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Video Production in Washington DC: How to Scope It

Updated September 2026 · Written and maintained by the Progression Agency strategy team

Washington DC video production is unlike most markets because of who commissions it. Federal agencies, contractors, associations, advocacy organizations, universities and non-profits account for a large share of the work, and each brings requirements — permits, security, accessibility, approval chains, procurement rules — that barely exist in commercial markets elsewhere. This page covers what actually drives the cost of DC video production, the permitting and access questions to settle before booking a crew, how to read a quote, and the questions that separate a production company that has worked here from one that has not.

The short answerScope the deliverable before you scope the shoot: run time, aspect ratios, captions, language versions and where it will be published all change the crew and the schedule. Settle location access early, because filming on federal property, on the National Mall, in Metro stations or inside government buildings each has its own permission process and none of them move quickly. Ask for accessibility as a line item — captions, audio description and a transcript — since it is required for a great deal of DC work and expensive to retrofit. Compare quotes on crew size, shoot days, edit rounds, licensing term and deliverable count rather than on the headline number. And confirm who owns the footage and the final files, because that varies far more than clients expect.

Two things this page does not do. It does not publish day rates or package prices: they vary by crew size, format, licensing and season, and any figure printed here would be a snapshot presented as a fact. And it does not rank named DC production companies, because such a list would rest on the firms’ own marketing rather than on outcomes, and lists of that kind frequently carry paid placement. What follows is the criteria and the questions instead.

Corporate video production in Washington DC serves an unusual client mix — federal agencies, contractors, associations, advocacy organizations and universities — and that shapes the work. Video production services in DC frequently involve approval chains and compliance review that commercial clients never encounter, and a supplier used to them will build the schedule around it rather than being surprised by it. That experience is worth more here than a reel.

Progression Agency runs a Washington DC video practice inside a national firm: the Video Marketing, Creative Services and Content Writing divisions carry most of the work here — permits, security and accessibility shape schedules more than creative does. We are a New York City firm working across the United States, and we do not claim a local office here — what we run is a division focused on this market, not an address in it.

What makes DC video production different
None of these five are creative questions and all five change the budget. In most markets the brief drives the cost; in Washington the constraints do.

What makes video production in Washington DC different?

The client mix. A large share of video production Washington DC buyers commission comes from federal agencies, government contractors, trade associations, advocacy organizations, universities and non-profits, contractors and associations, and each brings constraints that shape the budget more than the creative brief does: access permissions, security clearance, accessibility requirements, long approval chains and procurement rules.

Search demand for DC video production terms
Two phrasings of one intent, and the word order is the only difference. Both are commercial searches from people ready to commission work, which is why the market is competitive despite modest volume.

A production company that has worked here knows to start permissions in week one rather than week five, to budget captions and audio description as standard rather than as an extra, and to expect a script to pass through several approvers. One that has not will produce a quote that looks competitive and a schedule that slips.

Why the constraints matter more than the camera

In most commercial markets the creative brief drives the cost. In Washington the constraints do. Two identical two-minute films, one shot in a private office and one requiring access to federal property, differ enormously in schedule and materially in price — and nothing about the finished films explains why.

Who this page is for

Anybody commissioning video in the District, Northern Virginia or suburban Maryland: communications teams, association marketers, contractor business development, university departments and non-profit staff. If you are commissioning purely commercial work with no access or accessibility requirements, our general video production services page covers the same ground without the DC-specific constraints.

What are you actually buying?

A set of deliverables, not a shoot. The shoot is a means of producing files, and the file list — run times, aspect ratios, language versions, captions, cutdowns — is what determines the crew, the schedule and the price. Scope the deliverables first and the rest follows.

Master edit — Deliverable. The full-length primary version..
Cutdowns — Deliverable. Short versions for social and ads..
Vertical versions — Deliverable. 9:16 for phones; reframing is work..
Captions and transcript — Deliverable. Often mandatory, always useful..
Audio description — Deliverable. Required for much public-sector work..
Stills from the shoot — Deliverable. Cheap to add, expensive to recreate..
Types of DC video work compared
Reuse value is the axis clients underweight. An explainer costs less than a documentary and stays useful for years, which frequently makes it the better purchase even when the documentary is the more appealing brief.

