When I was seven years old, some well-meaning adult asked me what I wanted to be when I grew up. Proudly, I said: "An artist." "No, you don't," he said, "You can't make a living being an artist!"
Cando tiña sete anos, algún adulto ben intencionado preguntoume que quería ser cando fora grande. Con orgullo, díxenlle: "Un artista". "Non, non", dixo, ¿Non podes ganarte a vida sendo artista!
My little seven-year-old Picasso dreams were crushed. But I gathered myself, went off in search of a new dream, eventually settling on being a scientist, perhaps something like the next Albert Einstein.
Os meus soños do pequeno Picasso de sete anos esmagados. Pero eu recompúxenme. Fun na procura dun novo soño. Que ó final foi ser un científico. Quizáis algo así como o próximo Einstein.
(Laughter)
(Risas)
I have always loved math and science, later, coding. And so I decided to study computer programming in college. In my junior year, my computer graphics professor showed us these wonderful short films. It was the first computer animation any of us had ever seen. I watched these films in wonder, transfixed, fireworks going off in my head, thinking, "That is what I want to do with my life." The idea that all the math, science and code I had been learning could come together to create these worlds and characters and stories I connected with, was pure magic for me.
Sempre me gustaron as mates e a ciencia. Despois, a codificación. Así que decidín estudar programación informática na universidade. No meu primeiro ano, O meu mestre de gráficos por ordenador amosounos estes cortos. Foi a primeira animación por ordenador que vimos nas nosas vidas. Vin estas películas estrañada, paralizada. Fogos de artificio saíndo da miña cabeza, pensando, "Iso é o que quero facer na miña vida" A idea de que tódalas mates, ciencias e codificación que aprendera podería xuntarse para crear estes mundos e personaxes e historias coas que os conectaba era pura maxia para min.
Just two years later, I started working at the place that made those films, Pixar Animation Studios. It was here I learned how we actually execute those films. To create our movies, we create a three-dimensional world inside the computer. We start with a point that makes a line that makes a face that creates characters, or trees and rocks that eventually become a forest. And because it's a three-dimensional world, we can move a camera around inside that world. I was fascinated by all of it. But then I got my first taste of lighting.
Dous anos despois, comecei a traballlar no lugar que facía eses vídeos Pixar Animation Studios. Foi aquí onde aprendín como realizar eses vídeos. Para as nosas películas, creamos un mundo tridimensional dentro do ordenador. Comezamos cun punto que fai unha liña, que fai unha cara que crea personaxes, ou árbores ou rochas que se converten en bosques. E como é un mundo tridimensional, podemos mover a cámara arredor dentro dese mundo. Todo isto fascinoume. Pero despois tiven a miña primeira iluminación.
Lighting in practice is placing lights inside this three-dimensional world. I actually have icons of lights I move around in there. Here you can see I've added a light, I'm turning on the rough version of lighting in our software, turn on shadows and placing the light. As I place a light, I think about what it might look like in real life, but balance that out with what we need artistically and for the story. So it might look like this at first, but as we adjust this and move that in weeks of work, in rough form it might look like this, and in final form, like this.
Na práctica a iluminación é colocar luces neste mundo tridimensional. De feito teño iconas de luces que movo por aí. Aquí poden ver que engadín unha luz. Esta é a versión aproximada de iluminación no noso software. Activar sombras e colocar a luz. A medida que poño a luz, penso como se vería na vida real, en balance co que precisamos artisticamente e para a historia. Entón teremos algo así nun principio, mais se axustamos isto e movemos aquilo cunhas semanas de traballo, nun principio debería parecerse a isto, e ó final a isto.
There's this moment in lighting that made me fall utterly in love with it. It's where we go from this to this. It's the moment where all the pieces come together, and suddenly the world comes to life as if it's an actual place that exists. This moment never gets old, especially for that little seven-year-old girl that wanted to be an artist.
Hay un momento na iluminación que me fixo namorarme dela. É onde pasamos disto a isto. É o momento no que tódalas pezas se xuntan, e de socato o mundo cobra vida como se fose un lugar real. Este momento nunca aborrece, especialmente a aquela nena de sete anos que quería ser unha artista.
As I learned to light, I learned about using light to help tell story, to set the time of day, to create the mood, to guide the audience's eye, how to make a character look appealing or stand out in a busy set.
Mentres aprendín a iluminar Aprendín a usar a iluminación para axudar á historia, para dicir a hora do día, para crear o estado de ánimo, para guiar a vista da audiencia, Como facer que un personaxe pareza atractivo. ou parado nun escenario cheo.
Did you see WALL-E?
Viron WALL-E?
(Laughter)
(Risas)
There he is.
