including the legacy of Alfred Kidder.

(2) Shifts in methodology from early excavation practices to current approaches in preservation archeology, including decisions to leave areas unexcavated or reburied.

(3) The use of modern technology to support non-invasive research and increased collaboration with tribal communities.

(4) The historical and ongoing significance of the Pecos Conference as a gathering for archaeological dialogue.

(5) The 1999 Jemez–Pecos Repatriation as a case study in evolving archaeological ethics, cultural healing, and federal policy implementation under NAGPRA.

c) Ongoing Preservation and Stewardship The film shall depict contemporary practices that reflect ongoing care for the site, including:

(1) Annual preservation of the Spanish Mission Church, including the use of traditional adobe brickmaking and surface maintenance.

(2) Preservation of the ancestral village through burial, stabilization, and limited physical intervention to protect the integrity of sacred and cultural spaces.

(3) The role of the National Park Service in partnering with tribal communities and descendants to steward both tangible and intangible cultural resources.

d) Place and Environment

The film shall communicate the environmental and ecological context that shaped Pecos as a settlement and sacred landscape:

(1) Natural factors that made the location ideal for long-term habitation, including proximity to water, fertile land, diverse ecotones, and a temperate climate.

(2) Aesthetic and sensory qualities of the landscape—monsoon skies, golden cottonwoods, snow-covered peaks, and night skies—that contribute to a powerful sense of place.

e) Broader Interpretive Themes The film shall integrate the following conceptual themes:

(1) The passage of time and the continuity of cultural identity.

(2) Resilience of communities through disruption and change.

(3) Intercultural exchange and the blending of diverse traditions and perspectives.

(4) The evolving relationship between archaeological knowledge and living cultural memory.

(5) The concept that “everything that was here is here,” underscoring the continuity and coexistence of past and present.

7. Location and Interview Requirements

The majority of filming shall take place on-site at Pecos National Historical Park.

Additional filming may occur in the surrounding region to capture relevant visuals, such as traditionally associated pueblos, cultural events, collections, traditional arts (e.g., pottery making), or related mission churches.

Interview segments may be conducted at various locations depending on subject matter and availability. This includes filming on-site at PECO, in local or regional settings, or at more distant locations (e.g., Harvard University) if needed for subject matter expert (SME) interviews. All filming locations shall be approved by the COR.

On-camera or voiceover interviews may include tribal representatives, archeologists, artists, preservation specialists, and others whose perspectives enrich the interpretive goals of the project.

8. Timing Requirements

Filming shall be scheduled to reflect the seasonal character, cultural rhythms, and dynamic visual qualities of Pecos National Historical Park. The production timeline must consider environmental conditions, preservation activity, and the timing of relevant cultural or scholarly events.

a) Seasonal Visuals:

To support a strong sense of place and reflect the site’s natural variation, filming should align with the following seasonal highlights:

(1) Spring (April–May): Green vegetation and favorable lighting conditions;

preservation work typically underway.

(2) Summer (July–September): Monsoon season offers dramatic skies, virga, and lightning; ideal for time-lapse and atmospheric footage. Also the hottest time of year—crew logistics should plan for heat and safety.

(3) Fall (October–November): Golden cottonwoods provide striking visuals;

excellent for establishing shots and landscape sequences.

(4) Winter (February–March): Occasional snow may offer scenic opportunities but overall conditions may be less visually favorable.

b) Preservation Activity:

The preservation crew is typically active from April through October, often with visible scaffolding. This timing is ideal for filming preservation work (e.g., adobe brickmaking, wall resurfacing). This time window is not ideal for filming the site without the scaffolding.

c) Cultural and Community Events:

(1) Pecos Feast Day takes place in August (the first Sunday after the second day of the month) and may offer opportunities for cultural context, if approved through tribal consultation.

(2) The Pecos Conference, an annual gathering of Southwestern archaeologists, typically occurs in August at rotating regional locations. May be relevant for content or expert interviews.

d) Night Sky and Timelapse:

Night sky filming and timelapse sequences should be scheduled during clear nights and monsoon build-up periods to capture celestial motion, dramatic weather, and environmental transitions. Be mindful of visitation and preservation activities.

9. Cinematography Requirements

The film shall include high-quality, cinematic footage that visually immerses audiences in the cultural and natural landscape of Pecos National Historical Park.