The comparison chart shows why reuse value deserves more weight than it usually gets. An explainer costs less than a documentary and stays useful for years; a documentary is more appealing to commission and dates faster. Where the budget is finite, the less exciting format is frequently the better purchase.

Which format suits which objective
ObjectiveFormatTypical run timeWhy
Explain a program or serviceExplainer with motion graphics90 seconds to 3 minutesReuses well and survives staff changes
Build credibility with a funderDocumentary-style feature5 to 12 minutesStory carries more than facts here
Recruit staffInterview-led piece2 to 4 minutesPeople respond to people
Capture an annual eventEvent coverage plus a highlight cut1 to 3 minutesShort shelf life; keep the cost proportionate
Advocacy or campaignBroadcast-quality advertisement30 to 60 secondsPlacement rules govern the format
Training and onboardingModular series3 to 8 minutes eachModules can be replaced individually
Congressional or stakeholder briefingShort factual filmUnder 3 minutesAttention is genuinely scarce

The last column is the useful one. Choose the format from what the film has to survive — a staff change, a funding cycle, a placement rule — rather than from what looks most ambitious in a proposal.

Location access: the question that decides your schedule

Settle it before anything else. Filming on federal property, on the National Mall, in Metro stations, on District streets or inside private buildings each has a separate permission process with its own lead time, and none of them can be accelerated by spending more.

Federal property — Access. Its own permission process, agency by agency..
The National Mall and monuments — Access. Managed permits; plan far ahead..
Metro stations and trains — Access. A separate application entirely..
City streets and sidewalks — Access. District permitting, plus parking..
Private buildings and lobbies — Access. Building management, plus insurance..
Drone work — Access. Heavily restricted airspace here; assume no..

This page deliberately does not state the specific rules, fees or lead times for any of those authorities: they change, they differ by location within each category, and publishing a stale figure would be worse than publishing none. Confirm current requirements with the relevant authority for your specific location, and get the answer in writing before you book a crew.

Name the party responsible for permits

A quote that says ‘permits as required’ with no owner and no cost is a quote with an unbounded line in it. Establish whether the production company secures permissions or whether you do, whether the fees are included or passed through, and what happens to the schedule if permission is refused.

Assume drone work is not available

Airspace over central Washington is heavily restricted. Treat any aerial requirement as something to verify specifically for your location rather than as a normal production option, and have a ground-level alternative in the brief.

Security and clearance

Work inside government or contractor facilities may require crew details in advance, escorting, equipment restrictions or clearance. That constrains who can crew the job and how quickly a replacement can be found if somebody is unavailable, which is a scheduling risk worth naming in the plan.

Accessibility is not an optional extra here

Captions, transcripts and audio description are required for a great deal of federal, federally-funded and public-facing work, and they are far cheaper built in than retrofitted. Ask for them as named line items in every quote.

  • Captions: burned in or as a separate file, and which formats you need.
  • A transcript, which is also the cheapest way to make a video searchable.
  • Audio description for content where meaning depends on what is shown.
  • Sufficient contrast and legible type in any on-screen graphics.
  • A player that supports keyboard control and caption toggling.
  • Language versions, if your audience requires them, scoped from the start.
  • The important content also available as text on the page holding the video.

The last item is worth doing regardless of any requirement. A video is invisible to search engines and to anybody who cannot or will not watch it, so publishing the substance as text alongside it costs almost nothing and roughly doubles the useful reach of the work.

What drives the cost of DC video production?

Shoot days and crew size first, then edit rounds and licensing, then location access. The camera model is the most visible line in most quotes and moves the total the least.

What actually drives a DC video budget
The bottom right corner is the trap: camera model is the most visible line and moves the total least. Licensing and edit rounds are barely visible and move it a great deal, which is why quotes should be compared on those first.

The quadrant chart is the practical guide to comparing two quotes. Licensing term and edit rounds are barely visible and move the total substantially, so ask about both before asking about equipment. A cheaper quote with unlimited revisions and a one-year license may cost more than an expensive one with three rounds and a perpetual license.

