I'm a, or was, or kind of am a toy designer. And before I was a toy designer, oh, I was a mime, a street mime, actually. And then I was an entertainer, I guess. And before that, I was a silversmith, and before that, I was -- I was out of the house at about 15 and a half, and I never wound up going into college. I didn't really -- I didn't see the point at the time. I do now, after learning about all the quantum stuff.
我是,或者曾经是一个玩具设计师。 而在我成为玩具设计师之前,哦,我是个哑剧演员,事实上是个街头哑剧演员。 我想,那时我是给大家带来娱乐的人。 而在那之前,我做过银匠,而在银匠之前,我曾经— 我在15岁半时离开家, 而且我从未上过大学。 我没有真正—那时我没有意识到这点的重要性。 我现在意识到了,在学习了有关量子学的一切之后。
(Laughter) It's really cool.
(大笑) 这真的很神奇。
Anyway, I wanted to show you a little bit about the world of toy design, at least from my small aperture of the world. This is a video I made when I first started doing toy design. I'm in my garage, making weird stuff. And then you go to these toy companies and there's some guy across the table, and he goes, "Pass. Pass. Pass." You know, you think it's so cool, but they -- anyway, I made this little tape that I'd always show when I go in. This is the name of my company, Giving Toys. So I used to work at Mattel, actually. And after I left Mattel, I started all these hamburger makers, and then got the license to make the maker. So this is a hamburger maker that you take the peanut butter and stuff and you put it in there, and it makes -- and this is a French fry maker, little, tiny food you can eat. I beat up the pasta maker to make that. Then this is a McNugget maker, I think. This, now that's the McNugget maker, and this is a -- this is my oldest daughter making a McApple Pie. And let's see, you can make the pie and cinnamon and sugar, and then you eat, and you eat, and you eat, and you -- she's about 300 pounds now. No, she's not, she's beautiful. This is how they looked when they came out at the end. These are a -- this is like a 15 million dollar line. And it got me through some -- I didn't make any royalties on this, but it got me through.
不管怎样,我想要向你们展示一下玩具设计世界, 至少是从我个人经验中看到的世界。 这是—这是我刚开始从事玩具设计时做的一段视频。 我在我的车库里,做着稀奇古怪的玩意。 然后你去这些玩具公司 见这些桌子另一边的家伙, 他说,“下一个,下一个,下一个。” 你看,你们认为这个很有意思,但他们— 不管怎样,我灌制这个录像带,我总在进去的时候让大家看。 这是我公司的名字,Giving Toys。 我曾在美泰公司工作过。 在我离开美泰后,我制作了这些汉堡包制造机。 然后搞到了执照去生产汉堡包制造机, 这是一个汉堡包制造机 把花生酱和其它东西放进去,然后就能做出— 而这是一个法式薯条机,(制作)你常吃的小零食。 我做的这个战胜了意大利面制造机。 这是一个麦乐鸡块制作机。 这个,现在这个才是鸡块制作机, 然后—这是我大女儿在做一个苹果派。 然后让我们瞧瞧这个,你可以用它来做派和肉桂和糖, 然后你吃呀吃呀吃呀吃,然后你就会—— 她现在大概有300镑。 不,我开玩笑的,她很漂亮苗条的。 这是最后它们制作出来后的样子。 这些是——这是条1千5百万美元的生产线。 这使得我经历了一些——我没有在这上面得到特许权使用费。
Next is a compilation of a bunch of stuff. That was a missile foam launcher that didn't get sold. This is a squishy head, for no apparent reason. This is some effects that I did for "Wig, Rattle and Roll." That was a robot eye thing controlling it in the back. That paid the rent for about a month. This is a walking Barbie -- I said, "Oh, this is it!" And they go, "Oh, that's really nice," and out it goes. So this is some fighting robots. I thought everyone would want these. They fight, they get back up, you know? Wouldn't this be cool? And they made it into a toy, and then they dropped it like a hot rock. They're pretty cool. This is a-- we're doing some flight-testing on my little pug, seeing if this can really grab. It does pretty good. I'm using little phone connectors to make them so they can spin. It's how they, see, have those album things -- kids don't know what they are. This is a clay maker. You know, I said -- I went to Play-Doh, and said, "Look, I can animate this." They said, "Don't talk to us about Play-Doh." And then, I made a Lego animator. I thought, this would be so great! And you know, Lego -- don't take Legos to Lego. That's the answer. They know everything about it.
