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.
Bagaimana seandainya saya menceritakan sesuatu yang dapat Anda ingat dengan segenap indra dan tidak hanya dengan memori Anda? Seumur hidup saya sebagai wartawan, saya sangat ingin membuat kisah yang dapat membuat perbedaan dan mungkin menginspirasi orang lain untuk peduli. Saya pernah bekerja di media cetak, di dokumenter, penyiaran. Tapi sebelum saya terlibat dengan virtual reality, saya tidak pernah melihat reaksi otentik yang begitu hebat dari orang-orang, yang benar-benar menakjubkan saya.
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.
Jadi dengan VR, virtual reality, saya dapat menempatkan Anda di lokasi di tengah-tengah cerita. Dengan mengenakan kacamata yang mengikuti kemana pun Anda memandang, Anda merasakan sensasi dengan keseluruhan tubuh Anda seakan-akan, Anda benar-benar ada di sana. Lima tahun yang lalu, saya mulai menghubungkan virtual reality dan jurnalisme. Dan saya ingin meliput berita tentang kelaparan. Keluarga Amerika yang kelaparan, sementara bank makanan kewalahan, dan mereka seringkali kehabisan makanan. Nah, saya tahu saya tidak bisa membuat orang merasa lapar, tapi mungkin saya bisa menemukan cara agar mereka dapat mengalaminya secara fisik.
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.
Jadi -- ini lima tahun yang lalu -- menggabungkan jurnalisme dan virtual reality mungkin dianggap lebih buruk daripada ide-setengah-jadi, dan saya tidak punya dana. Percayalah, ada banyak kolega yang menertawakan saya. Tapi saya punya seorang pegawai magang yang hebat, seorang perempuan bernama Michaela Kobsa-Mark. Dan bersama-sama, kami pergi ke bank makanan dan mulai merekam audio dan mengambil gambar. Hingga suatu hari dia datang ke ruangan saya dan dia menangis. Dia berada dalam antrian panjang di lokasi ketika seorang perempuan yang kewalahan berteriak, "Ada begitu banyak orang!" "Ada terlalu banyak orang!" Dan seorang pria dengan diabetes yang tidak mendapat makanan tepat waktu, gula darahnya turun rendah, dan ia jatuh koma. Segera setelah mendengar rekaman itu, saya tahu ini akan menjadi laporan menggugah yang dapat benar-benar menggambarkan apa yang terjadi di bank makanan.
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.
Jadi ini adalah antrian betulan. Anda bisa lihat betapa panjang, bukan? Dan seperti saya bilang, kami tak punya banyak dana, jadi saya harus mereka ulang dengan manusia virtual yang disumbangkan, dan orang-orang memohon dan membantu saya untuk menciptakan model dan membuat reka ulang ini se-akurat mungkin. Kemudian kami mencoba untuk menyampaikan kejadian itu se-akurat mungkin.
(Video) Voice: There's too many people! There's too many people!
(Video) Suara: Terlalu banyak orang! Terlalu banyak orang!
Voice: OK, he's having a seizure.
Suara: Dia kejang-kejang.
Voice: We need an ambulance.
Suara: Kita perlu ambulans.
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: Pria di sebelah kanan, baginya, ia berjalan mengelilingi jenazah. Baginya, ia ada di ruangan itu. Seakan-akan pria itu ada di kakinya. Dan meskipun melalui penglihatan periferal ia dapat melihat bahwa ia di dalam lab, ia dapat melihat bahwa dia tidak benar-benar ada di jalan, tapi ia merasa seakan ia ada di sana bersama mereka. Dia sangat berhati-hati agar tidak menginjak pria ini yang sebenarnya tidak ada di sana.
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.
Jadi dokumenter ini sampai ke Sundance pada tahun 2012, dan sungguh menakjubkan, karena ini adalah film virtual reality pertama yang pernah ada. Dan waktu itu, saya benar-benar khawatir. Saya tidak tahu akan seperti apa reaksi orang-orang dan apa yang akan terjadi. Dan kami muncul dengan sepasang kacamata yang diselotip.
(Video) Oh, you're crying. You're crying. Gina, you're crying.
(Video) Oh, kamu menangis. Kamu menangis. Gina, kamu menangis.
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.
Kamu bisa mendengar kekagetan di suaraku, kan? Dan reaksi semacam inilah yang kami lihat lagi dan lagi dan lagi: orang-orang berlutut di tanah untuk membantu korban kejang, berusaha membisikkan sesuatu ke telinganya atau membantu sebisanya, meskipun mereka tak mungkin bisa. Dan banyak orang yang setelah menonton film itu berkata, "Ya Tuhan, saya frustasi. Saya tak bisa membantu pria itu," dan membawa pengalaman itu dalam hidup mereka.
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.