Reading a video production quote
LineWhat to checkWhat goes wrong without it
Shoot daysHow many, and is a contingency day included?Weather or access loses the day
Crew sizeWhich roles, and are they named?A one-person crew quoted against a three-person one
LocationsHow many moves, and who permits them?Unbudgeted permit fees and lost hours
Edit roundsA number, not ‘until approved’A project that never closes
Motion graphicsHow many seconds, and how complex?The most commonly underestimated line
Music and stockLicensed for what term and territory?A takedown or a re-license fee later
Captions and accessibilityIncluded or extra?Expensive retrofitting
LicensingTerm, territory, media, and any renewal feePaying again to keep using your own film
Ownership of footageWho holds the rushes, and for how long?Reshooting because the rushes were deleted

The last two rows cause more disputes than everything above them combined. Ownership and licensing vary enormously between production companies, and both are cheap to settle in writing before a contract and expensive to argue afterwards.

1 — Scope the deliverable first. Run time, ratios, versions, captions..
2 — Name the permit owner. 'As required' is not an answer..
3 — Cap the edit rounds. Unlimited never closes..
4 — Agree licensing term. It moves the price more than the camera..
5 — Build in accessibility. Retrofitting captions costs more..
6 — Confirm who owns the footage. It varies far more than clients expect..

How long does a DC video project take?

About twelve weeks for a mid-sized corporate or association film, of which roughly a third is permissions and approvals rather than production. Projects that begin with a shoot date rather than a permission date are the ones that slip.

How long a DC project actually takes
Permissions occupy roughly a third of the calendar and none of the budget. Projects that start with a shoot date rather than a permission date are the ones that slip.
How a DC production should be sequenced
Step three is the one that determines whether the project runs to schedule. Permissions in Washington are slower than clients expect and cannot be compressed by paying more.

The sequence matters as much as the duration. Permissions and script approval run in parallel in a well-planned project and sequentially in a badly planned one, and that single difference accounts for most of the variation between a twelve-week schedule and a twenty-week one.

Build in a contingency day

Weather, access refusals, a contributor canceling and equipment failure are all ordinary risks. A contingency day costs a fraction of remobilising a crew and it is the cheapest insurance in the budget.

Who commissions video in Washington, and what each needs
CommissionerTypical needThe constraint that shapes it
Federal agencyPublic information and training filmsAccessibility requirements and approval chains
Government contractorCapability and recruitment filmsFacility access and security review
Trade associationMember communications and annual eventsBoard approval and a fixed events calendar
Advocacy organizationCampaign and testimony filmsSpeed, and claim accuracy
UniversityRecruitment, research and donor filmsAcademic approval and seasonal deadlines
Non-profitFunder and impact filmsBudget, and consent from the people featured
Commercial businessBrand and product filmsOrdinary commercial constraints only

Only the last row resembles video production in a typical commercial market. If you sit in any of the other six, a production company that has only worked in the last row will underestimate your schedule.

How do you choose a production company?

By what they ask before quoting. A company that asks about your deliverable list, your locations, your approval chain and your accessibility requirements has worked in this market. One that asks how long the video should be and what your budget is has not.

How many shoot days and crew? — Ask. The two largest cost drivers..
How many edit rounds? — Ask. A number, not 'until happy'..
Who secures permits? — Ask. Named party, named cost..
What licensing is included? — Ask. Term, territory, media..
Are captions in the price? — Ask. And audio description..
Who owns the raw footage? — Ask. Ask before signing, not after..
What belongs in a DC video production scope
The last four are where DC video projects overrun. Unlimited revisions in particular sounds generous and reliably produces a project that never closes, because no round is ever the last one.
  1. Ask to see two finished films made under comparable access constraints.
  2. Ask who the crew will be and whether they have worked in restricted locations.
  3. Ask how they handle permissions, and whether fees are included or passed through.
  4. Ask how many edit rounds are in the price and what a further round costs.
  5. Ask what licensing is included, for what term and territory.
  6. Ask whether captions, transcript and audio description are in the quote.
  7. Ask who owns the raw footage and how long it is retained.
  8. Ask what they would push back on in your brief.

The last question is the most revealing. A production company with judgement will tell you which part of your brief will not work and why; one selling a package will agree to everything, which is pleasant in a meeting and expensive in week nine.

Portfolio, but read it properly

Look for work made under constraints resembling yours rather than for the most beautiful reel. A stunning brand film shot over three days with full control tells you little about whether a company can deliver a compliant, captioned, approved film inside a federal building on one day.