接下来的是这一系列东西的合辑。 这是一个没有卖出去的导弹泡沫发射器。 这是可以挤压的脑袋,做着玩的。 这是我为“假发和摇滚”做出的成果。 这是一个机器人眼睛,控制器在后面。 用这个的收入支付了大概一个月的房租。 这是一个会走路的芭比娃娃—我说,噢,就是她了! 他们行动了,噢,表现得真好。 这是一些战斗机器人。我想每个人都想要这些东西。 他们打斗,他们起来,你们知道吗?是不是很神奇? 他们把它做成玩具,然后很快把它扔下。 它们很神奇。 这是一个——我们在用我的小哈巴狗做一些战斗测试 看看它是否能抓取什么东西。 表现的很好。 我用电话连接器使他们能旋转。 这是为何他们有专辑一样的东西,小孩子不知道他们是什么。 这是个陶土制作机。 你们知道的——我去了培乐多, 然后说,看,我能把这做成活动的。 他们说别在和我们提有关培乐多的事情。 然后我做了个乐高积木动画仪。 我想,这真是太好了! 你们晓得乐高的——别把积木带去乐高。 这就是答案。他们知道乐高积木的一切。
Then I started doing animatronics. I loved dinosaurs. I used to be in the film business, kind of, and actually, Nicholas Negroponte saw this when I was, like, 12, and anyway, so then they said, "No, you have to make two and they have to fight." You know, how -- why would a kid want a dinosaur? This is me using [unclear] or 3-D Studio, back in the '80s. That's David Letterman. You can see how old this stuff is. That's my youngest cousin. This is a segment called, "Dangerous Toys You Won't See at Christmas." We had my first saw blade launcher and we had a flamethrower chair. My career basically peaked here. And in the back are foam-core cutouts of the people who couldn't make it to the show. This is MEK going through a windshield wiper motor. So this is a -- I used to kind of be an actor. And I'm really not very good at it. But the -- this is a guy named Dr. Yatz, who would take toys apart and show kids about engineering. And you can see the massively parallel processing Nintendos there. And over to the left is a view master of the CD-ROM. And a guy named Stan Reznikov did this as a pilot. This is a -- you can see the little window there. You can actually see the Steadicam with a bubble on the bottom. You see the keyboard strapped to my wrist. Way ahead of my time here.
然后我开始做电子动画。 我喜欢恐龙。 我算是在电影行业工作过。 实际上尼古拉斯·内格罗蓬特看到这个的时候,我好像,才12岁, 无论如何,他们却说:“不行,你应该做2个而且它们应该互相打斗。” 你们知道,怎样—小孩为什么会只想要一个恐龙? 我在用溶胶——或者回到80年代的3D制片室。 那是戴维·莱特曼。 你们可以看到这个东西有多老旧。 那是我最小的侄子。 这是一个标语,“圣诞节见不着的危险玩具。” 我的第一个刀片发射器和火焰喷射椅。 我的职业生涯基本在此登顶。 在后面是负责核心部分剪切的幕后工作人员。 这个是丁酮通过汽车雨刷马达喷射出来。 所以这是一个——我曾算是一个演员。 而我并不非常擅长于此。 但这—这个叫Yutz博士的家伙, 他把玩具拆开给孩子们演示工程学。 在那里你们可以看见大量的同时运转的任天堂游戏机。 往左看是一个光盘只读存储器的视角管理器。 一个叫斯坦·瑞斯尼科夫的家伙像一个飞行员在做这个。 这是一个——你们可以看见那儿的小窗口。 你们实际上也看得见底部有个泡泡的摄影机稳定器。 你们看的见键盘绑在我的手腕上。 这远比我那时候强。
(Video) I'm getting dizzy ... Narrator: I love toys!
(视频) 旁白:我头昏眼花……我爱玩具!