Footage shall prioritize strong composition, natural light, dynamic and intentional camera movement, and seasonal variation to enhance emotional and interpretive impact.

a) Cultural Resource Cinematography (Structures)

Footage shall highlight the form, scale, and setting of the Pecos Pueblo and Spanish Mission Church. Dramatic lighting and smooth camera motion (e.g., tracking shots, slider moves) shall be used to enhance spatial understanding and visual interest. Filming shall occur across multiple seasons. Additional footage will include the Forked Lightning Ranch, Santa Fe Trail, and battlefield sites as needed for the secondary film.

b) Observational Cinematography (People & Practice) Capture real-world activities that reflect ongoing care for the site, including adobe brickmaking, preservation work, or cultural engagement. Also cultural activities such as pottery making and weaving. Cinematography shall be naturalistic and immersive, using fluid motion and cinematic framing. If approved through tribal consultation, footage may also include feast days, moments of traditional practice, or ceremonial presence. These scenes should prioritize authenticity, respect, and discretion.

c) Natural Ecosystem & Landscape Cinematography Landscape footage shall convey the beauty and ecological diversity of the region, with attention to golden hour and dramatic weather conditions. Scenes should reflect seasonal changes—such as fall cottonwoods, monsoon clouds, or snow on the mesas. Include time-lapse footage to visualize environmental transitions, and multiple night sky sequences (e.g., stars over the mission or pueblo).

d) Interview Cinematography Interviews shall be filmed with a cinematic aesthetic—using high-quality lighting, controlled depth of field, and intentional framing. Subjects shall be filmed in meaningful, relevant locations that support the interpretive message.

e) Aerial Cinematography Aerial footage shall help orient viewers to the broader landscape and emphasize spatial relationships between key cultural and natural features.

(1) The primary focus shall be the Pecos Pueblo and Spanish Mission Church site. This location shall be filmed in at least two distinct seasons, to be determined during the pre-production phase based on visual needs and logistical feasibility.

(2) Additional aerial footage of the Glorieta Pass battlefield, Forked Lightning Ranch, and surrounding landscape shall be captured to support the secondary film.

(3) Aerials shall be captured during visually compelling conditions, with emphasis on dynamic natural lighting—including golden hour—for maximum visual impact.

(4) Aerial footage is anticipated to be captured using an Unmanned Aircraft System (UAS), launched from outside park boundaries. Contractor must comply with all federal, state, and park-specific UAS regulations.

(5) The use of UAS is currently restricted within park boundaries. Approval is dependent on Department of Interior, National Park Service, and other government policies. Depending on the most current regulations, the NPS will assist with permitting and approval if it is possible. Currently only UAS equipment manufactured exclusively outside of China is being considered for permitting (Sony Airpeak S1 UAS paired with a Sony Alpha A1 8k camera being one example). The contractor may propose launching UAS (without manufacturer restrictions) from outside park boundaries. The requirement for aerials may be adjusted or eliminated based on the most current government regulations associated with UAS. Helicopter aerials are not required.

10. Animation and Graphics Requirements:

a) Animation Requirements

Animation shall be incorporated into both films, examples include visualizing the past and conveying architectural transformations, timelines, or abstract archaeological ideas.

Original animation developed for the films shall be visually engaging, culturally respectful, and interpretively effective. While photo-realism is not required, all animation must enhance clarity, emotional resonance, and audience understanding. Styles may vary but shall complement one another and support a unified visual identity.

Whenever appropriate, animation should reflect regional aesthetics and cultural context, potentially incorporating inspiration from local art traditions or visual storytelling practices. All animations shall align with the tone and pacing of the films and be reviewed for accuracy in consultation with subject matter experts and, when relevant, tribal representatives.

b) Motion Graphics and Text Overlay Requirements

Title graphics are required. Motion graphics and on-screen text may be used to clarify time, place, and complex ideas. All graphic elements shall be well-integrated, visually consistent, and support the cinematic style of the films. Text and diagrams must be legible, accessible, and reinforce the interpretive goals without distracting from the imagery.

The production may require digital enhancement of historic photographs, scientific illustrations, or other archival visuals. Techniques such as digital cleaning, parallax effects, and motion graphics may be employed to support these needs.

11. Style & Approach

The film shall:

a) Audience & Emotional Engagement:

(1) Be enjoyable, fun, inspiring, and visually engaging—crafted to hold attention, spark curiosity, and highlight the beauty of the place and its stories.

(2) Engage and resonate across diverse age groups, learning styles, and cultural backgrounds.

(3) Be intellectually and emotionally engaging—raising thoughtful questions about identity, continuity, cultural coexistence, and stewardship.

(4) Invite audiences to form their own connections to the material, whether personal, historical, spiritual, or cultural, without imposing a singular emotional response.

b) Cultural Authenticity and Representation:

(1) Facilitate Indigenous communities expressing their own culture in their own words.

