NOVEL SIMPLE 131. docu-series.
One of the most important elements to operate a television channel is to have a broadcasting license that enables the transmission of television signals. The regulatory authorities are the Federal Communications Commission (FCC), responsible for bringing Lux Toons television channel to the younger audience. This involves establishing the transmission tower location and other technical criteria.
Lux Channel utilizes cable and satellite frequencies through stations that provide television services to American households, complying with regulations set by the commission, including TV parental guidelines. Since the creation of new television channels, there has been an ongoing effort to manage educational hours in youth-oriented animated programming. Typically, this rule might be overlooked, but given Lux Channel's precarious situation, it acknowledges the potential consequences of failing to adhere to all the oversight regulations enforced by the commission, hence the following approach.
The channel's classification is TV-Y7-FV, meaning it falls into the category of fictional violence and includes intense, albeit bounded, violent content. This may involve scenes like torture, allegories to warfare, genocide crimes, and adult-themed scenarios. However, it's worth noting that starting at 9:00 PM, it transitions to TV-PG, suggesting parental guidance, for some of its programs, to broadcast more serious and specific content.
Anne, along with Steve Parks, the official negotiator for Lux Animation as a corporate group, which is now expanding its reach into the animated world, walk through the extensive corridors of NBC, a company led by General Electric (GE), a technology and industry firm since 1986.
-Mr. Lumiere, the representatives of Lux Channel are in the boardroom, waiting, - said the secretary of Walder Lumiere, the director of programming for the major NBC television network.
-Mr. Lumiere has given his consent for the purchase of the television channel, - asked Lumiere.
-Yes, sir. He has made it clear that this is an old program that is only occasionally broadcast. There is no need to mention that he only seeks some interests, - the secretary replied, handing him a report on the feedback from Willian F. Kobin and Ralph Cloister, directors of KCET, a public television station in Los Angeles.
-Very well, call Rich Greenberg, - Lumiere stated.
Anne reviewed her notes while Steve Parks adapted to the atmosphere. Steve once again donned a striking suit, particularly notable for his woolen waistcoat. Although this choice of attire might be unconventional in the California city known for its scorching heat, in New York's chilly climate, it was entirely appropriate.
-Good morning, Miss Hall, Mr. Parks, - Walder Lumiere greeted, proudly emphasizing his French heritage.
-It's a pleasure, Mr. Lumire, - Steve Parks said quickly.
-The pleasure is mine. Please, let's sit down. We have a lot to discuss. We reviewed your offer earlier, and we agree to your terms. However, I have some questions about your involvement in the documentary series, - Lemire said.
"Exactly. We want to invest in a few documentaries that will be in line with your television network. We are an animated channel preparing for our launch later this new year," Steve Parks explained.
-Are you starting a documentary channel? - Lumire asked, a little surprised as he expected it to be an animated channel.
-No, sir, we are a children's channel. However, with the new regulations from the commission regarding children's programming, they are close to implementing measures for educational television. These measures require a minimum of five hours of children's documentaries, and that's why we want to invest in three to four documentaries, -- Steve Parks replied, handing over the documentation for the children's channel. -- This might be the key to our mutual interests. Please, take a look; we have all the regulations in order."
Lumire reviewed the documents and pondered the potential benefits of this arrangement.
-How much investment are you expecting for our documentary division? - Lumire asked, focusing on the small details and advantages of this deal.
-$500,000, plus the purchase of the program 'Cosmos, - Anne replied.
Lumire paused, looking at Anne Hall. -- Which type of documentary from the documentary channel do you want to choose? - he asked.
-We would like 'A History of the United States,' a documentary that narrates the history of the United States from its foundation to the 20th century. As producers, you can continue with the documentary's production. However, we need two edited versions: one approximately 45 minutes long and another consisting of two-minute intervals, - Anne explained.
The idea is to break these documentaries into shorter segments to broadcast as commercials during children's programming.
-A two-minute interval might not contain much information, - Lumire remarked.
-It doesn't matter. We only need a shortcut for commercials. If we air about 20 short segments during our commercials, we will meet the weekly hour requirements, - Anne replied.
-Skipping commercial slots during documentaries, are you crazy? - Lumire thought.
-We'll do it. The price suits our needs. It's a pleasure doing business with you, - Lumiere said, letting the money do the talking.
-Very well, let's spend the next few weeks coordinating the delivery of 'Carl Salgan' for our animated channel, - Steve Parks suggested.
-Well, in ten days, we will send all the information. The registration will be done with the Copyright Office, as is the requirement," Lumiere said.
The conversation continued with a series of technical details related to the purchase of the documentary. It was noon, and they all bid farewell. Anne and Steve Parks braved the chilly New York weather, with Anne's rosy cheeks betraying the cold.
Another meeting was scheduled with the BBC to discuss a 13-episode series on Western art history, and a proposal to work with Sir Attenborough, an executive with a profound understanding of documentary channel creation. This encompassed a wide range of documentary series, including animals, plants, civilizations, art, history, culture, and various other topics.
Sir Attenborough is one of the most highly awarded naturalists, renowned for his astonishing work.
Lux Channel has acquired different TV programs and licenses. This includes series like Men in Black in comics, Captain Atom, and King Kong, which they purchased from L'Oréal, who bought the series in 1989. They also produce series like Power Rangers and X-Men.
They hold licenses for Dragon Ball, Ranma 1/2, Knights of the Zodiac, Super Campeones, and Sailor Moon. All these licenses are granted to TV Tokyo for 18 years for 8 million dollars. Additionally, they allied with Saban to create animated dubs of these series in English, Spanish, French, Italian, and Portuguese for 12 million dollars. This was a steep price, but Billy deemed it necessary, and he ultimately arranged the payment.
-I wouldn't say I like the cold, and I hate these last-minute trips, - Anne complained.
-Don't worry. There's a good restaurant nearby, and if we're lucky, we'll get quick service, - Steve Parks assured her, leading Anne through the bustling streets of New York.
-Did you live in New York? - Anne asked.
-For a while. I did my master's in finance here, so yes, I have some experience. Sir Attenborough won't be waiting at the National Museum until 3:00 PM. He's giving a lecture before our meeting, so we have time, - Steve Parks explained.
-Let's go before I catch a cold, - Anne said.
-As you wish, -Steve said.
Sir Attenborough was not as friendly, but he left the possibility of a favorable solution open. This involved producing a joint series. The new documentary filming techniques were not cheap at all, with the cost of a single episode averaging around 3 million dollars. Even though the series "Cosmos," produced by Carl Sagan, had a cost of 9 million or more, it was unsustainable to produce the series at such high prices.
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