Caleb Chung: That's all I wanted to say there. I love toys. OK, so, so that was a, that was the first kind of a -- that was the first batch of products. Most of them did not go. You get one out of 20, one out of 30 products. And every now and then, we do something like a, you know, an automated hair wrap machine, you know, that tangles your hair and pulls your scalp out, and -- and we'd make some money on that, you know. And we'd give it out. But eventually, we left L.A., and we moved to Idaho, where there was actually a lot of peace and quiet. And I started working on this project -- oh, I have to tell you about this real quick. Throughout this whole thing, making toys, I think there is a real correlation with innovation and art and science. There's some kind of a blend that happens that allows, you know, to find innovation. And I tried to sum this up in some kind of symbol that means something, to me anyway. And so, art and science have a kind of dynamic balance, that's where I think innovation happens. And actually, this is, to me, how I can come up with great ideas. But it's not how you actually get leverage. Actually, you have to put a circle around that, and call it business. And those three together, I think, give you leverage in the world. But moving on. So, this is a quick tale I'm going to tell. This is the Furby tale. As he said, I was co-inventor of the Furby. I did the body and creature -- well, you'll see. So by way of showing you this, you can kind of get an understanding of what it is to, hopefully, try to create robotic life forms, or technology that has an emotional connection with the user. So this is my family. This is my wife, Christi, and Abby, and Melissa, and my 17-year-old now, Emily, who was just a pack of trouble. All right, there's that robot again. I came out of the movie business, as I said, and I said, let's make these animatronic robots. Let's make these things. And so I've always had a big interest in this. This one actually didn't go anywhere, but I got my feet wet doing this. This is a smaller one, and I have a little moving torso on there. A little, tiny guy walks along. More servo drives, lots of servo hacking, lots of mechanical stuff. There's another one. He actually has skeletor legs, I think, he's wearing there. Oh, this is a little pony, little pony -- very cute little thing.
凯勒·钟:这就是我想在这里说的一切了:我爱玩具。 好,所以,所以这是一个,某种意义上第一种— 第一批产品。 绝大多数没有卖出去。 1/20,1/30的产品被卖出去了。 之后,我们时常做些东西,比如 你们知道的,一个自动卷头发机, 缠绕你的头发然后把你的头皮拔下来,然后—— 我们从中赚到了些钱。后来我们停止生产了。 但是后来我们离开洛杉矶,搬到爱达荷。 那里很平静。 我开始了这个项目的工作 —哦,我必须赶快告诉你们这个。 在这制造玩具的整个过程中, 我认为创新和艺术和科学确实相关。 某种程度上由融合它们而产生 这允许,你们知道——你会创新。 我尝试将这融合,加入某种象征意义 意味着一些东西——对我来说是这样。 艺术和科学之间保持一种动态平衡, 这时就出现了创新。 事实上对我来说,这就是为何我能有奇思妙想。 但这不是你得到优势的方法。 你还得在上面加上一环,商业。 我认为这三者的结合,就给了你竞争的优势。 然后继续。 我将很快的讲一个故事,Furby的故事。 如他所说,我曾参与发明了Furby。 我完成了Furby的身体——呃,你们会瞧见的。 顺便给你们看一下这个,你们可以大概 理解这是要做什么, 很有希望的,尝试去创造机器人的生活形态,或用技术 使之与用户有情感联系。 这是我的家人。 这是我妻子,克里斯蒂,阿比和梅莉莎 还有我现在17岁的埃米莉,她正陷在一堆麻烦中。 好,这里回到机器人。 正如我所说,我离开了电影行业。 然后我说,让我们做这些电子机器人。 让我们做这些东西。 我永远对此充满激情。 这个其实动不了, 但我做这的时候陷进去了。 这是个比较小的,在那里我还有一个小的会活动的躯干。 一个小家伙小心翼翼的走过,使用更多的伺服控制器, 大量的伺服改装和大量的动力学来完成。 这又是一个。 他实际上有骨架大腿,我想是的。 哦,这是一只小狗狗,非常可爱的小东西。
