What if I could present you a story that you would remember with your entire body and not just with your mind? My whole life as a journalist, I've really been compelled to try to make stories that can make a difference and maybe inspire people to care. I've worked in print. I've worked in documentary. I've worked in broadcast. But it really wasn't until I got involved with virtual reality that I started seeing these really intense, authentic reactions from people that really blew my mind.
Što kad bi vam mogla predstaviti priču koju biste zapamtili cijelim tijelom a ne samo svojim umom? Cijeloga života kao novinarka, morala sam pisati priče koje čine razliku i možda nadahnuti ljude da mare. Radila sam u tiskari. Radila sam na dokumentarcima. Radila sam na prijenosu. No, sve dok se nisam počela baviti virtualnom stvarnošću nisam vidjela zaista intenzivne autentične reakcije ljudi koje su me zapanjile.
So the deal is that with VR, virtual reality, I can put you on scene in the middle of the story. By putting on these goggles that track wherever you look, you get this whole-body sensation, like you're actually, like, there. So five years ago was about when I really began to push the envelope with using virtual reality and journalism together. And I wanted to do a piece about hunger. Families in America are going hungry, food banks are overwhelmed, and they're often running out of food. Now, I knew I couldn't make people feel hungry, but maybe I could figure out a way to get them to feel something physical.
Stvar je što vas VR, virtualna stvarnost, može staviti na poprište događanja u središte priče. Stavljanjem naočala koje prate gdje god pogledate, cijelim tijelom vas prožme osjećaj kao da ste zaista ondje. Prije pet godina sam zaista počela pomicati granice mogućeg koristeći virtualnu stvarnost i novinarstvo zajedno. Željela sam raditi na priči o gladi. Obitelji u Americi gladuju, banke hrane su prezaposlene, i često ostanu bez hrane. Znala sam da ne mogu ljude učiniti gladnima, no možda mogu smisliti način da osjećaju nešto fizički.
So -- again, this is five years ago -- so doing journalism and virtual reality together was considered a worse-than-half-baked idea, and I had no funding. Believe me, I had a lot of colleagues laughing at me. And I did, though, have a really great intern, a woman named Michaela Kobsa-Mark. And together we went out to food banks and started recording audio and photographs. Until one day she came back to my office and she was bawling, she was just crying. She had been on scene at a long line, where the woman running the line was feeling extremely overwhelmed, and she was screaming, "There's too many people! There's too many people!" And this man with diabetes doesn't get food in time, his blood sugar drops too low, and he collapses into a coma. As soon as I heard that audio, I knew that this would be the kind of evocative piece that could really describe what was going on at food banks.
Tako da -- ovo je bilo prije pet godina -- kombiniranje novinarstva i virtualne stvarnosti se smatralo gorim nego polusmišljena ideja, i nisam imala financiranje. Vjerujte mi, mnoštvo kolega mi se smijalo. Iako sam imala stvarno odličnog stažista, ženu imena Michaela Kobsa-Mark. I zajedno smo otišli do banaka hrane i počeli snimati zvuk i fotografije. Dok jednog dana nije došla do mog ureda i derala se, plakala je. Bila je u dugačkom redu, gdje je žena koja vodi red bila ekstremno preplavljena, i vikala je, "Ima previše ljudi! Ima previše ljudi!" I jedan čovjek sa dijabetesom ne dobije hranu na vrijeme, šećer mu padne prenisko, i padne u komu. Čim sam čula taj snimak, znala sam da će biti snažan komad koji zaista može opisati što se događa u tim bankama hrane.
So here's the real line. You can see how long it was, right? And again, as I said, we didn't have very much funding, so I had to reproduce it with virtual humans that were donated, and people begged and borrowed favors to help me create the models and make things as accurate as we could. And then we tried to convey what happened that day with as much as accuracy as is possible.
Evo stvarnog reda. Možete vidjeti koliko je dugačak bio, jel? I opet, kao što sam rekla, nismo imali financiranje, tako da sam morala reproducirati virtualne ljude koji su nam poklonjeni, a ljudi su preklinjali i posuđivali da bi mi pomogli stvoriti modele i da bi stvari bile što točnije. A onda smo pokušali prenijeti što se dogodilo taj dan sa što većom točnošću mogućom.
(Video) Voice: There's too many people! There's too many people!
(Video) Glas: Ima previše ljudi! Ima previše ljudi!
Voice: OK, he's having a seizure.
Glas: OK, on ima napad.
Voice: We need an ambulance.
Glas: Trebamo hitnu pomoć.
Nonny de la Peña: So the man on the right, for him, he's walking around the body. For him, he's in the room with that body. Like, that guy is at his feet. And even though, through his peripheral vision, he can see that he's in this lab space, he should be able to see that he's not actually on the street, but he feels like he's there with those people. He's very cautious not to step on this guy who isn't really there, right?
