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.
我可以算是個玩具設計師, 在我擔任玩具設計師前,喔,我曾經是個默劇藝人,就是街頭默劇藝人。 我想,那時我算是一個娛樂大家的人。 在那之前,我做過銀匠,而在那更之前-- 我在15歲半時離開家, 而我從未上過大學。 我那時實在看不出上大學的重要性, 不過在我學習過這麼多東西後,我明白了,
(Laughter) It's really cool.
(笑聲) 上大學其實很酷。
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.
不管如何,我想要讓你們瞭解一點玩具設計的世界, 至少是我個人所看到的世界。 這是我一開始從事玩具設計時,自己所拍攝的影片, 我會在車庫裡製作一些奇怪的東西, 然後拿到玩具公司給他們看, 有一些人會在桌子另一邊, 其中一個人說:「通過,通過,通過。」 你會以為那很酷,但是-- 無論如何,每次我要演說時,我就會放這段影片。 這是我公司的名字Giving Toys, 我之前是在Mattel工作。 在我離開Mattel後,我開始製作這些漢堡製造機, 然後,我取得可以生產這種機器的許可, 這就是漢堡製造機, 你可以塗上花生醬,把東西放進機器裡,然後就出來了。 這個是薯條製造機,它可以製造出非常小的食物讓你吃, 是我把義大利麵機器毒打一頓後做出來的。 這應該是麥克機塊製造機, 這個才是麥克機塊製造機, 而這個是我的大女兒在做蘋果派。 我們來看看,你可以做這個派,放上一些肉桂、糖, 然後就開始一直吃、一直吃... 她現在大概有300磅了。 不,她沒有300磅,她很漂亮。 這就是最後產品上市的樣子, 像一條1,500萬美元的產品線, 讓我經歷一些事--我沒有收取任何權利金。
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.
接下來,我整理彙集了一大堆東西。 那是個泡沫導彈發射器,並沒有賣出去。 這是一個可以壓扁的頭,沒有特別用途。 這是一些我為"Wig, Rattle and Roll"所做的效果。 這是機器眼睛,後面有控制器可以操縱, 那個東西幫我付了一個月的房租。 這是會走路的芭比,我就說要這個! 還有,喔,那實在做得太棒了! 這些是戰鬥機器人,我覺得每個人都會想要, 他們會戰鬥,還會互相支援,看起來很酷吧? 然後他們把這些作成玩具,還可以互相打來打去。 真是非常酷。 這是我們為小狗做的一些戰鬥測試, 看看它是否可以真的抓取一些東西, 這個真的做得很棒。 這是我用電話連接器做的,所以他們可以轉動, 下面有唱片之類的東西,小孩子就不知道唱片是甚麼了。 這是黏土人, 我拿去給培樂多(Play-Doh)看, 告訴他們我可以賦予黏土生命與活力, 他們說,不要再說有關培樂多(Play-Doh)的事情了。 然後,我做了一個活動樂高(Lego), 我覺得這個非常棒! 但他們就是不想要,叫我別再班門弄斧, 他們早就知道該怎麼玩樂高了。
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.
然後我開始做電子玩偶, 我很愛恐龍, 我算是待過電影這一行, 尼葛洛龐帝看到這個時,我大概才12歲,剛出道, 他們說:「不,你必須做出2隻,而且要讓他們戰鬥。」 也對,小孩怎麼會只想要一隻恐龍? 這是我用3D畫的圖,大概是80年代。 那是大衛.萊特曼, 你看出這東西有多老了吧。 那是我最小的表哥。 這個段落叫做「你不會在聖誕節看到的危險玩具」。 我們展示了我的第一個刀鋒發射器和火焰椅, 我的職業生涯到此算是巔峰了。 後面還配有一具噴沫滅火器,鏡頭沒帶到, 我用雨刷馬達把丁酮噴出來。 而這是---我過去曾擔任過演員, 不過我並非十分擅長, 但是,這個傢伙叫做幼稚博士, 他會把玩具拆開來,讓小孩知道甚麼叫做工程學, 後面有很多同時運作的任天堂遊戲, 在左邊光碟機的控制視窗, 這是一個叫做瑞茲尼可夫的傢伙做的飛行模擬器, 你可以看到那裏有個小視窗, 你也可以看到下方的圓圈裡有一台攝影機的標示, 我把鍵盤綁在手腕上。 我還有很多時間。
(Video) I'm getting dizzy ... Narrator: I love toys!