Aí está.
As you can see, we can create any world that we want inside the computer. We can make a world with monsters, with robots that fall in love, we can even make pigs fly.
Como poden ver, podemos crear calquera mundo dentro do ordenador. Podemos facer un mundo con monstros, con robots que se namoran, mesmo podemos facer ós porcos voar.
(Laughter)
(Risas)
While this is an incredible thing, this untethered artistic freedom, it can create chaos. It can create unbelievable worlds, unbelievable movement, things that are jarring to the audience.
Aínda que isto é incrible. esta liberdade artística, pode crear un caos. Pode crear mundos incribles, movementos incribles... Cousas incomprensibles para a audiencia.
So to combat this, we tether ourselves with science. We use science and the world we know as a backbone, to ground ourselves in something relatable and recognizable. "Finding Nemo" is an excellent example of this. A major portion of the movie takes place underwater. But how do you make it look underwater?
Para exitar isto imos unidos á ciencia. Empregamos a ciencia e o mundo real como unha espiña dorsal, para adherirnos ás cousas relacionables e recoñecibles. "Buscando a Nemo" é un excelente exemplo disto. A maior parte da película ocorre baixo a auga. Mais ¿como se fai para que pareza baixo a auga?
In early research and development, we took a clip of underwater footage and recreated it in the computer. Then we broke it back down to see which elements make up that underwater look. One of the most critical elements was how the light travels through the water. So we coded up a light that mimics this physics -- first, the visibility of the water, and then what happens with the color. Objects close to the eye have their full, rich colors. As light travels deeper into the water, we lose the red wavelengths, then the green wavelengths, leaving us with blue at the far depths.
Na busca e desenvolvemento iniciais pegamos un video baixo a auga e refixemolo no ordenador. Entón nós desconstruímola para ver que elementos compuñan aquela imaxe baixo a auga. Un dos elementos cruciais era como a luz viaxa a través da auga. Entón codificamos unha luz. Primeiro a visibilidade da auga, despois o que acontece coa cor. Os obxectos próximos ós ollos teñen as cores completas e vivas. A medida que a luz viaxa máis profundo, perdemos as luces vermellas, despois as verdes, deixándonos co azul nas profundidades.
In this clip you can see two other important elements. The first is the surge and swell, or the invisible underwater current that pushes the bits of particulate around in the water. The second is the caustics. These are the ribbons of light, like you might see on the bottom of a pool, that are created when the sun bends through the crests of the ripples and waves on the ocean's surface. Here we have the fog beams. These give us color depth cues, but also tells which direction is up in shots where we don't see the water surface. The other really cool thing you can see here is that we lit that particulate only with the caustics, so that as it goes in and out of those ribbons of light, it appears and disappears, lending a subtle, magical sparkle to the underwater.
Neste video poden ver outros dous elementos importantes. O primeiro é a ondulación, ou as correntes invisibles que empurran os anacos de partículas arredor da auga. O segundo son as acústicas. Son cintas de luz. Que se poden ver no fondo dunha piscina. Créanse cando o sol inclina nunha crista de ondas e ondulacións na superficie do océano. Os bancos de néboa. Dannos sinais de profundidade e cor, mais tamén indican que direción é arriba en escenas nas que non vemos a superficie . Outra cousa alucinante que podedes ver aquí é que cando iluminamos esta partícula solo con la cáustica, de maneira que entra e sae desas cintas de luz, aparece e desaparece, dando unha sutil, chispa máxica baixo a auga.
You can see how we're using the science -- the physics of water, light and movement -- to tether that artistic freedom. But we are not beholden to it. We considered each of these elements and which ones had to be scientifically accurate and which ones we could push and pull to suit the story and the mood.
Poden ver como empregamos a ciencia: A física da auga, a luz e o movemento... para unila a esa liberdade artística. Mais non estamos en débeda con el. Consideramos cada un dos elementos e cales eran científicamente correctos e cales podíamos modificar para axustar a historia e o ánimo.
We realized early on that color was one we had some leeway with. So here's a traditionally colored underwater scene. But here, we can take Sydney Harbor and push it fairly green to suit the sad mood of what's happening. In this scene, it's really important we see deep into the underwater, so we understand what the East Australian Current is, that the turtles are diving into and going on this roller coaster ride. So we pushed the visibility of the water well past anything you would ever see in real life. Because in the end, we are not trying to recreate the scientifically correct real world, we're trying to create a believable world, one the audience can immerse themselves in to experience the story.