Nonny de la Peña: Tako da je čovjek desno, za njega, on se kreće oko tijela. Njemu se čini da je u prostoriji s tijelom. Kao da mu je pored stopala. Iako putem perifernog vida, može vidjeti da je u laboratoriju, može vidjeti da nije zaista na ulici, no ipak se osjeća kao da je tamo sa tim ljudima. Vrlo je oprezan da ne stane na tog čovjeka koji nije zaista ondje, zar ne?
So that piece ended up going to Sundance in 2012, a kind of amazing thing, and it was the first virtual reality film ever, basically. And when we went, I was really terrified. I didn't really know how people were going to react and what was going to happen. And we showed up with this duct-taped pair of goggles.
Ovaj komad je završio na Sundance festivalu 2012. godine, nevjerojatna stvar, ovo je prvi film koji koristi virtualnu stvarnost ikad. Kada smo otišli, bila sam prestravljena. Nisam znala kako će ljudi reagirati i što će se dogoditi. A pojavili smo se sa samoljepljivim parom naočala.
(Video) Oh, you're crying. You're crying. Gina, you're crying.
(Video) Oh, ti plačeš. Plačeš. Gina, ti plačeš.
So you can hear the surprise in my voice, right? And this kind of reaction ended up being the kind of reaction we saw over and over and over: people down on the ground trying to comfort the seizure victim, trying to whisper something into his ear or in some way help, even though they couldn't. And I had a lot of people come out of that piece saying, "Oh my God, I was so frustrated. I couldn't help the guy," and take that back into their lives.
Možete čuti iznenađenje u mom glasu, zar ne? A ova reakcija je ona koju smo vidjeli opet i opet i opet: ljudi na zemlji pokušavaju utješiti žrtvu napada, pokušavaju šaptati nešto u njegovo uho ili pomoći na neki način, iako ne mogu. Mnogo ljudi je na izlasku govorilo, "O moj Bože, bio sam toliko frustriran. Nisam mogao pomoći tipu," i ponijelo to sa sobom u svakodnevne živote.
So after this piece was made, the dean of the cinema school at USC, the University of Southern California, brought in the head of the World Economic Forum to try "Hunger," and he took off the goggles, and he commissioned a piece about Syria on the spot. And I really wanted to do something about Syrian refugee kids, because children have been the worst affected by the Syrian civil war. I sent a team to the border of Iraq to record material at refugee camps, basically an area I wouldn't send a team now, as that's where ISIS is really operating. And then we also recreated a street scene in which a young girl is singing and a bomb goes off. Now, when you're in the middle of that scene and you hear those sounds, and you see the injured around you, it's an incredibly scary and real feeling. I've had individuals who have been involved in real bombings tell me that it evokes the same kind of fear.
Nakon što smo napravili ovaj film, dekan filmske škole na USC-u, Sveučilište Južna Kalifornija, je doveo šefa Svjetskog ekonomskog foruma da pogleda "Glad", i kad je skinio naočale, naručio je film o Siriji istog trenutka. Željela sam naoraviti nešto za djecu izbjeglice iz Sirije, jer su djeca najviše pogođena sirijskim građanskim ratom. Poslala sam tim na granicu Iraka da snimi materijal u izbjegličkim kampovima, u područje gdje ne bih slala tim sada, jer ondje ISIS ima sjedište. Rekreirali smo scenu na ulici u kojoj mala djevojčica pjeva i bomba eksplodira. Kad ste u središtu takve scene i čujete te zvukove, i vidite ozlijeđene ljude oko sebe, nevjerojatno je strašno i stvarno. Pojedinci koji su iskusili stvarno bombardiranje su mi rekli da pobuđuje sličan osjećaj straha.
[The civil war in Syria may seem far away] [until you experience it yourself.]
[Građanski rat u Siriji se čini udaljen] [dok ga ne iskusite osobno.]
(Girl singing)
(Djevojčica pjeva)
(Explosion)
(Eksplozija)
[Project Syria] [A virtual reality experience]
[Projekt Sirija] [Iskustvo virtualne stvarnosti]
NP: We were then invited to take the piece to the Victoria and Albert Museum in London. And it wasn't advertised. And we were put in this tapestry room. There was no press about it, so anybody who happened to walk into the museum to visit it that day would see us with these crazy lights. You know, maybe they would want to see the old storytelling of the tapestries. They were confronted by our virtual reality cameras. But a lot of people tried it, and over a five-day run we ended up with 54 pages of guest book comments, and we were told by the curators there that they'd never seen such an outpouring. Things like, "It's so real," "Absolutely believable," or, of course, the one that I was excited about, "A real feeling as if you were in the middle of something that you normally see on the TV news."
NP: Onda su nas pozvali da donesemo film u Victoria i Albert muzej u Londonu. Nismo ga reklamirali. Stavili su nas u sobu s tapiserijama. Nije bilo vijesti o tome, tako da nas je svatko tko se našao u muzeju taj dan mogao vidjeti sa tim ludim svjetlima. Znate, možda su htjeli vidjeti staro pripovjedanje tapiserija. Ali su bili suočeni sa našim kamerama virtualne stvarnosti. No, mnogo ljudi ih je isprobalo i nakon pet dana smo imali 54 stranice komentara u knjizi posjetilaca, a tamošnji kustosi su nam rekli da nikad nisu vidjeli toliki priljev gostiju. Stvari kao, "Tako je stvarno," "Apsolutno uvjerljivo," ili, naravno, jedan koji me najviše uzbudio, "Stvarni osjećaj kao da ste usred nečega što najčešće vidite na TV-u u vijestima."