The point of showing these is I've always been interested in little artificial life pieces. So the challenge was -- I worked for Microsoft for a little bit, working on the Microsoft Barney. And this is a -- you know, the purple dinosaur with kind of bloat wear. And, you know, they had lots, just lots of stuff in there that you didn't need, I thought. And then Microsoft can just fill a, you know, a warehouse full of this stuff and see if they sell. So it's a really strange business model compared to coming from a toy company. But anyway, a friend of mine and I, Dave Hampton, decided to see if we could do like a single-cell organism. What's the fewest pieces we could use to make a little life form? And that's our little, thirty-cent Mabuchi motor. And so, I have all these design books, like I'm sure many of you have. And throughout the books -- this is the first page on Furby -- I have kind of the art and science. I have the why over here, and the how over there. I try to do a lot of philosophy, a lot of thinking about all of these projects. Because they're not just "bing" ideas; you have to really dig deep in these things. So there's some real pseudo-code over here, and getting the idea of different kind of drives, things like that. And originally, Furby only had two eyes and some batteries on the bottom. And then we said, well, you're going to feed him, and he needs to talk, and it got more complicated. And then I had to figure out how I'm going to use that one motor to make the eyes move, and the ears move, and the body to move, and the mouth to move. And, you know, I want to make it blink and do all that at the same time. Well, I came up with this kind of linear expression thing with these cams and feedback. And that worked pretty well. Then I started to get a little more realistic and I have to start drawing the stuff. And there's my "note to self" at the top: "lots of engineering." So that turned out to be a little more than true. There's my first exploded view and all the little pieces and the little worm drive and all that stuff. And then I've got to start building it, so this is the real thing. I get up and start cutting my finger and gluing things together. And that's my little workshop. And there's the first little cam that drove Furby. And there's Furby on the half shell. You can see the little BB in the box is my tilt sensor. I just basically gnawed all this stuff out of plastic. So there's the back of his head with a billion holes in it. And there I am. I'm done. There's my little Furby. No, it's a little robot on heroin or something, I think. (Laughter) So right now, you see, I love little robots. So my wife says, "Well, you may like it, but nobody else will." So she comes to the rescue. This is my wife Christi, who is just, you know, my muse and my partner for eternity here. And she does drawings, right? She's an actual, you know, artist. And she starts doing all these different drawings and does color patterns and coloring books. And I like the guy with the cigar at the bottom there. He didn't test so well, but I like him. And then she started doing these other images. At that time, Beanie Babies was a big hit, and we thought, we'll do a bunch of different ones. So here's a little pink one, a little pouf on his head. And here's -- this didn't do so well in testing either, I don't know why. There's my favorite, Demon Furby. That was a good one. Anyway, finally settled on kind of this kind of a look, little poufy body, a little imaginary character. And there he is, a little bush baby on -- caught in the headlights there. I actually went to Toys"R"Us, got a little furry cat, ripped it apart and made this. And since then, every time I come home from Toys"R"Us with dolls or something, they disappear from my desk and they get hidden in the house. I have three girls and they just, they -- it's like a rescue