Decatámonos de que con esa cor tiñamos unha marxe de maniobra. Aquí amosamos unha escena normal baixo a auga a cor Mais aquí, podemos poñer o porto de Sidney de cor verde para transmitir un estádo de ánimo triste. Nesta escena, é moi importante que vexamos a profundidade do mar, para entender o que é a corrente do este de Australia, na que as tartarugas bucean e embarcarnos nesta montaña rusa. Así que aumentamos a visibilidade da auga. de maneira que se semellase á realidade. Porque ó final, non tratamos de recrear o mundo real de maneira científica, senón un mundo crible, no que a audiencia se poida somerxer para experimentar a historia
We use science to create something wonderful. We use story and artistic touch to get us to a place of wonder. This guy, WALL-E, is a great example of that. He finds beauty in the simplest things. But when he came in to lighting, we knew we had a big problem. We got so geeked-out on making WALL-E this convincing robot, that we made his binoculars practically optically perfect.
Empregamos a ciencia para crear algo marabilloso. Usamos historia e un toque artístico para chegar a este lugar marabilloso. Este rapaz, WALL-E, é un exemplo xenial disto. Atopa a beleza nas cousas máis sinxelas. Pero no tema de iluminación sabiamos que tiñamos un problema. Obsesionámonos tanto en facer que WALL-E fose un robot convincente, que fixemos os seus prismáticos opticamente case perfectos.
(Laughter)
(Risas)
His binoculars are one of the most critical acting devices he has. He doesn't have a face or even traditional dialogue, for that matter. So the animators were heavily dependent on the binoculars to sell his acting and emotions.
Os seus prismáticos son un dos utensilios máis críticos que posúe. Non ten sequera unha cara ou un diálogo tradicional. Así que os animadores dependían moito dos prismáticos para amosar os seus actos e emocións.
We started lighting and we realized the triple lenses inside his binoculars were a mess of reflections. He was starting to look glassy-eyed.
Comezamos a iluminar e decatámonos de que os triples lentes nos prismáticos serían un caos de reflexións. Parecía que tiña ollos de cristal.
(Laughter)
(Risas)
Now, glassy-eyed is a fundamentally awful thing when you are trying to convince an audience that a robot has a personality and he's capable of falling in love. So we went to work on these optically perfect binoculars, trying to find a solution that would maintain his true robot materials but solve this reflection problem.
Entón, os ollos de cristal son algo horrible se tratas de convencer a unha audiencia de que un robot ten personalidade e de que pode namorarse. Así que nos puxemos a traballar nestes prismáticos opticamente perfectos, tratando de atopar unha solución que mantivera o seu material robot mais solucionando as reflexións.
So we started with the lenses. Here's the flat-front lens, we have a concave lens and a convex lens. And here you see all three together, showing us all these reflections. We tried turning them down, we tried blocking them, nothing was working. You can see here, sometimes we needed something specific reflected in his eyes -- usually Eve. So we couldn't just use some faked abstract image on the lenses. So here we have Eve on the first lens, we put Eve on the second lens, it's not working. We turn it down, it's still not working.
Así que comezamos cos lentes. Estes son os lentes frontais, lentes cóncavos e lentes convexos. E aquí podemos ver os tres xuntos, amosándonos estas reflexións. Tratamos de apagalas, tratamos de bloquealas, e nada funcionaba. Poden ver aquí que, ás veces precisabamos algo específico reflictido nos seus ollos. Normalmente a Eva. Así que non podiamos usar unha imaxe falsa nos lentes. Aquí temos a Eva no primeiro lente, poñemos a Eva no segundo lente, non funciona. Apagámolo, aínda non funciona.
And then we have our eureka moment. We add a light to WALL-E that accidentally leaks into his eyes. You can see it light up these gray aperture blades. Suddenly, those aperture blades are poking through that reflection the way nothing else has. Now we recognize WALL-E as having an eye. As humans we have the white of our eye, the colored iris and the black pupil. Now WALL-E has the black of an eye, the gray aperture blades and the black pupil. Suddenly, WALL-E feels like he has a soul, like there's a character with emotion inside. Later in the movie towards the end, WALL-E loses his personality, essentially going dead. This is the perfect time to bring back that glassy-eyed look. In the next scene, WALL-E comes back to life. We bring that light back to bring the aperture blades back, and he returns to that sweet, soulful robot we've come to love.
E entón temos o noso momento "Eureka". Engadimos unha luz a WALL-E que se filtra por accidente nos seus ollos. Podédela ver a traves dos fío de apertura gris De socato, estas aperturas expulsa esta reflexión O camiño non ten máis. Agora recoñecemos o ollo de WALL-E. Como humanos temos o branco dos ollos, o iris de cor e a pupila negra Agora WALL-E ten o negro do ollo, as aperturas grises e a pupila negra. De socato, parece que WALL-E ten alma, como se fose un personaxe con emocións dentro. Máis adiante na película, cara a fin, WALL-E perde a personalidade, esencialmente morrendo. Este é o momento para traer a mirada de cristal. Na seguinte escena, WALL-E volve á vida. Traemos esa luz de novo para abrir as aperturas, e volta a ese doce e conmovedor robot que quixemos.
