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!"
Kada mi je bilo sedam godina, jedna dobronamerna odrasla osoba me je pitala šta želim biti kad odrastem. Ponosno sam rekla: "Umetnica." "Ne, ne želiš", rekao je, "Ne možeš da zarađuješ za život kao umetnica!"
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.
Srušio je moje pikasovske snove sedmogodišnjakinje. No, sabrala sam se, otišla da potražim novi san, na kraju ću se skrasiti kao naučnica, možda nešto poput budućeg Alberta Ajnštajna.
(Laughter)
(Smeh)
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.
Oduvek sam volela matematiku i nauku, kasnije kodiranje. Pa sam odlučila da studiram kompjutersko programiranje. Na prvoj godini, profesor kompjuterske grafike nam je pokazao ove divne kratke filmove. Bila je to prva kompjuterska animacija koju je bilo ko od nas video. Posmatrala sam ove filmove očarana, zapanjena, u glavi mi je varničilo, misleći: "Ovim bih želela da se bavim u životu." Zamisao da sva matematika, nauka i kodovi koje sam učila mogu da se spoje i tvore ove svetove i likove i priče u kojima se pronalazim, činilo mi se kao čista čarolija.
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.
Samo dve godine potom, zaposlila sam se tamo gde su pravili te filmove, u Piksarovom studiju za animaciju. Tu sam naučila kako zapravo pravimo te filmove. Da bismo ih napravili, stvaramo trodimenzionalne svetove unutar kompjutera. Počinjemo tačkom, od koje nastaje linija, od koje nastaje lice koje sačinjava likove, ili drveće i stene koji vremenom postaju šuma. I zato što je to trodimenzionalan svet, možemo se kretati kamerom uokolo unutar tog sveta. Sve to me je fasciniralo. Ali onda sam se okušala u rasveti.
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.
Rasveta je u praksi stavljanje svetla unutar trodimenzionalnog sveta. Zapravo imam ikone svetala koje unutra pokrećem. Ovde vidite da sam dodala svetlo. Prebacujem na grubu verziju rasvete u našem softveru, uključujem senke i postavljam svetlo. Kako postavljam svetlo, razmišljam kako bi moglo da izgleda u stvarnosti, ali to uravnotežujem sa onim što nam treba umetnički i za priču. Pa, na početku to može da izgleda ovako, ali kako podešavam ovo i pomeram to, tokom nedelja rada, gruba verzija može da izgleda ovako, a konačna verzija - ovako.
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.
Postoji taj tren u rasveti zbog koga sam se krajnje zaljubila u nju. To je kad ovo postane ovo. To je tren u kom se sve kockice slože, i svet iznenada oživi, kao da se radi o stvarnom mestu. Ovaj tren nikad ne zastareva, naročito za tu sedmogodišnjakinju koja je želela da bude umetnica.
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.
Dok sam učila o rasveti, naučila sam kako svetlo pomaže u pričanju priče, kako podešava vreme radnje, kako stvara raspoloženje, kako vodi pogled gledalaca, kako čini likove privlačnijim ili ih ističe unutar natrpanog kadra.
Did you see WALL-E?
Da li ste gledali Volija?
(Laughter)
(Smeh)
There he is.
Ovo je on.
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.
Kao što vidite, možemo da stvorimo svet koji poželimo unutar kompjutera. Možemo da napravimo svet s čudovištima, robotima koji se zaljubljuju, možemo čak da napravimo leteću prasad.
(Laughter)
(Smeh)
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.
Iako je ovo nešto neverovatno, ova neobuzdana umetnička sloboda može da stvori haos. Može da svori neuverljive svetove, neuverljive pokrete, nešto što publici bode oči.
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?
Kako bismo se izborili s tim, obuzdavamo se naukom. Koristimo nauku i svet koji znamo kao kičmu, da bismo imali uporište u nečem s čim se poistovećujemo i što prepoznajemo. "Potraga za Nemom" je odličan primer ovoga. Veći deo filma se dešava pod vodom. Ali kako da postignete podvodni izgled?
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.