(2) Reflect the authenticity of all represented perspectives, particularly Pueblo and Hispanic communities, in their own voices and terms.

(3) Reflect the regional cultural and artistic traditions of the region when appropriate, drawing inspiration from local visual styles to deepen the connection to place.

c) Interpretive Approach and Content:

(1) Use an interpretive approach that blends archeology, history, ecology, and cultural perspectives with creative storytelling to illuminate the layered significance of Pecos.

(2) Present complex topics in a clear, accessible manner—targeted at an 8th-grade reading and comprehension level—without oversimplifying nuanced ideas.

(3) Highlight the national significance of Pecos National Historical Park as a site of cultural exchange, resistance, and preservation over centuries.

d) Visual and Cinematic Qualities:

(1) Use immersive cinematography to evoke a strong sense of place.

(2) Prioritize strong visual storytelling—showing rather than telling—through elegant composition, light, and meaningful action.

(3) Incorporate rich, layered sound design that reflects the physical and cultural landscape (e.g., coyotes, birds, water, voices, ceremony, wind, movement, prayer, and seasonal rhythms).

(4) Maintain a balanced audio mix that allows space for natural sound, music, and audio description.

e) Tone and Enduring Relevance:

(1) Embrace a timeless visual and narrative style that will remain relevant for

25–30 years, adaptable to both in-park and online experiences.

(2) Embody the tone and values of: Authenticity, accessibility, immersive experience, and emotional and intellectual resonance.

12. NPS Branding & Content Framing:

All content must align with the NPS mission and values, and shall:

a) Promote the responsible and ethical use of public lands and natural resources.

b) Demonstrate best practices for safety—both in the behaviors depicted on screen and in any behind-the-scenes images or materials.

c) Not portray any activity that violates regulations or could be misinterpreted as unsafe or noncompliant with park rules.

d) Communicate respect for natural and cultural resources, reinforcing protection and preservation as core values.

e) Highlight the value of national parks as places of discovery, education, reflection, and stewardship.

f) Reflect and respect cultural diversity, acknowledging multiple perspectives and lived experiences.

g) Demonstrate cultural sensitivity and avoid stereotypes or exploitative portrayals of people, places, or traditions.

h) Use inclusive, accurate, and up-to-date language when describing individuals, communities, or identities. Language should reflect awareness of evolving terminology and recognize the impact of words in conveying bias or assumptions.

i) Not promote or endorse any commercial brands, products, or services.

13. Indigenous Engagement

a) Indigenous community representatives may participate in the review process. This engagement will be coordinated by the National Park Service, and all feedback will be consolidated and shared with the contractor by the COR to ensure cultural accuracy and respect.

b) Additional review times may be needed and will be discussed when developing the schedule.

14. Subject Matter Experts

The contractor is responsible for conducting their own research and engaging appropriate Subject Matter Experts (SMEs) as needed to ensure the accuracy of all project deliverables. The park can provide some recommendations and introductions to SMEs as needed.

15. Language Translators

Contractor shall provide translators when needed. Examples are Spanish and Jemez (also known as Towa - a Kiowa-Tanoan language spoken by the Jemez Pueblo.)

Examples include conducting interviews, producing transcripts, writing and reviewing scripts and documentation, and developing and reviewing subtitles.

16. Honorariums

Some participation may require honorariums and this shall be the responsibility of the offeror.

a) Honoraria are appropriate when SMEs, including Indigenous community members are providing their knowledge or perspective.

b) Examples may include interviews, on-camera presence, and consultation.

c) The typical honorarium is $300 per day.

d) The offeror shall be responsible for reimbursing subjects for travel.

17. Compliance and safety requirements

The contractor is responsible for researching, understanding, and complying with all safety protocols and resource protection regulations applicable to each filming location. This includes securing all required permits and permissions prior to any filming activities.

a) Filming on Non-NPS Land: The contractor shall coordinate directly with non-

NPS landowners (public or private) for access to any exterior or interior filming locations. All required permits, fees, and written permissions for non-NPS properties shall be obtained by the contractor.

b) Restricted or Closed Areas: Certain areas within the park may be seasonally closed, culturally sensitive, or restricted due to resource conditions. Some locations may require supervision by park staff or be entirely off-limits. The contractor shall confirm current access conditions and sensitivities with park staff during the planning phase.

c) Regulatory Compliance: All filming activities shall comply with applicable federal, state, and local laws, including the National Historic Preservation Act (NHPA), the National Environmental Policy Act (NEPA), and any relevant tribal consultation requirements. This includes filming in or near sacred sites, archaeological resources, and historic structures, and the use of specialized equipment (e.g., drones, motion sensors).