放輕鬆,放輕鬆(播放影片)。 我快暈了,我太愛玩具了!
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.
這就是我想說的,我愛玩具。 好,所以那就是第一批... 那就是第一批產品。 大部分都沒有成為上市產品, 可能20個裡才有一個,也可能30個裡才有一個。 我們在做的事情就像是... 像是有一個自動綁頭髮的機器, 可以把你的頭髮束起來,再綁起來, 我們從這個機器上賺了一些錢。後來,也把錢花光了。 但最後我們還是離開洛杉磯,搬到愛達荷去, 那兒確實非常平和寧靜。 然後我開始研究這個案子-- 喔,我先用一點時間告訴你這個, 在我製作玩具的整個過程裡, 我認為創意、藝術與科學息息相關, 他們會產生奇妙的融合變化, 讓你找到創意靈感。 後來,我試著要為這些東西創造出一個代表圖形, 一個對我來說,具有意義的圖形。 由於藝術與科學具有某種動態的平衡, 我認為創意會在此出現。 實際上對我來說,這就是我想出超棒點子的原因, 但這不是你現在可以運用的。 你還必須在外面畫一個圓圈,那就是生意。 把這三個放在一起,我認為這樣就可以運作了。 接下來, 我要用很短的時間講一個故事,就是Furby的故事。 如同他所說的,我是Furby的共同發明人, 我做出Furby的身體、創造出這個角色--你待會兒會看到。 給你們看看這些東西, 你們可以大致瞭解, 到底如何創造有生命型態的機器人、 又如何創造能與人進行情感交流的科技。 這些是我的家人, 我太太克莉絲緹,還有艾比與美莉莎, 還有17歲的艾蜜莉,以前她很會惹麻煩。 好吧,現在我們再來看機器人吧。 如我稍早說的,我離開了電影這一行, 所以我說,讓我們來做這些電子機器人吧。 我們得做出些東西來。 我總是興致盎然地作這些東西, 雖然後來這個東西沒有做成, 但是我已經兩腳踩進去做了。 這是比較小的,我還有一個移動的軀幹在那兒, 這個瘦小的傢伙單獨行走,用更多伺服器驅動著它, 更多伺服器、更多機械的東西。 這又是另外一個。 它實際上有骷髏王(Skeletor)的腿,我想它應該是裝在那兒。 喔,這是一隻小馬,非常可愛的小東西。
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."