Rano tokom istraživanja i razvoja, uzeli smo isečak podvodnog snimka i nanovo ga stvorili u kompjuteru. Onda smo ga razložili, kako bi videli koji elementi čine taj podvodni izgled. Jedan od ključnih elemenata je bilo to kako svetlost putuje kroz vodu. Pa smo kodirali svetlost koja podražava fiziku - pre svega vidljivost vode, a potom šta se dešava s bojom. Objekti bliži oku, imaju punu, bogatu boju. Kako svetlost putuje dublje kroz vodu, gubimo crvene talasne dužine, potom zelene talasne dužine, ostavljajući nas s plavom u velikim dubinama.
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.
U ovom isečku možete da vidite još dva značajna elementa. Prvo imamo uzburkanost i talasanje, iliti nevidljive podvodne struje, koje pokreću sitne čestice po vodi. Potom imamo kaustičnost. Ovo su svetlosne trake, koje možete da vidite na dnu bazena, a nastaju kad se sunčeva svetlost prelama kroz nabore mreškanja i talasa na površini okeana. Ovde imamo snopove magle. Oni nam daju dublje nijanse boja, ali nam takođe saopštavaju šta je gore, na snimcima gde ne vidimo površinu vode. Druga zaista sjajna stvar koju ovde vidite je da smo jedino kaustično, osvetlili te čestice, pa kako ulaze i izlaze iz tih snopova svetlosti, one se pojavljuju i nestaju, dajući suptilan, čaroban sjaj podvodnom svetu.
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.
Možete da vidite kako koristimo nauku - fiziku vode, svetla i pokreta - kako bi obuzdali umetničku slobodu. Ali nismo obavezani time. Razmatrali smo sve te elemente, kao i to koji od njih moraju da budu naučno tačni, a koje možemo da prekrajamo kako bi se uklopili u ton priče.
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.
Rano smo shvatili da je boja ta koja nam daje određenu slobodu. Pa, ovde imamo tradicionalno obojenu podvodnu scenu. Ali možemo da uzmemo Sidnejsku luku i da je obojimo u zeleno kako bi išla uz tužni ton onoga što se zbiva. U ovoj sceni, veoma je važno da vidimo duboko pod vodom, kako bismo razumeli šta je Istočnoaustralijska struja, u koju kornjače zaranjaju i upuštaju se u vožnju rolerkosterom. Pa smo pojačali vidljivost pod vodom, daleko mimo bilo čega što biste videli u stvarnosti. Jer naposletku, ne pokušavamo da nanovo stvorimo naučno tačan stvaran svet, pokušavamo da stvorimo uverljiv svet, koji dozvoljava publici da se udubi u iskustvo priče.
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.
Koristimo nauku da bi stvorili nešto čarobno. Koristimo priču i umetnički dodir da bi stigli do mesta čarolije. Ovaj momak, Voli, sjajan je primer za to. On otkriva lepotu u najjednostavnijim stvarima. No kad je stigao do rasvete, znali smo da imamo veliki problem. Toliko smo štrebali da bi stvorili Volija kao uverljivog robota, da smo mu napravili optički praktično savršen dvogled.
(Laughter)
(Smeh)
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.
Njegov dvogled je najkrucijalnije glumačko sredstvo koje poseduje. Nema lice, pa čak ni tradicionalni dijalog, ako hoćete. Pa su animatori uveliko zavisili od dvogleda, kako bi prikazali glumu i emocije.
We started lighting and we realized the triple lenses inside his binoculars were a mess of reflections. He was starting to look glassy-eyed.
Počeli smo sa rasvetom i shvatili da trostruka sočiva u njegovom dvogledu uzrokuju haotične odraze. Pogled mu je počeo da izgleda staklasto.
(Laughter)
(Smeh)
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.
Sad, staklasti pogled je u osnovi nešto grozno kad pokušavate da ubedite publiku da robot ima ličnost i da je u stanju da se zaljubi. Pa smo se bacili na rad na ovom optički savršenom dvogledu, pokušavajući da nađemo rešenje koje bi očuvalo autentične robotske materijale, ali bi rešilo ovaj problem s odrazima.
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.