Accessibility deliverables and when to scope each
DeliverableWhen to decideCost if retrofitted
CaptionsAt scopingLow, but re-timing after graphics is fiddly
TranscriptAt scopingLow
Audio descriptionAt scoping, before the editHigh; may require re-editing for gaps
On-screen text contrast and sizeAt storyboardHigh; graphics are remade
Language versionsAt scopingHigh; affects framing and graphic space
Accessible player and pageBefore publicationModerate

Read the right-hand column as the argument for deciding all six at scoping. The two high-cost rows — audio description and on-screen text — both constrain the edit, which is why adding them afterwards means revisiting work rather than appending to it.

Mistakes that cost money on DC video projects

Six recurring errors, and five of them are settled at the scoping stage.

Mistakes and fixes
MistakeConsequenceInstead
Booking a shoot date before permissionsThe schedule slips and the crew is rebookedStart permissions in week one
‘Unlimited revisions’The project never closesA stated number, with a price per extra round
Accessibility added at the endRetrofitting costs several times moreScope captions and description from the start
No contingency dayOne bad day loses the shootBudget a contingency day
Licensing left unstatedPaying again to keep using your filmTerm, territory and media in writing
Ownership of rushes unclearReshooting because the footage was deletedAgree ownership and retention before signing
Comparing quotes on the headlineComparing different jobsCompare crew, days, rounds, license and deliverables

None of those fixes cost money at the point they are made. They cost money only when they are skipped, which is the general pattern in production budgets and the reason scoping repays the time spent on it.

Working across the District, Virginia and Maryland

Answer first: treat them as three jurisdictions, because they are. A shoot that crosses from the District into Arlington or Bethesda may need separate permissions, separate parking arrangements and different insurance evidence, and a crew call that assumes one set of rules will lose hours.

Travel time is a real budget line

Moving a crew between two locations in this region can consume a substantial part of a shoot day depending on the hour. Cluster locations geographically and schedule moves outside peak traffic, or budget the extra day honestly rather than hoping.

Parking and load-in

Where the crew can park and how equipment reaches the location are unglamorous questions that decide whether a schedule holds. Ask them at the recce, not on the morning.

Working with contributors and interviewees

Answer first: brief them properly, get releases signed before filming, and schedule more time than you think. Senior contributors in this market frequently have hard stops, and an interview that starts twenty minutes late loses the last and usually best twenty minutes.

Releases and permissions from people

Every identifiable person needs a signed release, and organizations frequently have their own form that supersedes the production company’s. Establish which form applies before the shoot day rather than discovering it while somebody waits.

Budgeting when the money is a grant or an appropriation

Answer first: scope to the deliverable list and the license term, not to the money available. Funder and appropriation budgets frequently have to be committed within a window, which pushes organizations to book a shoot before the brief is settled. That sequence produces films nobody specified.

Reusing and refreshing existing footage

Answer first: check the license and the retention policy before commissioning anything new. A substantial share of new production briefs could be met by re-editing footage the organization already owns, and the reason nobody does is that nobody knows what exists or what it is licensed for.

Series versus single films

Answer first: a modular series costs more up front and far less over time, because a module can be replaced when a program changes without remaking the whole film. For anything describing policy, staff or services that will change, modular is the cheaper structure over three years.

Working with an in-house team

Answer first: use external crews for the constrained shoots and in-house capacity for the repeatable ones. Interviews, event coverage and social cutdowns are frequently well within an in-house team’s reach; multi-location shoots with permitting and security are not.

Subtitles, dubbing and multilingual audiences

Answer first: subtitles are cheap and dubbing is not. For most Washington audiences a subtitled version plus a translated transcript covers the requirement at a fraction of the cost, and it avoids the lip-sync and casting problems dubbing introduces.

Stock footage: when it is legitimate

Answer first: for establishing shots and abstract sequences, yes. For anything a viewer would reasonably take to be your own work, your premises or your people, no. Stock used to represent your organization reads as inauthentic and, in some contexts, as misleading.

Measuring whether the video worked

Answer first: decide the measure before commissioning. Completion rate for explainers, enquiries or applications for recruitment films, and referral behavior for campaign work. Views alone tell you the film was distributed, not that it did anything.

What happens after delivery

Answer first: publish the film somewhere it can be found, with the substance also written on the page, and record where the masters and rushes live. A great many commissioned films are delivered, posted once and then effectively lost inside a shared drive.