So, it works, right? This stuff works. And it doesn't really matter where you're from or what age you are -- it's really evocative.
Tako da radi, zar ne? Ova stvar radi. I nije bitno odakle ste ili koliko godina imate -- Zaista je moćno.
Now, don't get me wrong -- I'm not saying that when you're in a piece you forget that you're here. But it turns out we can feel like we're in two places at once. We can have what I call this duality of presence, and I think that's what allows me to tap into these feelings of empathy. Right?
Nemojte me krivo shvatiti -- ne govorim da dok ste tamo zaboravljate da ste ovdje. Ali ispada da se možemo osjećati kao da smo na dva mjesta odjednom. Možemo iskusiti ono što ja zovem dvojnost prisustva, i mislim da je to ono što mi omogućava da zagazimo u osjećaje empatije. Zar ne?
So that means, of course, that I have to be very cautious about creating these pieces. I have to really follow best journalistic practices and make sure that these powerful stories are built with integrity. If we don't capture the material ourselves, we have to be extremely exacting about figuring out the provenance and where did this stuff come from and is it authentic?
To znači, naravno, da moram biti veoma oprezna pri stvaranju ovih filmova. Moram stvarno pratiti najbolje novinarske vještine i osigurati da ove moćne priče budu stvorene s integritetom. Ako ne sami ne snimimo materijal, moramo biti ekstremno strogi pri saznavanju podrijetla i odakle su te stvari došle i jesu li autentične?
Let me give you an example. With this Trayvon Martin case, this is a guy, a kid, who was 17 years old and he bought soda and a candy at a store, and on his way home he was tracked by a neighborhood watchman named George Zimmerman who ended up shooting and killing him. To make that piece, we got the architectural drawings of the entire complex, and we rebuilt the entire scene inside and out, based on those drawings. All of the action is informed by the real 911 recorded calls to the police. And interestingly, we broke some news with this story. The forensic house that did the audio reconstruction, Primeau Productions, they say that they would testify that George Zimmerman, when he got out of the car, he cocked his gun before he went to give chase to Martin.
Dat ću vam primjer. Slučaj Trayvona Martina, ovo je tip, dečko, koji je imao 17 godina i kupio sok i slatkiš u trgovini, i na putu prema kući ga je pratio čuvar susjedstva imena George Zimmerman koji ga je naposljetku upucao i ubio. Da bi napravili ovaj film, nabavili smo arhitektonske crteže cijelog kompleksa, i ponovo sagradili cijelu scenu izvana i iznutra, na temelju tih crteža. Cijeli događaj je popraćen stvarnim snimljenim pozivima policiji. Zanimljivo, sa ovom pričom smo došli do novih saznanja. Forenzička kuća koja je radila audio rekonstrukciju, Primeau Productions, je rekla da će svjedočiti da je George Zimmerman, kad je izašao iz vozila, da je napeo pištolj prije potjere za Martinom.
So you can see that the basic tenets of journalism, they don't really change here, right? We're still following the same principles that we would always. What is different is the sense of being on scene, whether you're watching a guy collapse from hunger or feeling like you're in the middle of a bomb scene. And this is kind of what has driven me forward with these pieces, and thinking about how to make them. We're trying to make this, obviously, beyond the headset, more available. We're creating mobile pieces like the Trayvon Martin piece. And these things have had impact. I've had Americans tell me that they've donated, direct deductions from their bank account, money to go to Syrian children refugees. And "Hunger in LA," well, it's helped start a new form of doing journalism that I think is going to join all the other normal platforms in the future.
Možete vidjeti da se temeljni prinicipi novinarstva, ne mijenjaju puno ovdje, zar ne? Mi i dalje pratimo ista načela kao uvijek. Ono što je drukčije je osjećaj da smo na poprištu, bilo da gledate čovjeka koji se ruši od gladi ili osjećate kao da ste usred bombaškog napada. To je ono što me tjera naprijed sa ovim filmovima, i razmišljanju kako da ih napravim. Pokušavamo ovo napraviti, očito, mogućim i bez slušalica, dostupnije. Pravimo mobilne komade kao što je Trayvon Martin film. Ove stvari su imale utjecaja. Neki Amerikanci su mi rekli da su donirali, direktnim skidanjem s bankovnog računa, novac koji će ići djeci izbjeglicama iz Sirije. A "Glad u LA-u" je pomogao pokrenuti novi oblik novinarstva koji će se, ja mislim, pridružiti svim ostalim normalnim platformama u budućnosti.
Thank you.
Hvala vam.
(Applause)
(Pljesak)