(Video) WALL-E: Eva?
(Vídeo) WALL.E: Eva?
Danielle Feinberg: There's a beauty in these unexpected moments -- when you find the key to unlocking a robot's soul, the moment when you discover what you want to do with your life. The jellyfish in "Finding Nemo" was one of those moments for me.
Hai unha beleza nestes momentos inesperados, cando atopas a chave para desbloquear a alma dun robot, o momento no que descobres o que queres facer coa túa vida. A medusa en "Buscando a nemo" foi un deses momentos.
There are scenes in every movie that struggle to come together. This was one of those scenes. The director had a vision for this scene based on some wonderful footage of jellyfish in the South Pacific. As we went along, we were floundering. The reviews with the director turned from the normal look-and-feel conversation into more and more questions about numbers and percentages. Maybe because unlike normal, we were basing it on something in real life, or maybe just because we had lost our way. But it had become about using our brain without our eyes, the science without the art. That scientific tether was strangling the scene.
Hai escenas en cada película que loitan por xuntarse. Esta era unha desas escenas. O director tiña unha visión desta escena basada nalgún documental de medusas no Pacífico Sur. A medida que avanzamos iamos a pique. As revisións do director voltáronse de conversacións normais en máis e máis preguntas sobre números e porcentaxes. Quizáis porque rara vez, o estabamos a basar nalgo da vida real, ou quizáis só porque perderamos o rumbo. Pero volveuse en ter que usar o noso cerebro sen os nosos ollos, a ciencia sen a arte. Esa unión científica desordenaba a escena.
But even through all the frustrations, I still believed it could be beautiful. So when it came in to lighting, I dug in. As I worked to balance the blues and the pinks, the caustics dancing on the jellyfish bells, the undulating fog beams, something promising began to appear. I came in one morning and checked the previous night's work. And I got excited. And then I showed it to the lighting director and she got excited. Soon, I was showing to the director in a dark room full of 50 people.
Pero a pesar das frustracións, Aínda cría que podía ser bonito. Así que cando tiña que iluminar, atacaba. A medida que equilibraba os azuis e rosas, o baile cáustico dos ventres das medusas, os bancos de néboa ondulantes, algo prometedor comezou a aparecer. Unha mañá, comprobei o traballo da noite anterior. Púxenme moi leda. Despois amoseillo á directora de iluminación e ela púxose leda. Pronto, amoseillo á directora nunha sala escura con 50 persoas.
In director review, you hope you might get some nice words, then you get some notes and fixes, generally. And then, hopefully, you get a final, signaling to move on to the next stage. I gave my intro, and I played the jellyfish scene. And the director was silent for an uncomfortably long amount of time. Just long enough for me to think, "Oh no, this is doomed." And then he started clapping. And then the production designer started clapping. And then the whole room was clapping. This is the moment that I live for in lighting. The moment where it all comes together and we get a world that we can believe in.
Na revisión da directora, esperas escoitar boas palabras, e despois obtés algunhas anotacións e arranxos, polo xeral. E despois, con sorte, unha conclusión, sinalando que pases á seguinte etapa. Fixen a miña introdución, e puxen a escena das medusas. E o director gardou silencio por un incomodamente longo tempo. Suficientemente longo para facerme pensar, "Non, está condenado ó fracaso." E entón comezou a aplaudir. E o deseñador de produción aplaudiu. E entón toda a habitación aplaudiu. Este é o momento para o que vivín en iluminación. O momento no que todo se xunta e conseguimos un mundo no que podemos crer.
We use math, science and code to create these amazing worlds. We use storytelling and art to bring them to life. It's this interweaving of art and science that elevates the world to a place of wonder, a place with soul, a place we can believe in, a place where the things you imagine can become real -- and a world where a girl suddenly realizes not only is she a scientist, but also an artist.
Usamos as mates, ciencia e codificación para crear estes mundos incríbles. Usamos historias e arte para traelas á vida. É o cruce da arte e a ciencia que eleva ó mundo, a un lugar de maravillas. un lugar con alma, un lugar no que podemos crer, un lugar no que as cousas que imaxinas se volven reais. e un mundo no que unha nena se decata de que non só é unha científica, senón tamén unha artista.
Thank you.
Grazas.
(Applause)
(Aplausos)