animal thing they're going there. (Laughter) So, a little tether coming off, it's just a control for the Fur's mouth and his eyes. It's just a little server control and I made a little video going: "Hi, my name's Furby, and I'm good," you know, and then I'd reach my hand. He'd -- you can tickle him. When I put my hand up, "Ha, ha, ha, ha" and that's how we sold him. And Hasbro actually said, I meant Tiger Electronics at the time, said, "Yeah, we want to do this. We have, you know, 13 weeks or something to Toy Fair, and we're going to hire you guys to do this."
展示这些是要说,我总是对小型人造生命体有兴趣。 所以挑战在于,我曾为微软工作过, 微软巴尼娃娃。 而这是一个——你们知道的,穿着臃肿衣装的紫色恐龙。 我认为它们有大量,大量的你们不需要的东西。 微软的那些东西都可以堆满一个仓库 退满东西然后看看是否能卖出去。 所以这对出身自玩具公司的人来说是种非常奇怪的商业模式。 但是,我和一个朋友,戴夫·汉普顿, 决定去尝试一下看我们是否能做成单细胞组织一样的东西。 我们到底可以用最少多少零件就可以做出小巧的生命形式。 那是30美分买来的万宝至马达。 我有这些设计方面的书籍 我确信你们中很多人有像这样的书。 通过这些书—这Furby的第一张图纸, 我有些艺术细胞和科学细胞。 在那里我知道“为什么”,而在那里知道“如何”。 我狠狠的尝试了哲学,想了很多关于所有这些东西的事。 因为他们不仅仅是灵光一闪的灵感; 你必须要真正在这些方面深入发掘。 那是些真正的虚拟代码, 得到不同驱动模式的想法,像这样。 最初Furby只有2个眼睛,底部有一些电池。 然后我们说,好吧,我们要能喂养他, 而且他应该能讲话,所以事情就变得更加复杂了。 我得弄清楚该怎样去利用那一个马达 使眼睛转动,使耳朵动, 使身体活动,还有嘴巴动。 而且,我希望能使它眨眼睛 并且同时做这些所有的事情。 好吧,我开始想出 用凸轮和反馈系统做出线性表达图。这很管用。 然后我开始去做得更加具有真实感 我要开始画这东西。 而在顶部是我的“自我提醒”: “大量的工程学。” 所以就显得有点比真实还真实。 这是我第一个透视图,可以看见所有这些小零件 还有这些小螺纹转动杆和所有这些东西。 然后我开始打造它, 所以这是真材实料。 我起床开始剪切然后把东西粘在一起。 这是我的小工作车间。 这是第一个驱动Furby的小凸轮。 这是半边的Furby。 你们可以看到,这个在盒子里的小宝宝是我的斜传感器。 我基本上是用塑料把这些都啃出来的。 所以他脸的后面有10亿个小孔。 这下我就完工了。这是我的小Furby。 不,我想这是一个正在嗑药的小机器人。 (大笑) 所以,现在你们瞧见了,我爱小机器人。 所以我妻子说,“好吧,也许你喜欢它,但是没有其他人喜欢了。” 于是她来帮忙了。 这是我妻子克里斯蒂,她是, 我的创作灵感,我在此永远的伙伴。 而且她还画画,不是吗? 她事实上是个,艺术家。 她还开始画所有这些不同的画 还做了一个,彩色板和彩绘书籍。 我喜欢这个最底下的雪茄男。 他在测试中表现的不那么好,但是我喜欢他。 接着她开始做其他的设想了。 那个时候豆宝宝很流行, 我们就想做做一大堆其它的玩意。 所以这里是一个粉红的,他头上有点装饰。 这是——这个也在测试中不是那么好,不知为什么。 这是我最喜欢的,恶魔Furby。 这个很好。 不论如何,最终确定的就是这样的造型, 小可爱的躯体,带点梦幻般的形象。 就是他了,小小的身体——被头灯照着。 我实际上去到玩具反斗城,弄了一只小毛猫, 拆开它并做了这个。 在那之后,每次我从玩具反斗城带娃娃什么的回家, 他们都会从我的办公桌里消失 都被藏在屋子里。 我有3个女儿,她们— 做的就像是在拯救动物一样。 (大笑) 小链子除去了, 它只是用来控制Furby的嘴和眼睛。 这只是一个小服务器控件,我做了小视频: “嗨,我叫Furby,我很好,” 然后我抓住了自己的手。 他会——当我把手拿上去的时候,你们可以逗弄他, “哈,哈,哈,哈”,这就是为什么他很好卖。 而孩之宝说,我是说那时的老虎电子公司, 说,“是的,我们想要做这个。 我们必须,你知道的,还有13周就是玩具展, 而我们雇用你们就是为了做这个的。”
And so Dave and I got working. Mostly me, because it was all mechanics at this point. So now I have to really figure out all kinds of stuff I don't know how to do. And I started working with Solid Works and a whole other group to do that. And we started -- this was way back before there was really much SLA going on, not a lot of rapid prototyping. We certainly didn't have the money to do this. They only paid me, like, a little bit of money to do this, so I had to call a friend of a friend who was running the GM prototype plant, SLA plant, that was down. And they said, "Yeah, well, we'll run them." So they ran all the shells for us, which was nice of them. And the cams I got cut at Hewlett Packard. We snuck in on the weekend. And so we just had a disc of the files. But they have a closed system, so you couldn't print the things out on the machine. So we actually printed them out on clear and taped them on the monitors. And on the weekend we ran the parts for that. So this is how they come out close to the end. And then they looked like little Garfields there. Eight months later -- you may remember this, this was a -- total, total, total chaos. For a while, they were making two million Furbys a month. They actually wound up doing about 40 million Furbys. I -- it's unbelievable how -- I don't know how that can be. And Hasbro made about, you know, a billion and a half dollars. And I just a little bit on each one.