Pa smo krenuli od sočiva. Ovo je ravno prednje sočivo, imamo konkavno sočivo i konveksno sočivo. A ovde vidite sva tri zajedno, kako nam pokazuju sve te odraze. Pokušali smo da ih isključimo, pokušali smo da ih blokiramo, ništa nije odgovaralo. Možete ovde da vidite da nam je bio potreban odraz nečeg posebnog u njegovim očima - obično Eve. Pa nismo mogli da koristimo nekakvu lažnu apstraktnu sliku na sočivima. Ovde imamo Evu na prvom sočivu, stavljamo Evu na drugo sočivo, ne odgovara. Isključimo ga, i dalje ne odgovara.
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.
I tad smo imali eureka momenat. Dodali smo svetlo koje nehotično curi u Volijeve oči. Vidite kako osvetljava ove sive obode blende. Iznenada ti obodi blende štrče kroz taj odraz više od bilo čega drugog. Sad prepoznajemo oko kod Volija. Ljudi imaju beonjače, obojenu dužicu i crnu zenicu. Sad Voli ima crnu beonjaču, sive obode blende i crne zenice. Iznenada se čini da Voli ima dušu, kao da imamo lik sa unutrašnjim osećanjima. Kasnije u filmu, pred kraj, Voli gubi ličnost, u suštini umire. Ovo je savršen momenat da vratim taj staklasti pogled. U sledećoj sceni Voli oživljava. Vraćamo tu svetlost kako bi vratili obode blende i on postaje opet taj dragi, osetljivi robot koga smo zavoleli.
(Video) WALL-E: Eva?
(Snimak) Voli: 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.
Danijela Fejnberg: Lepota je u ovim neočekivanim trenucima - kad pronađete ključ da oslobodite dušu robota, momenat kad otkrijete čime želite da se bavite u životu. Meduze iz "Potrage za Nemom" su bile jedan od tih momenata za mene.
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.
Svaki film ima scene koje se teško uklapaju. Ovo je bila jedna od tih scena. Reditelj je imao zamisao ove scene, zasnovanu na divnom snimku meduza u Južnom Pacifiku. Kako smo se vodili time, zapinjali smo. Recenzije s rediteljem su prešle iz normalnih razgovora o izgledu i osećaju u sve više i više pitanja o brojkama i procentima. Možda jer smo nasuprot uobičajenom, zasnivali to na nečemu stvarnom ili smo prosto zalutali. Ali svelo se na to da smo koristili mozgove bez očiju, nauku bez umetnosti. Ta naučna spona je davila scenu.
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.
No čak i kroz sve to nerviranje, i dalje sam verovala da može da bude lepo. Pa kad smo stigli do rasvete. Bacila sam se na to. Dok sam ujednačavala plavu i rozu boju, kaustični ples na stomacima meduza, talasaste snopove magle, nešto obećavajuće je počelo da izranja. Došla sam jednog jutra da proverim rad od prošle noći. I bila sam uzbuđena. A potom sam to pokazala direktorki rasvete i ona je bila uzbuđena. Uskoro sam to prikazivala reditelju u mračnoj prostoriji s 50 ljudi.
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.
U rediteljevoj recenziji se nadate da ćete videti lepe reči, a potom uopšteno dobijete neke beleške i ispravke. A potom se nadate da ćete dobiti konačno znak da pređete na sledeću fazu. Izložila sam uvodni govor i pustila scenu s meduzama. A reditelj je ćutao neprijatno dugo vremena. Taman toliko da pomislim: "O ne, ovo je propast." A onda je počeo da aplaudira. Potom je dizajner produkcije počeo da aplaudira. I zatim su svi u prostoriji aplaudirali. Za ovaj trenutak u rasveti živim. Trenutak kad se sve uklopi i kad dobijemo svet u koji možemo da poverujemo.
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.
Koristimo matematiku, nauku i kôd da bismo stvorili ove čudesne svetove. Koristimo pripovedanje i umetnost da ih oživimo. Ovo preplitanje umetnosti i nauke, uzvisuje svet do čarobnog mesta, do mesta sa dušom, mesta u koje možemo da poverujemo, mesta gde stvari koje zamišljate mogu da se ostvare - i do sveta u kom devojka iznenada shvati, da nije samo naučnica, već je i umetnica.
Thank you.
Hvala vam.
(Applause)
(Aplauz)