-It's a pleasure, Billy. I'm Pau Sullen, your direct liaison. I was at the meeting in San Jose, - said Pau, dressed in a beautiful bck office suit with a blue shirt.

  -o meet you, Miss Pau, - Billy responded.

  Pau led him closely throughout the entire journey, introdug him to everyone and even inf some people about his status and situation, like Tony Be, one of the big shots iudio. Billy couldn't help but feel ecstatic about the uping days of training to bee aor. The atmosphere was quite intense, with numerous offices, a plete trast to the cheerful work enviro he had imagined.

  -Well, I'll take you to your designated mentor. He'll lend you a hand in the process, - said Pau. -You e to me anytime; I'm in charge of coordinating your transportation. -

  -And it's this way... This is Mr. Paul Higgs; he'll be apanying you during your time here at Hanna-Barbera, - Pau said.

  The young Paul is probably around thirty years old, definitely youhan my father. Not a single gray hair on his long bck hair. He greeted Billy with a firm handshake. The studio had been prepared for Billy's arrival, and he felt a bit overwhelmed by the VIP treatment he was receiving. Or do they treat everyohe same way? From a gentleman who picks him up day and night, to plimentary snacks during his study hours and a dedicated room for him.

  -Pleasure to meet you, I'm Paul. I've been told that you're the creator of the Sm Dunk and Yu Yu Hakusho/Phantom Files series. I've studied your works, and they're excellent. I'll be the animator in charge of designing the first season of Phantom Files, and I'm excited to work with you, - said Paul Higgs.

  -Yes, sir, I'm ready for anything, - Billy replied.

  -Well, the produ team is on vacation, but as the leader of the drawing team, I'm responsible for finalizing the storyboards for the first episodes. WarneMedia's iment is substantial. We've never had 15 million dolrs for produ before.-

  >>In the tract with Lux ics, it's stated that we have to maintain a visual produ quality on par with 'Akira,' 'Castle in the Sky,' and 'My Neighbor Totoro,' which, by the way, only be found in Japah Spanish subtitles. -

  >>After a brief iigation, the rhythmic quality of the film sists of 25 frames per sed, followed by properly traced motion lines. However, the produ team has yet to match the drawing quality delivered by you, even after recruiting four people. The design hasn't quite e together. Your drawing skills are excellent. So, what will we do here? It's to teach you how to follow those transitions from the ic, -said Paul.

  - That's a lot to take in. I think my skills are better in practice than in theory, - Billy said.

  -Of course, you have a talent for visual development, - Paul replied.

  In his mind, he already had his ideas on how t the story to life. After all, the entire Yu Yu Hakusho series, including its manga, anime, movies, and some special OVAs, were stored in his head.

  Among the series that Warner Media's producers initially po use to captivate their audience were old series produced since 1960. One of the animated series that had a signifit impact but couldn't be distributed by Warner ended up being distributed by Fox. It was Batman Beyond from 1992.

  -You start by anizing your desk. Do you see those bnk sheets called celluloid or translut paper? The light table helps overy all the paper and create the illusion of drawing, - mentiohe scruffy-haired man who paced bad forth, often lost in his thoughts. He was a bit nervous about teag since he was never oo talk much, preferring to immerse himself in his world of drawing.

  -We'll begin with our storyboard, what we call the program's introdu. oal for these ten days is to have an acceptable product,- said Paul.

  -Okay, I'll start now. I'd like to crify that when I created the ic, I already had a clear idea of how to animate it, - Billy said.

  It wasirely true, but he had a clear idea of how to create the program's introductory based on the previous opening used in its previous era. He would only make adjustments, incorporating some improved background sery from the sed opening and adding fshing lights of different colors to enhahe graphic design. He drew inspiration from various other shows that were still fresh in his mind, such as Naruto.

  -Alright, let's get to work, -said Paul.

  The following hour was filled with stant drawing in small frames, approximately 7 cm x 7 cm, showg the best designs he could recreate with his current drawing skills. He meticulously phe format that he believed would suit the series perfectly.

  I used the main animation frame of a witch flying on a broomstick through the clouds. As she soared, posters of the characters appeared in different colors, with a faded tone, while keeping the sky ihe se then transitioo a vast meadow surrounded by a forest, where the four protagonists ran across and entered some monsters. They showcased their powers, such as the spiritual gun.

  It took me an hour and a half to capture all those details in a storyboard that followed a linear style simir to ics but with more intricate details, showg how those movements could express themselves.

  -This is very polished work. I was initially skeptical about your skills, but this is excellent. However, these plex ses only be realized on special acetate paper, using tempera paints. We'll o create at least 27 ses to plete the introductory chapter, - said Paul.

  -Well, how difficult is it to create the acetate frames? - asked Billy.

  -Difficult is an uatement. It be quite messy at times. Wanting too muetimes feels impossible, but we'll do our best,- replied Paul.

  -Why is it difficult? - Billy asked, a little perplexed by Paul's fusion, as this man wore his emotions on his sleeve.

  -e on, I'll teach you how to use tempera paints. This might be one of the most challenging processes! - said, Paul.

  To create the se, ah of cardstock was used as the base, with the initial image pced on it. The first step was to shape the se. Three shades of white were used to create the cloud, along with three different shades of blue and various details to add plexity to the image.

  Throughout the afternoon, with both Paul and me giving it our all, we mao plete only two ses. But it was quite an iing process. Using an idea borrowed from filmmaking, we zoomed in and out with the camera, extrag the most from the panoramic view we created together.

  -That's it for today. Tomorrow m, I think your task will be to create a model guide, - said Paul.

  - Well, what's a model guide? - Billy asked again.

  -It's a pition of all the different ways the characters should be drawn, including their various facial expressioions, shapes, and how to depict them in different poses. It's a prehensive reference for all the images, - expined Paul.

  What a demanding and challenging task. Although it's evident that there's a team of at least five people w on this project, it remains long and tedious.

  -Well, tomorrow, I'll make a list of all the possible ways to draw the characters, - sighed Billy, realizing how tortuous the work would be.

  -I see you're feeling disced. Don't worry; the result is rewarding. My first job was a simple animated ercial, but after weeks again and again, I ended up with something that still impresses me to this day, - said Paul.

  -I'll try my best, - said Billy. In this era, the challenges of animatiohe same as they were twenty years ago, but teology has made some of those difficulties easier to overe. I'll just wait and see how this week unfolds.

  ..

  .