Where the film should live

On a page of your own that can rank, rather than only on a video platform. The platform gives you reach among people already there; the page gives you reach among people searching for the subject, and the two audiences barely overlap.

Keep an asset register

One document listing every film, its masters, its versions, its licensing expiry and where the rushes are held. It takes an hour to start and it prevents the most common and most avoidable cost in video: paying to remake something you already own.

Planning a video project in Washington?

We can help you scope the deliverables and read the quotes before you commission anybody, and we build the pages and search visibility that make the finished film reach people. If the honest answer is that a local production company should shoot it, we will say so.

Talk to Progression Agency

Video, accessibility and measurement talks from the platform publishers

Publicly available sessions on video production, web accessibility and measurement. None of these are ours; each is credited to its channel and upload date, every identifier was checked live before publication, and each tile loads its player only when clicked.

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AI, AEO and what is changing

Paid media and lead generation

Websites and design

Choosing and working with an agency

Social, content and brand

By industry and by situation

Frequently asked questions

What makes video production in Washington DC different from other markets?
The client mix. Federal agencies, contractors, associations, advocacy organizations, universities and non-profits account for much of the work, and each brings access permissions, accessibility requirements, security constraints and long approval chains that shape the budget more than the creative brief does.
What should I scope first?
The deliverables, not the shoot. Run times, aspect ratios, language versions, captions and cutdowns determine the crew, the schedule and the price. The shoot is a means of producing that file list, so agree the list before discussing days or cameras.
How long does a DC video project take?
About twelve weeks for a mid-sized corporate or association film, roughly a third of which is permissions and approvals rather than production. Projects that start from a shoot date rather than a permission date are the ones that slip.
Why do permissions take so long?
Because filming on federal property, on the National Mall, in Metro stations, on District streets or inside private buildings each has a separate process with its own lead time. None of them can be accelerated by paying more, and several cannot be applied for at short notice.
Who should secure the permits?
Whoever the contract names, with the fees stated as included or passed through. A quote saying ‘permits as required’ with no owner and no cost contains an unbounded line. Also agree what happens to the schedule if permission is refused.
Can I use a drone in Washington DC?
Assume not without specific verification. Airspace over central Washington is heavily restricted. Treat any aerial requirement as something to confirm for your exact location well in advance, and keep a ground-level alternative in the brief.
Do I need captions and audio description?
For a great deal of federal, federally-funded and public-facing work, yes. Even where not required, captions and a transcript are cheap, make the video usable by more people and make its content findable. Ask for them as named line items rather than assuming they are included.
Why is accessibility cheaper if scoped from the start?
Because captions, described audio and legible on-screen graphics affect editing decisions. Retrofitting means revisiting the edit, re-timing graphics and sometimes re-recording narration, which costs several times what building it in would have.
Should the video’s content also appear as text?
Yes. A video is invisible to search engines and unusable by anybody who cannot or will not watch it. Publishing the substance as text on the same page costs almost nothing and roughly doubles the useful reach of the work.
What drives the cost of a video production?
Shoot days and crew size first, then edit rounds and licensing, then location access and motion graphics. The camera model is the most visible line in most quotes and the one that moves the total least.
Why should I ask about licensing before equipment?
Because licensing term, territory and media can change the price substantially and are usually buried, while the camera is prominent and barely matters. A cheap quote with a one-year license may cost more than an expensive one with a perpetual license.
What does ‘unlimited revisions’ actually mean?
In practice, a project that never closes. No round is ever the last one, the schedule drifts, and the production company begins rationing effort. Agree a specific number of rounds and a price for any further round.
Who owns the raw footage?
It varies far more than clients expect, and it is worth settling in writing before signing. Ask who holds the rushes, for how long they are retained, and what it costs to obtain them. Projects have been reshot because footage was deleted under a retention policy nobody read.
Should I budget a contingency day?
Yes. Weather, access refusals, a contributor canceling and equipment failure are ordinary risks, and a contingency day costs a fraction of remobilising a crew. It is the cheapest insurance in a production budget.
How do I compare two production quotes?
On crew size, number of shoot days, number of edit rounds, licensing term, deliverable count and whether accessibility is included — not on the headline number. Two quotes that differ by half are usually describing two different jobs.
How do I choose a production company?
By what they ask before quoting. A company asking about your deliverable list, locations, approval chain and accessibility requirements has worked in this market. One asking only how long the video should be and what your budget is has not.
What should I look for in a portfolio?
Work made under constraints resembling yours, rather than the most beautiful reel. A brand film shot over three days with full creative control says little about whether a company can deliver a compliant, captioned, approved film inside a federal building in one day.
What is the most revealing question to ask?
What would you push back on in this brief. A production company with judgement will tell you which part will not work and why. One selling a package will agree to everything, which is pleasant in a meeting and expensive in week nine.
Which video format gives the best value?
Usually an explainer with motion graphics. It costs less than a documentary, survives staff and program changes, and stays useful for years. Documentaries are more appealing to commission and date considerably faster.
How long should a corporate or association video be?
Ninety seconds to three minutes for an explainer, two to four for interview-led pieces, and under three for anything aimed at a briefing audience. Length should follow what the film must accomplish rather than what the budget technically allows.
Do I need multiple aspect ratios?
If the film will run on social platforms as well as a website, yes — and reframing for vertical is editing work rather than a free export. Decide the ratio list at scoping so the shoot is framed for it, which costs nothing at the time.
Does security clearance affect a shoot?
It can. Work inside government or contractor facilities may require crew details in advance, escorting, equipment restrictions or clearance, which constrains who can crew the job and how quickly anybody can be replaced. Name it as a scheduling risk in the plan.
Are event and conference films worth commissioning?
They have a short shelf life, so keep the cost proportionate. A single highlight cut plus a small number of interview clips usually delivers more value over the following year than full coverage of the whole program.
Does this page rank the best DC video production companies?
No, deliberately. Any such ranking assembled from outside would rest on the firms’ own marketing rather than on client outcomes, which are private, and lists of that kind frequently carry paid placement. The criteria and questions here are what such a list would be approximating.

