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!"
我7歲的時候, 有位好心的大人問我, 我長大後要當甚麼? 我驕傲地說: 「我要當一位藝術家」。 他說:「不,你不可以」, 「當藝術家賺不了錢的!」
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.
我7歲的小小畢加索夢想 就這樣被破滅了。 但我打起精神, 前往尋找另一個新的夢想, 最後確定想當一位科學家, 看會不會成為 下一個愛因斯坦。
(Laughter)
(笑聲)
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.
我一直很喜歡數學及科學, 長大後,喜歡寫程式。 所以我決定要在大學裡 研究電腦程式設計。 在我大三的時候, 我的電腦繪圖教授,展示了一段 很棒的短片給我們看。 它是第一部電腦動畫, 我們以前都沒見過。 我看著這些影片,發呆驚訝, 我的腦袋裡開始顫放煙火, 並想著,「這就是我這一生 一直想做的事啊!」 所有我學到的數學、 科學、程式語言設計 終於可以整合在一起 來創造這些世界與人物, 以及與我相連結的故事, 這對我來說, 簡直是太棒了。
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.
兩年後,我開始在 這些影片的製作公司工作, 「皮克斯動畫工作室」。 在那裏我學會了如何真正地 執行製作這些影片。 為了創作出我們的電影, 我們在電腦裡面, 創造了一個3D世界。 我們從一個點,連成了線, 把線連成了一個面, 從角色製作、 到樹、石頭,最後變成了森林。 因為它是3D的世界, 我們可以在裡面任意 移動我們的攝影機。 我被這一切深深吸引了。 之後我第一次嘗試到 「打光」的樂趣,
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.
「打光」在實務上,就是把燈 設置到這個3D的世界。 我實際上在這裡面 到處都有移動的光標。 你可以在這裡看到, 我已經加了一個燈, 我打開了軟體裡面 粗糙版本的光, 打開陰影效果, 放置了燈光。 當我打光上去後, 我就要想,它在真實 世界裡會如何呈現 , 並同時要兼顧到美學 及故事的需要。 所以,它一開始也許是長這樣, 但當我們這邊調整一下, 那邊移動一下, 工作幾個禮拜後, 初步的版本也許就像這樣, 最後的版本就會是這樣。
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.
就是這種打光的時刻, 讓我深深地愛上了它。 我們會從這樣的狀況, 變成這樣的狀況。 當這些瑣碎的片段 結合在一起的時刻, 整個世界就好像活躍了起來, 彷彿是一個實際存在的地方。 這種感動的時刻 永遠不會老去, 尤其對一個七歲就想當一位 藝術家的小女生來說。
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.
在學習燈光照明的歷程, 我學會了用光來 協助故事的描述, 用光來設定一天的時間、 用光創造出情緒、 用光來引導觀眾的視線、 學會了如何使一個角色 看起來更動人 或在一個繁忙的場景裡 凸顯他的存在。
Did you see WALL-E?
各位有看到瓦力嗎?
(Laughter)
(笑聲)
There he is.
他在這裡。
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.
就如各位所看到的, 我們可以在電腦裡面, 創造出我們想要的世界。 我們可以創造出怪物的世界、 陷入愛河的機器人, 我們甚至會讓豬飛起來。
(Laughter)
(笑聲)
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.
這個美崙美奐的東西, 這個不受拘束的藝術自由, 它會創造出混亂、 它會創造出難以置信的世界、 難以置信的變化、 一些會讓觀眾不安的東西。
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?
所以為了解決這些事情, 我們用科學約束我們自己。 我們利用所知的科學 及世界作為我們的骨幹, 來為我們自己的作品打下 深入人心及具有辨識性的基礎。 「海底總動員」 就是一個很好的例子。 電影大部分的場景都在水底下。 但你要如何讓它 看起來是在水底下?
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.