所以戴夫和我就得干活了。 主要是我,因为这个关键点都在于机械。 所以我必须解决所有这类问题 我不知道怎样去做。 我开始使用Solid Works软件, 同一整群人去做这个工作。 然后我们开始了—— 这是在有大量SLA之前的体会, 没有大量快速的原型制作。 我们当然也没有那么多钱去做这个。 他们只给我一点点钱去做这个, 所以我不得不去打电话给我一个朋友的朋友 他经营者一家GM的样本制造工厂,SLA工厂那时关闭了。 他们说,“是,好的,我们会运行它们。” 所以他们很好,为我们运行了所有这些框架。 我在惠普·帕卡德那里做了凸轮切割。 我们在周末偷偷的摸进去。 所以我们还有一张光盘的资料。 但是他们有一个封闭系统,因此你不能在机器上把东西打印出来。 所以我们清楚的把它们打印出来并记录在显示器上。 在周末我们为了那个运行这些部分。 所以这是最后他们的结果。 然后他们看起来像些小加菲猫。 8个月之后——你们也许还记得这个, 这是一个——整个,完全,彻底的混乱。 一会儿功夫,他们一个月做了200万个Furby。 他们实际上做了大概4千万个。 我——难以置信——我不知道怎么会这样。 孩之宝赚了大概,15亿美元。 而我只是在每个上面赚了一点点。
So full circle -- why do I do this? Why do you, you know, try to do this stuff? And it's, of course, for your kids. And there's my youngest daughter with her Furbys. And she still actually has those. So I kind of retired, and we're already living in paradise up in Boise, on a river, you know. So and then I started another company called Toy Innovation and we did some projects with Mattel with actually with a lady who's here, Ivy Ross, and we did Miracle Moves Baby, made it in Wired magazine, did a bunch of other stuff. And then I started another company. We did a little hand-held device for teens that could hook up to the Internet, won "Best Innovations" at CES, but really I kind of slowed down and said, OK, I just ... After a while, I had this old tape of this dinosaur, and I gave it to this guy, and this other guy saw it, and then people started to want to do it. And they said they'd spend all this time. So I said, "OK, let's try to do this dinosaur project." The crazy idea is we're going to try to clone a dinosaur as much as we can with today's technology. And it's not really -- but as close as we can do. And we're going to try to really pull this off, intentfully try to make something that seems like it's alive. Not a robot that kind of does, but let's really go for it. So I picked a Camarasaurus, because the Camarasaurus was the most abundant of the sauropods in North America. And you could actually find full fossil evidence of these. That's a juvenile. And so we actually went in. There's a book called "Walking on Eggshells," where they found actual sauropod skin in Patagonia. And the picture from the book, so when I -- I told the sculptor to use this bump pattern, whatever you can to copy that. Very, very obsessive. There's a kind of truncated Camarasaurus skeleton, but the geometry's correct. And then I went in, and measured all the geometry because I figured, hey, biomimicry. If I do it kind of right, it might move kind of like the real thing. So there's the motor. And about this time, you know, all these other people are starting to help. Here's an example of what we did with the skull. There's the skull, there's my drawing of a skull. There's kind of the skin version of the soft tissue. There's the mechanism that would go in there, kind of a Geneva drive. There's some Solid Works versions of it. Here's some SLA parts of the same thing. And then, these are really crude pieces. We were just doing some tests here. There's the skull, pretty much the same shape as the Camarasaurus. There's a photorealistic eye behind a lens. And there's kind of the first exploded view, or see-through view. There's the first SLA version, and it already kind of has the feel, it has kind of a cuteness already. And the thing about blending science and art in this multidisciplinary stuff is you can do a robot, and then you go back and do the shape, and then you go back and forth. The servos in the front legs, we had to shape those like muscles. They had to fit within the envelope. There was a tremendous amount of work to get all that working right. All the neck and the tail are cable, so it moves smoothly and organically. And then, of course, you're not done yet. You have to get the look for the skin. The skin's a whole another thing, probably the hardest part. So you hire artists, and you try to get the look and feel of the character. Now, this is not -- we're character designers, right? And we're still trying to keep with the real character. So, now you go back and you cover the whole thing with clay. Now you start doing the sculpture for this. And you can see we got a guy from -- who's just a fanatic about dinosaurs to do the sculpting for us, down to the spoon-shaped teeth and everything. And then more sculpting, and then more sculpting, and then more sculpting, and then more sculpting. And then, four years and 10 million dollars later, we have a little Pleo. John, do you want to bring him up?