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  159. Think with Google
  160. Google Trends
  161. Nielsen insights
  162. Schema.org: VideoObject
  163. Schema.org: SocialMediaPosting
  164. Schema.org: MusicRecording
  165. Schema.org: HowTo
  166. Schema.org: FAQPage
  167. Schema.org: Organization
  168. Google: video best practices
  169. Google: video structured data
  170. CapCut
  171. Adobe Premiere Rush
  172. DaVinci Resolve
  173. Canva
  174. Descript
  175. VEED
  176. Kapwing
  177. Otter.ai
  178. Later
  179. Buffer
  180. Hootsuite
  181. Sprout Social
  182. Google Analytics
  183. Google Search Console
  184. Google Analytics developer docs
  185. GA4: events and conversions
  186. Matomo
  187. Plausible Analytics
  188. Similarweb
  189. UK Information Commissioner’s Office
  190. Office of the Privacy Commissioner of Canada
  191. Australian OAIC
  192. European Data Protection Board
  193. EU data protection
  194. EU Digital Services Act
  195. Ofcom
  196. FCC
  197. AIGA
  198. Nielsen Norman Group
  199. Smashing Magazine
  200. web.dev
  201. MDN: web media
  202. MDN: the video element
  203. ISO 21001 (reference)
  204. Buma/Stemra (Netherlands)
  205. STIM (Sweden)
  206. Teosto (Finland)
  207. Koda (Denmark)
  208. TONO (Norway)
  209. IMRO (Ireland)
  210. SGAE (Spain)
  211. ZAiKS (Poland)
  212. KOMCA (South Korea)
  213. MCSC (China)
  214. CISAC
  215. World Intellectual Property Organization
  216. TikTok: creating videos
  217. TikTok: exploring videos
  218. TikTok: privacy settings
  219. TikTok: growing your audience
  220. TikTok Creator Academy
  221. TikTok Effect House
  222. TikTok for small business
  223. Instagram: Reels help
  224. YouTube: Shorts best practice
  225. How YouTube recommends
  226. Pinterest Predicts
  227. Snapchat for Business
  228. Hootsuite blog
  229. Social Media Examiner
  230. Marketing Week
  231. Adweek
  232. Section508.gov — federal accessibility requirements
  233. W3C — making audio and video accessible
  234. FAA — unmanned aircraft systems
  235. National Park Service — commercial filming and photography
  236. ADA.gov

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