在早期的研究與發展中, 我們會拿出一段水底下的連續鏡頭影片, 並把該場景從電腦裡面重製出來。 我們會把它拆解開來, 看看水底下的場景 是由那些元素所構成。 其中一個最關鍵的元素就是: 「光線」是如何在水中運行穿越的。 所以,我們程式設計出一個 可以模擬這種物理現象的光源—— 首先是水的能見度, 再來是顏色發生了甚麼變化。 靠近我們眼睛的物體 較具有完整豐富的色彩。 隨著光線穿越到水裡深處時, 紅色波長的光會逐漸消失, 然後是綠色波長的光, 最後最深處的地方, 只剩下藍色波長的光。
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.
在這段影片中,你可以看到 另外兩個重要的元素。 第一個是水波紋的呈現, 或者是水底下看不到的暗流, 這些暗流會推動 附近水域的微粒子。 第二個是「焦散面」。 由這些光線散焦後 所形成的帶子, 像是各位在水池底下 所看到的「光帶」, 也就是陽光穿過海面上的 漣漪和波浪時所產生的折射現象。 這個是「霧的光束」, 這些線索不僅讓我們了解 顏色與深度的關係, 也告訴了我們哪個方向是上方, 尤其是當你看不到水面時。 另一件很酷的事情就是, 我們會把在 「散焦面的微粒子」點亮, 讓它在「光帶」中進進出出, 它就會呈現 忽隱忽現的現象, 增添了水底下那種 微妙神奇的晶瑩剔透感。
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.
你可以看到我們如何使用科學—— 水的物理現象、照明、波動—— 緊密地與藝術的自由相連結。 但我們不因此而感到開心。 我們考慮到這些元素彼此間 在科學上的準確度, 及哪些我們可以移動, 以符合故事情節與角色情緒的需要。
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.
我們在早期就意識到, 顏色是一個我們可以發揮的地方。 這裡是一個用原始方式 上色的水下場景。 但這裡,我們可以用 雪梨港底下的綠色水景, 來呈現悲傷事情發生的情境。 在這個場景裡,我們了解到 深入水底去看是非常重要的, 這讓我們了解到了 澳洲東部的洋流是長甚麼樣子, 這些海龜潛到洋流後, 像是在搭雲霄飛車一樣。 所以我們把水的能見度, 推進到一個你在真實世界裡 從未見過的極致狀態。 因為最後, 我們並不是要嘗試重現 科學正確的真實世界, 我們是要嘗試創造出 一種令人信服的世界, 一個可以讓觀眾將他們自己 融入到體驗故事的世界。
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.
我們用科學讓一些東西變得完美。 我們利用故事和對藝術的感動 將我們帶到一個美麗的世界。 這傢伙,瓦力,就是一個很好的例子。 他在最簡單的事物裡,發現了「美」。 但是當他要開始照明的時候, 我們發現了一個大問題。 我們發瘋似地在製作 這部很有說服力的瓦力機器人, 我們把他的雙筒望遠鏡 做的堪稱是光學上的完美作品。
(Laughter)
(笑聲)
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.
他的雙筒望遠鏡是他所擁有 最重要的行為裝置之一。 他沒有臉,甚至沒有傳統上的 對話模式來呈現他的情緒, 所以動畫家們相當 依賴這個望遠鏡 來展現瓦力的行為和情緒。
We started lighting and we realized the triple lenses inside his binoculars were a mess of reflections. He was starting to look glassy-eyed.
我們開始照明後, 然後我們意識到, 在他望遠鏡裡面的3個鏡片 造成了反射上的混亂。 他看起來有點眼神呆滯。
(Laughter)
(笑聲)
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.
呆滯的眼神基本上 沒甚麼說服力, 尤其是,當你嘗試要 說服觀眾相信 那個機器人有自己的個性且 有能力可以陷入愛河時。 所以我們在望遠鏡上 下了很多光學上的功夫。 試著去找到一個可以維持 他真實機器人的性質 但同時又可以解決 反射問題的方法。
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.