Setelah film ini dibuat, dekan sekolah perfilman di USC, University of Southern California, mengundang ketua World Economic Forum untuk melihat "Hunger," dan dia melepas kacamatanya, dan memesan dokumenter tentang Suriah ketika itu juga. Dan saya benar-benar ingin melakukan sesuatu untuk anak-anak pengungsi Suriah, karena anak-anak adalah korban paling parah dari perang sipil di Suriah. Saya mengirim tim ke perbatasan Irak untuk merekam para pengungsi di kamp, ke wilayah yang sekarang tidak lagi aman, karena disanalah ISIS sekarang beroperasi. Dan kami juga mereka ulang satu kejadian di jalanan dimana seorang gadis kecil sedang bernyanyi dan sebuah bom meledak. Ketika Anda berada di tengah-tengah kejadian itu, dan Anda mendengar suara itu, dan Anda melihat orang-orang terluka di sekitar Anda, itu adalah perasaan yang sangat menakutkan dan begitu nyata. Saya pernah bertemu orang-orang yang pernah mengalami pengeboman betulan dan mereka bilang perasaan takutnya sama.
[The civil war in Syria may seem far away] [until you experience it yourself.]
[Perang sipil Suriah mungkin terasa jauh] [sampai Anda mengalaminya sendiri.]
(Girl singing)
(Gadis menyanyi)
(Explosion)
(Ledakan)
[Project Syria] [A virtual reality experience]
[Proyek Suriah] [Pengalaman virtual reality]
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: Kami kemudian diundang untuk membawanya ke Museum Victoria dan Albert di London. Tidak ada iklan. Kami ditempatkan di ruangan permadani ini. Tidak ada promosi media, jadi siapa pun yang kebetulan mengunjungi museum pada hari itu bisa melihat kami dengan lampu besar ini. Yah, mungkin mereka ingin melihat kisah lama yang diceritakan di permadani. Mereka justru menemukan kamera virtual reality kami. Tapi banyak orang yang mencobanya, dan sepanjang 5 hari buku pengunjung kami penuh dengan pesan pengunjung sepanjang 54 halaman, dan menurut kurator di sana mereka tak pernah melihat pengunjung seramai itu. Pesan seperti, "Ini seperti betulan," "Seperti asli," atau, tentunya, yang saya paling suka, "Perasaan seakan saya benar-benar ada di tengah kejadian yang biasanya hanya bisa dilihat dalam berita TV."
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.
Jadi, berhasil, kan? Ini bisa berhasil. Dan tak peduli dari mana asal Anda atau usia Anda -- ini benar-benar menggugah.
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?
Jangan salah paham -- saya tidak bilang bahwa ketika Anda ada dalam satu adegan Anda lupa Anda ada di sini. Tapi ternyata kita bisa merasa berada di dua tempat sekaligus. Kita bisa memiliki yang saya sebut dualisme keberadaan, dan menurut saya ini memberi saya perasaan empati. Ya, kan?
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?
Jadi itu artinya, tentu saja, saya harus benar-benar hati-hati dalam menciptakan adegan-adegan ini. Saya harus benar-benar mengikuti praktik jurnalisme yang terbaik dan memastikan agar kisah-kisah ini dibuat dengan penuh integritas. Jika kami tidak mengambil bahan secara langsung, kami harus memastikan dengan benar sumber dan asalnya dan keasliannya.
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.
Saya akan beri satu contoh. Dalam kasus Travyon Martin, seorang anak laki-laki berusia 17 tahun yang membeli soda dan permen di toko, dan dia dalam perjalanan pulang ketika dihadang oleh seorang penjaga malam bernama George Zimmerman yang belakangan menembak dan membunuhnya. Untuk membuat adegan itu, kami menerima gambar arsitektur kompleks tersebut dan kami membangun keseluruhan adegan luar-dalam, berdasarkan gambar tersebut. Seluruh kejadiannya diinformasikan oleh telepon 911 yang sebenarnya pada polisi. Dan menariknya, kami menelurkan berita dalam cerita ini. Kantor forensik yang melakukan rekonstruksi audio, Primeau Productions, mengatakan bahwa mereka akan bersaksi bahwa ketika George Zimmerman keluar dari mobil, Ia mengokang senjatanya sebelum Ia mengejar Martin.
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.
Jadi Anda bisa melihat prinsip-prinsip dasar jurnalisme, yang tidak berubah di sini, ya kan? Kami masih mengikuti prinsip yang selalu kami ikuti. Bedanya adalah peraasan berada di lokasi baik ketika Anda menonton seseorang jatuh kelaparan atau merasa berada di tengah adegan pengeboman. Dan inilah yang mendorong saya melakukannya. dan berpikir bagaimana caranya membuatnya Kami mencoba membuatnya lebih gampang diakses, tanpa headset. Kami membuat adegan "mobile" seperti kasus Trayvon Martin. Dan mereka berdampak. Ada orang yang mengatakan bahwa mereka memberikan donasi, mengirimkan uang dari rekening bank mereka untuk anak-anak pengungsi Suriah. Dan "Hunger in LA" sudah membantu memulai sebuah metode jurnalisme yang menurut saya akan menjadi salah satu media biasa di masa depan.
Thank you.
Terima kasih.
(Applause)
(Tepuk tangan)