I never feel like heck because you've secretly changed over some photo reference putting it in the nifty little portfolio of yours. Well, I think you're an idiot. In today's episode, I'll dive into the topic of tracing. Explain why I don't lose any sleep over doing it every single day. Let's get started. Hello, Tom Warrist. Welcome back to YouTube's premier storyboarding channel, Amy Roerich. My name is Vinnie Gleib. I'll be your host on this magical journey of ours. Recently, I posted a video where I choose storyboards for a piece of Conte's solves of your mansion. Now, to lose storyboards, maybe with your generous. I said she's been five hours just tracing every single photo to the director gaining and then building for $850. Couldn't have been easy. As I was putting that video together, I would frequently stop, close my eyes, smile through all the future nasty comments coming my way. Things like this guy is not a real artist. All this idiot does is trace. It requires no talent at all. Anybody could do that. This loser is a complete hack. Well, whether I'm a hack or not, this loser made $223,000 extra for a commercial storyboards. He used the techniques he used to do some. He wanted to keep shut up and hate him. When do I have to start making some money for you? Listen, as far as I or anybody who's likely to hire you is concerned. Any and all techniques you choose to employ that allow you to consistently deliver quality storyboards on time, or even ahead of schedule, are fairing. Literally, nobody cares. That includes tracing, shooting reference photos, photographing miniatures, recycling assets, you name it. It is all on the table. Now, I should probably make a distinction here between my channel and all the millions of other art and structural channels on YouTube. So, the goal of this channel is not to make you a better artist. If you happen to become a better artist, well, that's just swell. But that's not the easier. See, the goal of this channel is to teach you to become a highly successful commercial storyboard. The goal of this channel is to get you to start making some money with your talents. The truth of the matter is, when you're tracing, you're really not proven. I mean, listen, if you want to prove this in art, you're sure using reference material can be invaluable. But when you're tracing, your mind just sort of wanders off and really not learning. Check out my previous video entitled Do You Have Enough Talent? Or more about the concept of deliberate practice and having to chuck those long ways? Suffice to this day, your brain goes on all the power. You're no longer revolving as an artist. You see, I really don't care. I'm assuming you already know how to draw. I'm guessing you're more interested in trying to figure out how you can capitalize on your ability. It's not making some sense. There you go. There you go. There you go. Listen, in my industry, there are really only two types of artists. There are the guys that get the job done well and on time, and there are guys that stand in the unemployment line. Which would you rather be? Let me tell you a little story. When I was first starting out at the age of about 21 or so, I desperately wanted to be a comic book artist. There was no such thing as an internet back then, so if I wanted to get some critiques of my work, I need to go to the comic book conventions every six months and show my portfolio around to the professionals there. This convention was at the Jacob Javits Center in New York, and in addition to your free portfolio reviews, they also had some speakers set up that would talk about the industry. One year, I saw that somebody was scheduled to speak in a small room on the topic of how to break into comics. This was right at my alley. I settled into the hastily set up metal-folded chairs, all of the bunch of other kids all ranging in age from like 13 to 22 or so. A few minutes later, the submitter laid slightly pudgy guy, and walked into the room. He stops, picks up all of the senses, and already, so as an ador here, I'm supposed to be talking about how to break into comics. It is the first I've heard about that, but that's what you want to talk about, we can talk about that. And so we did, but that's not what we talked about. I never heard this guy's name before. He was not one of the premier artists at the time. The guy was a DMG, he showed us someone who was work-experienced, so he was getting paid 800 bucks a page. Until it's every time he finished a page, his wife would throw her hands in the air and yell, I'll let you get the mortgage just paid. So for those of you who are not new to know, the convocating issue required you to finish at least one page per day. So this guy was making bare minimum 800 bucks a day. He's back in 1991. That's like a bajillion dollars to the day's moment. Alright, maybe not. But he did begin to talk about the job of being a professional artist. One day, he began, I was delivering a handful of pages to my editor at Marvel. The first page, known in the comic book industry as the splash page, was a