所以我們從鏡片上下手。 這是一個平面鏡, 我們有一個凹面鏡 和一個凸面鏡。 你們可以看到當它們三個放在一起時, 向我們展示了所有的反射狀況。 我們試著關掉它們, 我們試著鎖住它們, 但都起不了作用。 在這裡各位可以看到, 有時候我們需要一些具體的 東西反射在他的眼睛裡—— 特別是「伊芙」。 所以我們不能在鏡片裡用一些 虛假的抽象圖象。 這裡「伊芙」出現在第一個鏡片上, 我們把「伊芙」放在第二個鏡片上, 都沒有用。 我們把它關掉, 還是沒有用。
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.
然後我們有了驚喜的發現。 我們把燈光打到瓦力身上時, 燈光意外地從他的眼睛滲透了進去。 你可以看到它照亮了 這些灰色的光圈片。 突然間,這些光圈片把 反射給透視出來了, 這是從來沒有的現象。 現在我們認定瓦力有了眼睛。 就如同我們人類的白眼球、 彩色的虹膜、 以及黑色的瞳孔。 現在瓦力有黑色的眼睛、 灰色的光圈片 和黑色的瞳孔 突然間,瓦力感覺 有了他自己的靈魂, 像是在他身體裡面有了一個 充滿了情緒的角色。 之後在電影結束之前, 瓦力失去了他的個性, 基本上已經算是死去了。 接下來就是把呆滯眼神 帶回這個場景的最佳時刻。 在下一個場景裡, 瓦力重新活了過來。 我們把光線重新帶回到光圈片裡, 他就變回了那個我們既喜愛又 甜美、有靈魂的機器人了。
(Video) WALL-E: Eva?
(影片)瓦力:依芙?
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.
丹妮爾范伯格:這些令人 意想不到的感動時刻有一種美—— 當你找到那把 釋放機器人靈魂的鎖、 當你發掘在你生命中 想要做什麼的時刻。 在「海底總動員裡」的水母, 也是其中一個令我感動的時刻。
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.
每部電影裡,多少都有一些 場景是很難產出的。 其中一個場景就是這個。 導演對這個場景有一個憧憬, 這個場景是以一些美麗的南太平洋水母 的連續鏡頭影片為基礎的。 隨著我們工作開展開來, 我們開始慌張了。 導演的評論 從平常「觀看-感覺」的對話 轉變到對我們數字及比例上 越來越多的質疑。 也許因為這些場景 不是正常的場景, 我們當時是以真實生活中的 一些東西來做場景的架構的, 也有可能是因為我們找不到方法。 但這已經變成是用腦而不是用眼睛, 用科學而不是用藝術來看這件事了。 科學限制了場景的呈現方式。
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.
但即使碰到了這麼多的挫折, 我仍相信一定有辦法把它變漂亮。 所以當提及燈光照明的時候, 我就全力以赴了。 在我做藍色與粉色的平衡時, 那些在水母頭上跳舞的「焦散面」、 波浪狀的霧狀光束, 好像有甚麼好東西 開始要呈現出來了。 有一天早上,我進來 檢查前一晚的工作。 我相當興奮。 然後我把它拿給燈光導演看, 她也很興奮。 很快的,我在一個有50個人的暗房, 把它展示給導演看。
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.
在等待導演評論的這段時間, 你會很希望可以得到一些好的字詞, 通常你會把它註記下來, 然後再做些修正。 之後,希望可以得到最後的指示, 來進入到下一個階段。 我簡短做了介紹, 然後開始播放水母的場景。 導演沉默了一段很長 令人快要窒息的時間。 長到讓我開始想... 「喔,不!完蛋了!」 然後他開始鼓掌。 產品設計師也開始鼓掌。 然後整間的同事開始鼓掌。 這就是我以燈光照明 為生的重要時刻。 在這個時候所有的東西聚合在一起, 我們擁有了一個 我們相信的世界。
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.
我們用數學、科學、程式設計, 來創造這些驚奇的世界。 我們用說故事和藝術的方式, 使它們活了起來。 這個藝術與科學交織的時刻, 把世界引領到一個美麗的地方、 一個充滿靈魂的地方, 一個我們信仰的地方, 一個你想像就能成真的地方—— 一個讓那個小女孩突然意識到, 她不僅是個科學家, 也是一位藝術家的世界。
Thank you.
謝謝各位!
(Applause)
(掌聲)