整个来说,为什么我要做这个? 为什么你,你们知道的,要尝试去做这个东西? 而这当然都是为了你们的孩子。 这个我小女儿和她的Furby玩具。 而她直到现在还保留着那些玩具。 所以我算是退休了,而我们已经生活在天堂了 博伊斯河边的天堂,所以—— 接着我开始了另一家叫“玩具创新”的公司 我们和美泰做了一些项目和—— 和一位现在在场的女士合作,艾维·罗斯, 我们做了神奇会动的婴儿, 它上了《连线》杂志,我们还做了一堆其他的东西。 接着我又去开办了另一家公司。 我们为青少年量身打造了个小手握设备,可以用以连接互联网, 在CES(消费电子展)最好的创新玩具之一, 但是我慢了下来说,好啦, 我只是——不久之后,我拿到这个恐龙的旧录像带, 而我给了这个家伙,而另外一个人看了录像带, 接着人们开始想要制作它。 他们还说他们愿意花全部时间去做。 所以我说,:“好的,让我们尝试去做这个恐龙项目。” 这个疯狂的想法是我们将去尝试克隆一只恐龙 以今天的科技尽我们可能去做。 它不是真的,但我们将尽力去逼近真实。 而我们将去尝试完成它, 一门心思努力使之栩栩如生。 而不是像机器人那样有点像,而是真正努力去做到。 所以我选择了圆顶龙, 因为圆顶龙是在北美最常见的蜥脚下目恐龙。 你可以找到它们完整的化石痕迹。 那是一只未成年恐龙。 所以我们就开始工作了。 这里有本书叫做《如履蛋壳》, 他们在巴塔哥尼亚发现了真正的蜥脚类动物的皮肤。 这是书中的图片,所以当我—— 我告诉雕刻家使用这个凹凸图案,尽最大努力去复制那个。 非常,非常入迷。 这个一种缩短了的圆顶龙骨架, 但是几何比例是正确。 然后我开始工作并测量了所有的几何比例 因为我猜想,嘿,生物模型, 如果我做对了,它可能会行动起来有点像真家伙。 这里是马达。 到了这个时候,所有人都开始帮上忙。 这里有个我们怎么处理头骨的例子。 这是头骨,这是我的头骨图样。 这是某种意义上的皮肤软组织样本。 这是在这里即将运作的机制— 就像一个日内瓦机构。 这里有些它的Solid Works处理后的样子。 这里是一些原型部分,是同样的东西。 这些是很粗糙的原件。我们只是在这里做些测试。 这是头骨,非常近似圆顶龙的形状。 这是镜头后的一个照相写实眼。 这算是第一个爆炸性视图,或者说透视图。 这是第一个适配器版本,而且它已经有点那感觉了, 它也已经有了点的萌属性。 而这东西融合了科学和艺术 在这包罗万象的东西里,你可以做一个机器人, 然后你回归并塑造外形, 然后你往返往复。 在前腿里有伺服马达,我们必须去把他们塑造的像肌肉。 他们必须能被包裹在塑胶封套内。 要完善一切需要巨大的工作量。 脖子和尾巴都要连线, 所以它的行动平滑而且自然。 当然你还没有完工。 你必须去处理皮肤的外观。 皮肤完全是另外一回事,也许是最困难的部分。 所以你雇佣艺术家们, 试图做出恐龙的外观及手感。 现在,这与角色设计师无关了,是吗? 而我们依旧尝试接近真实的角色。 所以,现在你回去用粘土覆盖整个东西。 开始对这个东西进行雕刻。 你们可以看见我们招了一个家伙—— 他只是对恐龙很狂热 为我们做了这个雕刻, 包括勺状的牙齿以及一切东西。 更多的雕刻,接着更多的雕刻, 然后更多的雕刻,之后更多的雕刻。 在耗时4年耗资1千万美元之后, 我们拥有了Pleo。 约翰,你可以把他带上来吗?