full page aerial shot of spider-man swinging above Manhattan. The previous day, I pulled a book off my shelf which had a ton of photos of Manhattan. I found one that I liked, tore it out, pasted it onto the page, and then I simply drew Spider-Man over it. My editor freaked out. He looked up me, and credulously, and said, We can't use that. Why not? I asked. Because it's a copyrighted image. It's illegal. So you know what I did? I went home and just traced over the exact same photo. The next day, the editor gladly accepted the revised page and said to print. You see, you may not be able to use somebody else's photo, but you can certainly trace right over one. Especially if you add a little here and change a little there, you're just enough to make it less distinct. You would want to tell us that he's got an entire filing cabinet in his office. He's filled with dozens of folders. There are folders for cars, buildings, people walking, people standing, whatever. These folders were all stuffed with pages that he had torn out of various magazines and newspapers. All of them copyrighted. He then went on to explain, a tracing used to artists with steroids are professional bodyguards. Anybody tells you that we do it, it's blind to your face. Once upon a time, if you wanted to take reference photos, you had to go out, buy film for your camera, shoot the photos, and drop the film off at the developers. A day or two later, you forked over a grip of cash and get your photos back. Then you discover half those photos would be blurry or over-exposed and would be completely useless. It was an ideal. Those photos would be blurry or over-exposed and would be completely useless. Now, there's a camera in every cell phone. Even the poorest artists in America use, there's simply no reason not to use the tools that are actually disposal. But Vinnie, what about the ethics of tracing? I mean, if you're tracing them, we're a copyrighted image. Just screwing over other artists. Can't probably, whatever. Listen, I did whatever I needed to do to get each job done. And I did not lose a wink of sleep, though. Still not convinced? There's another nugget of wisdom for you tomorrow. We are all now competing in a global market. That's greatness for me. Really allows you to lose freedom. Why? Because whether you realize it or not, you are now going toe-to-toe with me. I'm a lot better at this than you are. Just one decade ago, almost all storyboard jobs required you to go meet with the director at the production company and spend the day they're drawing for. That's all nice and fine assuming the job was shooting in Los Angeles. But one of the directors that worked with on a regular basis both the job of Vancouver, we had no choice but to hire an artist who believed locally in Vancouver. This created an opportunity for some young artist in Vancouver or Brazil, a product where you get to go. It gave somebody a chance to get his foot in and do them, and paid him a decent amount of money while doing it. It also gave an individual a chance to make some contacts with the production team. People who could have then recommended them for other jobs that might have sprung up in the future. But today we've got a little game changer called Skype. Today, I can work face to face in the director anywhere in the world. I'm using the ear in Los Angeles. I guess using where you go as a banker or two. Nowadays, I regularly wake up at 4 a.m. specifically so I can begin drawing for directors in South Africa, Australia, New Zealand, England, Prague, Barcelona, you name them. This sucks for you. Because it closes the door, I'm going to otherwise bend the golden opportunity you could flex your muscles to show the world what you can do. What is this have to do with tracing? I personally use every single tool of my disposal to consistently and politically deliver high quality on point storytellers. And I do it half the time it would take for an inexperienced artist. You competing with me. So if you've decided you're not going to trace for some ethical reason, I'm going to give you a little boy scout. But I understand that you are seriously handicapped yourself. You're never going to get me to stop tracing. So that playing field has never going to be like that. I'm just going to jump in with both feet and give you a run for my money. There you are. I'm going to close this episode, giving you a little gift. It's the very same gift that was given to me at the Jacob Jabbitt Center 25 years ago. Ready? I am giving you a mission to achieve. I'm giving you the okay trace, whatever you need to trace. I am giving you liberation. So go forth, your artist, trace your way to wealth and prestige. Ors me out of job. You can. By all means, I don't know how that works out when you're in a comment section. Or, to have all this, the students want to dump hate in that army, not gain real estate. That's always. Founders who did evil sight for were entertaining. I want to see more of them in the future. Go ahead and hit this subscribe button. Till next time, it's Vinny Valle, NGurrrich.