d) Wildlife Protections: Filming near habitat or within natural areas is subject to seasonal restrictions and may require special coordination. The contractor shall consult with NPS staff to identify any timing or access limitations related to wildlife protection or ecological sensitivity.

e) Environmental Stewardship: Contractor personnel shall follow Leave No Trace principles and all park-specific protocols to minimize disturbance to natural and cultural resources. All equipment, crew behavior, and site access methods must prioritize resource protection.

f) Unattended Equipment: No equipment—including time-lapse cameras, camera traps, or motion-triggered devices—may be left unattended without prior written approval from the NPS.

g) Production Plan Requirements: The contractor’s Production Plan shall clearly describe how compliance and safety regulations will be addressed, including site-specific protocols, permit requirements, and environmental or cultural considerations. The Production Plan must be approved by the NPS prior to fieldwork.

18. Resources

a) An in-depth account of the 1999 Pecos Pueblo repatriation, tracing the site’s archaeological legacy, cultural survival, and the historic return of ancestral remains to Jemez Pueblo: https://elpalacio.org/2013/09/the-long-road-home/

b) A podcast exploring the 1999 repatriation of Pecos Pueblo ancestors and the journey from excavation to cultural restoration:

https://www.nps.gov/podcasts/pecos-podcast-hollowed-to-hallowed-ground-the- 1999-pecos-repatriation.htm

c) Jemez Pueblo website describing the significance of Pecos as an ancestral homeland and sacred site: https://www.jemezpueblo.org/places/pecos

d) Attachment G: PECO Cultural Landscape Report: Detailed document for Forked Lighting Ranch, Pigeon’s Ranch, and Johnson’s Ranch. Including their associations with the Santa Fe Trail, Glorieta Pass Battlefield, Camp Lewis, and Kozlowski's Trading Post.

https://elpalacio.org/2013/09/the-long-road-home/ https://www.nps.gov/podcasts/pecos-podcast-hollowed-to-hallowed-ground-the-1999-pecos-repatriation.htm https://www.nps.gov/podcasts/pecos-podcast-hollowed-to-hallowed-ground-the-1999-pecos-repatriation.htm https://www.jemezpueblo.org/places/pecos

e) Attachment H: PECO Foundation Document: Provides a comprehensive overview of the park’s purpose, significance, fundamental resources and values, interpretive themes, and key management issues.

f) Park website: www.nps.gov/PECO

19. Project Budget

a) For this project, the offeror shall design to a budget of $300,000 to $340,000.

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 who will:

a) Serve as the primary point of contact between the contractor and the Contracting Officer (CO) and Contracting Officer’s Representative (COR).

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

c) Provide quality control by:

(1) Conducting routine inspections of ongoing work.

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

(3) Ensuring all work is compliant before submission to the COR.

d) Track work progress to ensure the project is completed according to the approved schedule:

(1) Coordinate and confirm all submittal and meeting dates with the COR.

(2) Notify the COR immediately of any deviations from the last approved schedule and provide an updated schedule within three (3) business days of request.

e) Ensure contractor staff follow communication protocols:

(1) The contractor shall communicate only with the CO and COR unless otherwise directed.

(2) Contractor-to-park communications must occur during meetings, site visits, or phone calls arranged and attended by the COR.

f) Initiate and lead progress meetings every 2–4 weeks:

(1) Provide agendas in advance.

http://www.nps.gov/PECO

(2) Submit meeting notes to the COR within five (5) business days after each meeting.

2. Format and Method for Submitting Deliverables

The contractor shall meet the following formatting and submission standards:

a) Document Submissions:

(1) All documents shall be submitted electronically to the COR (with the CO cc’ed) via email unless otherwise approved by the COR.

(2) Documents shall be prepared in the latest version of Microsoft Word, with headers, page numbers, and dates.

(3) File names shall include the park alpha code (PECO), deliverable description, version number, and date in YEARMODA format (e.g., PECO_ProductionPlan_v2_20241127), using underscores and camel case with no spaces or punctuation.

b) Large File Submissions:

(1) Large files shall be submitted digitally via the Harpers Ferry Center

Microsoft Teams site unless otherwise approved by the COR.

3. NPS Release Forms, License Agreements, and Copyright

The contractor shall meet the following requirements:

a) Rights and Permissions:

(1) Obtain all rights and permissions for restricted and copyrighted materials.

(2) Submit an inventory of all copyright agreements as part of the completion report.

(3) All license agreements and release forms must be approved by the COR.

b) Required NPS Forms:

(1) Use the NPS Individual Release Form (Attachment A) and NPS Materials

Release Form (Attachment B) for all talent and materials.