John Sosoka is our CTO, and is really the man that's done most of the work with our 40-person company. I'd like to give John a hand. He never gets recognition. This is John Sosoka. (Applause) So, thank you, John, thank you, and get back to work, all right, man? All right -- (Laughter) -- no, it's very painful, so -- (Laughter) -- these are little Pleos and you can probably see them. This -- I on purpose -- they go through life stages. So when you first get them, they're babies. And you -- more you have them, kind of the older they get, and they kind of learn through their behavior. So this one, this one's actually asleep, and -- hang on. Pleo, wake up. Pleo, come on. So this guy's listening to my voice here. But they have 40 sensors all over their body. They have seven processors, they have 14 motors, they have -- but you don't care, do you? They're just cute, right? That's the idea, that's the idea. So you see -- hey, come on. Hey, did you feel that? There's something big and loud over here. Hey. (Laughter) That's good, wake up, wake up, wake up. Yeah, they're like kids, you know. You, yeah, yeah. Okay, he's hungry. I'll show you what he's been doing for, for four years. Here, here, here. Have some money, Pleo. (Laughter) There you go. That's what the investors think, that it's just -- (Laughter) -- right, right. So they're really sweet little guys. And we're hoping that -- you know, our belief is that humans need to feel empathy towards things in order to be more human. And we think we can help that out by having little creatures that you can love. Now these are not robots, they're kind of lovebots, you know. They do change over time. But mostly they evoke a feeling of caring. And we have a -- I have a little something here. Now I do want to say that, you know, Ugobe is not there yet. We've just opened the door, and it's for all of you to step through it. We did include some things that are hopefully useful. Excuse me, Pleo. They -- he has a USB and he has a SD card, so it's completely open architecture. So anyone can plug him -- (Applause) -- thank you. This is John over here. Anyone can take Pleo and they can totally redo his personality. You can make him bipolar, or as someone said, a -- (Laughter) -- you can change his homeostatic drives, or whatever you want to call them. Kids can just drag and drop, put in new sounds. We -- actually, it's very hard to keep people from doing this. We have one animator who's taken it and he's done a take on the Budweiser beer commercial, and they're going, "Whassup," you know? (Laughter) You -- so it's -- yes, he likes that. So they're a handful. We hope you get one. I don't know what I'm missing to say, but as a last thing, I'd like to say is that if we continue along this path, we are designing our children's best friends. And there's a lot of social responsibility in that. That's why Pleo's soft and gentle and loving. And so I just -- I hope we all dream well. Thank you. (Applause)
约翰是我们的首席技术官,而正是此人 完成了我们有大概40人的公司的绝大部分的活。 我想要帮约翰一把。他的价值从未被人意识到。这位是约翰·搜搜卡。 (鼓掌) 所以,谢谢你,约翰,谢谢你, 然后就要回去工作了,对吧,伙计? 对吧—— (大笑) ——不,这非常令人难过,所以—— (大笑) ——这些是小Pleo,你们可以看见。 这个——我有意而为的——它们会经历人生的阶段。 所以当你们最初得到它们的时候,它们是婴儿。 而你们——得到它们时间越久,它们也越大, 而且它们通过它们的行为进行学习。 所以这个,这只睡着了,等一下—— Pleo,醒醒,Pleo,起来。 这家伙听到了我的声音。 它们拥有40个传感器遍布全身。 它们有7个处理器,14个马达, 它们有—— 但其实你们并不在意这个,对吧? 它们就是萌,对吧?这就对了,这就对了。 所以你们看,嘿,来啊,嘿,你们感觉到了吗? 在这里有一些大且响的东西。 嘿。 (大笑) 这很好,起来,起来,起来。 是的,它们就像小孩子,你们知道。 你,是的,是的。好吧,他饿了。 我将向你们展示他在4年中在做什么。 这里,这里,这里。过来拿钱,恐龙。 (大笑) 就这样了。 这是投资者所想的,只是—— (大笑) —对,对。所以它们确实甜美可爱的家伙。 我们希望如此, 我们相信人类需要对东西产生情感共鸣 为了更有人性。 而且我们可以帮助实现这一目标通过 拥有你可以关爱的小动物。 现在这些,不只是机器人,它们是某种意义上爱的容器,你们知道的。 它们随时间而变。 但绝大多数时候它们唤起一种关爱的意识。 而我们有一种——我有点想法。 现在我想说的是,UGOBE还没有做到那里。 我们只是打开了扇门,这是为了你们所有的人可以跨进来。 我们做了一些希望是有用的东西。 不好意思哦,Pleo。 它们——他有一个USB接口而且和一个SD卡插槽, 所以这是一个完全开放式的结构。 所以任何人都可以给他加入新元素,谢谢你们。 约翰在那边。 每个人都可以拥有Pleo,而且他们完全可以进行个性重置。 你们可以把他变成躁郁症,或者就像有人所说的一个—— (大笑) 你们可以改变他的体内平衡装置,或者随你们怎么称呼他们。 孩子们可以通过鼠标的拖放,加入新的声音。 实际上,我们,很难阻止人们做这个。 我们有个带走了Pleo的动画绘制者而 他做过一个百威啤酒广告, 然后它们就变成了,“怎么啦,” 你们知道? (大笑) 你们——所以就——是的,他就像那样。 所以它们数量有限。我们希望你能拿到一个。 我不知道我还漏讲了什么, 但是作为最后一件事我想说的是, 如果我们在这条道路上继续前进,我们将设计我们孩子最好的朋友。 而且那其中包含大量的社会责任。 这就是为什么电子恐龙是温柔的,彬彬有礼的,讨人喜欢的。 所以我只是——我希望我们都梦想成真。 谢谢你们。 (鼓掌)