展示這些的原因是,我一向對小小的人造玩偶很感興趣。 我的挑戰是...我曾在微軟工作, 幫他們做巴尼恐龍玩偶, 你知道,那是一隻臃腫的紫色恐龍, 而他們生產了太多巴尼,消費者並不想要, 微軟能做的,就只是把巴尼塞進一個倉庫, 塞得滿滿的,再來看是否可以賣出去。 跟玩具公司的做法相比,這實在是很奇怪的生意模式, 不過無論如何,我和我的朋友大衛.漢普敦, 決定來看我們是否可以做出一個像是單細胞生物的東西, 看我們能否用最少的零件,來做出這個小玩偶。 這就是我們用30美分買來的萬寶至馬達, 我有所有的設計書籍, 我想你們大部分的人一定也有這些書, 我參考這些書,畫出了Furby的第一頁草圖。 我把藝術與科學做了某種程度的結合, 知道為什麼要這麼做,也知道怎麼做, 在做這些事的時候,我試著去想一些哲理和思辨的問題, 因為他們不是靈光乍現、突然蹦出的想法, 你必須想得更深一層。 這是一些真的虛擬程式碼, 然後用不同的驅動程式那一類的東西。 原始的Furby只有兩個眼睛,底下就是電池, 那時我們說,嗯,你會餵它吃東西, 它應該會開口說話,這讓事情變得更複雜了, 我必須想出如何用那一個馬達, 讓眼睛可以動,讓耳朵也可以動, 讓身體可以動,然後讓嘴巴也可以動。 然後,不只這樣, 我還想讓它眨眼睛。 後來,我把需要用凸輪轉動的這些東西 分別畫在不同的長條格子裡,結果效果很好。 這時,我開始變得實際一點了, 我要把東西畫出來。 這一頁最上面的是我的"小叮嚀": "很多工程研發", 這讓整件事變得更加真實。 這是我畫的第一個組裝圖,可以看到所有的小零件, 裡面有小小驅動元件,和其他所有東西。 接下來,我要做出 真的玩偶, 我把東西切割出來,再焊在一起, 這就是我小小的工作室。 這是讓Furby動起來的第一個小凸輪, 這是半成品階段的Furby。 你可以看到,這個盒子裡面的小東西是傾斜感知器, 我基本上都是用塑膠做原料, 它的頭背後有10億個小孔。 好,我做出來了,這是我的小Furby。 你也可以稱它為吸了海洛因的機器人... (笑聲) 所以現在,你知道我喜歡小機器人了吧。 但是我老婆說了:「你覺得可愛,但是別人可不這麼想。」 所以她幫我做了一些修改。 這是我太太克莉絲緹, 她是我的謬司女神、我永恆的伴侶, 她也擅長繪畫,對吧? 她其實是個藝術家, 她開始畫這些草圖, 還嚐試不同顏色,畫出不同模樣出來, 我喜歡最下面那個抽雪茄的傢伙, 可是大家的反應不那麼好,但是我喜歡他。 然後,她開始畫出其他模型, 那時,豆豆娃(Beanie Babies)很紅, 我覺得我們可以做出一大堆像那樣的東西出來, 所以我們做了粉紅色的,在他的頭上還有小小的裝飾; 還有這個,大家的反應也不好,我不知道為甚麼; 這是我的最愛,惡魔Furby, 這個不錯。 後來,我們做出來的是這個樣子, 小小可愛的身軀,一個小小的玩偶。 就是這個,小小毛茸茸的玩偶,用頭燈打光照射。 我其實是去玩具反斗城,買了一個毛茸茸的小貓玩偶, 然後把它拆開,做成這個。 而從那時起,每次我從玩具反斗城帶了玩偶回來, 那些玩偶都會從我的桌上消失, 然後被藏在家裡某個地方。 我有三個女兒,而她們就是想--- 就像是拯救動物之類的。 (笑聲) 所以這裡有條小繫繩, 用來控制Furby的嘴和他的眼睛, 是用小伺服器控制,而我拍了一小段影片: 「嗨,我叫Furby,我很好。」 然後我伸出手, 其實你可以搔它癢,當我一把手放上去, 「哈哈哈哈」,這就是Furby為什麼大賣的原因。 孩之寶(Hasbro)說,我是指那時的老虎電子(Tiger Electronics)公司, 他們說:「我們想做這個, 但是離玩具大展只剩13個禮拜, 所以我們要僱用你們這些傢伙來做出這個。」
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.