(2) Materials Release Forms must include: the referenced project, future projects, and unlimited rights.

c) Copyright Clearance:

(1) Clear and negotiate all rights for restricted and copyrighted material.

(2) Pay all associated costs and fees.

(3) Refer to Section XVII – Clauses Incorporated by Reference, 52.227-17

Rights in Data – Special Works.

d) Additional Requirements:

(1) Licenses with indemnification clauses for NPS will not be accepted.

(2) All restricted material acquisitions must be documented in NPS’s name.

(3) Required use rights: all uses, all media, all locations, in perpetuity.

e) Copyright Assignment:

(1) Register and assign all first-produced data to the U.S. Government pursuant to FAR 52.227-17(c)(1).

4. Accessibility

The contractor shall meet the following accessibility requirements:

a) NPS Accessibility Standards:

(1) Films shall comply with all current NPS accessibility guidelines:

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

(2) Updates to guidelines during the contract term must also be incorporated.

b) Accessible Deliverables:

(1) Produce Audio Description (AD) and Subtitles for the Deaf and Hard of

Hearing (SDH), including open and closed captions.

(2) Pace scripts and edits to include natural pauses for audio description.

B. DEVELOPMENT AND PRE-PRODUCTION PHASE

Work performed during the Development and Pre-production Phase focuses on ensuring the project is logically structured, its goals are clearly understood, and those goals are realistically achievable within the contractor’s budget, schedule, and other specified parameters. Multiple drafts may be required for each deliverable until approved by the COR.

The contractor shall prepare and submit a written response to COR review comments, including any questions or requests 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 the Contracting Officer’s Representative (COR). The date and time of the meeting will be scheduled in coordination with the COR following contract award.

2. Post-Award Meeting

The contractor shall attend a three-day Post-Award Meeting in New Mexico. At least two Key Personnel (Project Manager, Producer, Director, or Writer) must attend, including at least one person who will be on-site during primary filming. Scheduling shall be determined by the contractor and COR post-award. The park will host but cannot provide accommodations or transportation.

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

a) On-Site Activities:

(1) Tour key park areas and orient to the PECO visitor experience.

(2) Meet key project staff and review program content, interpretive goals, and objectives.

(3) May include meeting with tribal partners and visiting local relevant sites.

b) Supplemental Activities (conducted on-site or virtually as needed):

(1) Meet with additional SMEs.

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

(3) Review accessibility and use rights requirements.

(4) Identify park-provided and external research materials.

(5) Review the contractor’s initial proposal (especially Factor A, Technical

Approach) and discuss strengths to build from and weaknesses to address.

c) Post-Meeting Deliverables:

(1) Within ten (10) business days of the meeting, the contractor shall submit a Post-Award Meeting Report to the COR that includes:

(a) A summary of activities conducted, including key personnel, locations visited, and topics discussed.

(b) A summary of information provided by any Subject Matter Experts

(SMEs).

(c) A project brief outlining principal agreements, project purpose, interpretive goals, and proposed next steps.

(2) The contractor shall prepare and submit a written response to COR review comments on the Post-Award Meeting Report.

3. Project Schedule

a) The contractor shall develop and maintain a comprehensive Project Schedule that includes the following elements:

(1) All major deliverables and submittals (including drafts and final versions)

(2) All NPS review periods, including time for feedback and multiple revisions

(3) Field production windows, including the number and timing of shoots

b) Schedule Development and Format

(1) The initial schedule shall be submitted within 15 business days of the Post-

Award Meeting.

(2) The schedule shall be provided in the most recent version of Microsoft Excel, or another format approved in advance by the COR.

(3) The initial schedule should reflect broad time windows for Production and post-production project phase but be detailed enough to guide project planning and accountability.

c) Review Structure

(1) The contractor shall account for multiple review rounds per deliverable and include adequate time for internal coordination with subject matter experts and cultural stakeholders, where applicable.

(2) Where appropriate, the contractor may propose overlapping reviews or combined submittals for efficiency, subject to COR approval.

(3) If staggered production of films is proposed, the contractor must explain how this will improve workflow, reduce risk, or enhance creative quality.

d) Ongoing Schedule Management

(1) The contractor shall update the schedule as needed throughout the life of the project to reflect changes in production timelines, delivery dates, or review periods.

(2) Updates must be submitted to the COR whenever there is a change.

4. Status Reports

a) The contractor shall submit a monthly status report to the COR, providing a concise but thorough update on the project’s progress. Each report shall include:

(1) Overall project status (e.g., on track, delayed, ahead of…