然後,大衛跟我開始工作, 其實大部分都是我在做,因為那時的重點是機械方面的東西, 所以我真的得去搞清楚所有的零件了, 但我不知道要怎麼做, 所以我開始跟Solid Works一起合作, 也和另一個小組一起合作。 所以我們開始了... 在用SLA(雷射快速成型)做出原型之前,我們先做出這個模型, 製作的時間還不是那麼快速。 我們當然沒有錢做這個, 他們只付我很少的錢讓我做這個, 所以我只好打電話給我一個朋友的朋友, 他負責GM原型廠,SLA快速成型廠那時關了, 他們說:「好吧,我們來做吧!」 他們為我們做出所有的外殼,他們人很好。 我把凸輪拿到HP切割, 我們趁著周末沒人時偷偷跑進去做。 我們手上有一片檔案光碟, 但是他們的系統是封閉,所以不能從印表機裡把東西印出來, 但我們還是想辦法印出來了,還錄下了影像。 我們趁著周末時,執行那個部分。 這就是我們最後的成果, 看起來就像是小小的加菲貓。 8個月之後,你或許還記得這個場面, 真是一團混亂。 那時他們一個月就要生產200萬隻Furby, 他們最後總共賣出四千萬隻Furby。 我--這真是難以置信,我也不知道怎麼會這樣。 而孩之寶大概賺了15億美元, 而我只在賣出每一隻後,拿到一點點錢。
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?
所以整體來看,為什麼我要做這個? 為什麼我要做出這個東西? 當然是為了小孩子。 這是我的小女兒,還有她的Furby, 她到現在還保留著那些Furby。 而我算是退休了,因為我們已經很像住在天堂, 我們住在波伊斯的某條河邊, 然後,我開了另一家公司,叫做Toy Innovation, 我們跟Mattel一起做某些案子, 實際上是跟目前人在現場的Ivy Ross小姐一起做的, 我們做出Miracle Moves Baby, 這寶貝還上了Wired雜誌,我們也做了很多其他的東西。 然後我又開了另一家公司, 我們做了一個給年輕人用的手持裝置,讓他們可以用來連上網路, 這個裝置得到了CES電子展的最佳創意獎。 但漸漸的,我把步調放慢了下來, 接下來,我拿到這個恐龍的舊帶子, 我把這卷影片拿給某個傢伙看,其他人也看到了, 然後大家開始說要把它做出來, 他們這次要用盡全力來做, 所以我說:「好,讓我們來做這個恐龍計畫。」 這個瘋狂的計畫是去複製出一個恐龍, 要盡量使用我們所能取得的科學技術。 雖然不是真的恐龍,但我們要做到很逼真, 我們要認真努力去做, 要讓它看起來像栩栩如生, 不是要做出一個很像的機器人,而是以逼真為目標。 所以我選擇了圓頂龍, 因為圓頂龍是北美最多的蜥腳類恐龍, 而確實也可以找到充足的化石證據, 那是隻未成年恐龍化石。 所以我們就開始做了, 有本書叫做「走在蛋殼上」(Walking on Eggshells), 書中描述在巴塔哥尼亞發現了蜥腳類的皮膚, 這是書上的照片, 我告訴雕塑家,無論如何要複製出書上的皮膚紋路, 那是非常迷人的紋路。 這裡有一幅縮小版的圓頂龍骨架, 但幾何架構是對的, 那時我跑去測量了所有的幾何比例, 因為我了解到, 如果我能模擬出真的恐龍,就能做出逼真的東西。 裡面裝有馬達, 這次,所有其他的人都來幫忙, 這是我們做出頭骨的樣子, 這是我畫的頭骨繪圖, 這裡有皮膚的軟組織, 這裡是要放進去的機械, 一種日內瓦的驅動器。 這是Solid Works做出來的版本, 這裡有一些SLA快速成型的原型, 這些是一些粗糙的原型,我們只是用他們做一些測試。 這是頭骨,和圓頂龍的外型非常相似, 在鏡片後面有像是照片般真實的眼睛, 這裡是第一個解剖圖,或透視圖, 這是第一個SLA原型版本,已經有點樣子了, 看起來還滿可愛的。 這就是科學與藝術的結合, 在跨學科的領域中,你可以做出一個機器人, 然後你可以再回去做出外型, 就這樣來來回回修正。 在前腳裡有伺服器,我們必須做出像是肌肉的外觀, 然後要能把這些機器塞進去。 要完成這件事,還有無數的工作要做。 脖子和尾巴都是線纜做的, 所以它動起來很流暢,栩栩如生。 當然,這樣還沒做完, 你還得去尋找適合的皮膚外觀。 皮膚外觀又是另外一件事情,也許是最困難的部分, 所以我們僱用了藝術家,試著要做出恐龍的 外觀與感覺。 這個版本不是玩偶設計師做的,對吧? 但我們仍嘗試要保持真實的外貌特徵, 所以,我們又回去用黏土覆蓋整個東西, 開始嚐試雕塑這個東西。 所以你可以看到我們找到一個傢伙, 他對恐龍非常狂熱, 我們要他幫我們雕塑這個東西, 從牙齒到每一個部位, 我們要雕塑的部位愈來愈多,愈來愈多... 愈來愈多...愈來愈多... 然後,在花了四年時間,花了一千萬美元後, 我們做出了小Pleo, 約翰,你可以把它帶出來嗎?
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)
約翰是我們的技術長,我們全都是靠他 和我們公司裡的40個人,才能完成所有這些工作。 我希望給約翰一點掌聲,他從來不出風頭的。歡迎約翰... (掌聲) 謝謝你,約翰,謝謝你! 又要回去工作了,對吧? 好吧... (笑聲) 這其實是非常痛苦的過程... (笑聲) 這就是Pleo,你們應該可以看得到。 我們的設計是,他們會成長, 所以當你第一次拿到他們,他們是恐龍小嬰兒, 當你養越久,他們就會慢慢長大, 他們也可以透過行為去學習。 這一隻,這一隻睡著了,嘿,起來, Pleo,醒來,Pleo,拜託。 這傢伙可以聽到我的聲音, 他們身上有40個感測器, 7個處理器、14個馬達, 他們有... 你不會真的想知道吧? 他們看起來就是可愛,對吧?我就是這麼想的。 所以你看,你們可以感受到嗎? 這裡有很大的聲響, 嘿! (笑聲) 好,醒來,醒來,醒來! 對,他們就像小孩, 是,是,好吧,它餓了。 我會告訴你們我們這四年來在做什麼。 來,來,給你一點錢,Pleo。 (笑聲) 好吧。 這就是投資者的想法... (笑聲) 好,好,他們實在是可愛的小傢伙。 我們希望... 我們的信念是:人們需要把感情轉移到某件事上, 才能更具有人性。 我們認為這些可愛的小玩偶, 可以達成這個希望。 這些不是機器人,他們算是可愛機器人, 他們會隨著時間改變, 他們會喚起一種關愛的感覺。 我想說一件事, 我想說的是,UGOBE還沒做到這個境界, 我們只是打開了一扇門,你們所有的人都可以走進來, 我們還在裡面放了一些希望是有用的東西。 對不起囉,Pleo。 這裡面有USB和SD卡的插槽, 這是一個完全開放的架構, 任何人都可以加些東西進去,謝謝你。 約翰就在這裡, 任何人都可以重塑Pleo人格特質, 你可以讓它有躁鬱症,或是... (笑聲) 你可以改變它內建的平衡驅動器,不管你想叫它什麼名字都行。 小孩可以透過滑鼠的拖放,放進新的音效, 事實上我們很難避免人們做這些事情。 我們有一個動畫師把Pleo拿去, 拍了一個百威啤酒的廣告, 裡頭的Pleo變成會說「怎麼啦?」 (笑聲) 是的,就像那樣, 他們有很多那種Pleo,我們希望你也有一隻。 我不知道我漏了甚麼沒說, 不過,我想說的最後一點是, 如果我們繼續走下去,我們就是在為小孩設計他們最好的朋友, 而我們要扛下很多社會責任, 這就是為甚麼Pleo這麼柔軟、溫和,並且可愛。 我希望大家都能美夢成真。 謝謝大家。 (掌聲)