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.
Šta ako bih mogla da vam predstavim priču koju biste zapamtili celim bićem a ne samo umom? Živeći kao novinar, stvarno sam morala da se trudim da pišem priče koje mogu nešto da promene i možda inspirišu ljude da se za nešto zainteresuju. Radila sam u štampi. Radila sam dokumentarce. Radila sam u emisijama. Ipak, sve dok se nisam uključila u rad sa virtuelnom stvarnošću nisam zaista uspela da vidim te zaista intenzivne, iskrene reakcije ljudi koje su me zaista oduševile.
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.
Dakle, caka je u tome što kroz VR, virtuelnu realnost, mogu da vas prenesem na mesto radnje, u sred priče. Stavljajući ove naočare koje prate vaš pogled, dobijate osećaj kao da ste zapravo celim telom zaista tamo. Pre oko 5 godina sam zaista počela da pomeram granice u kombinovanju virtuelne stvarnosti i novinarstva. Htela sam da napravim rad o gladi. Porodice u Americi su sve gladnije, banke hrane su preopterećene i često ostaju bez hrane. Znala sam da ne mogu da učinim da ljudi osete glad, ali možda sam mogla da nađem način da nešto fizički osete.
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.
Dakle - opet, ovo je bilo pre 5 godina - dakle, kombinovanje novinarstva i virtuelne stvarnosti smatralo se gorim i od nerazrađene ideje, i nisam imala finansijskih sredstava. Verujte mi, mnoge kolege su mi se smejale. Ipak, imala sam jako dobrog stažistu, ženu po imenu Mihaela Kobsa-Mark. Zajedno smo odlazile u banke hrane i počele da prikupljamo snimke i fotografije. Sve dok jednog dana nije došla u moju kancelariju jecajući, samo je plakala. Bila je na terenu gde se čekao dug red, i žena koja je čekala u redu se osećala iscrpljeno i počela je da viče: „Ima previše ljudi ovde! Ima previše ljudi!" Jedan čovek, dijabetičar, nije dobio hranu na vreme, šećer mu je pao i on je pao u komu. Čim sam poslušala snimak, znala sam da je to provokativno delo koje bi moglo da prikaže šta se zaista dešava u 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.
Pa, evo pravog reda. Možete da vidite koliko je dug, zar ne? Kao što sam rekla, nismo imali mnogo sredstava, pa smo morali to da nadomestimo virtuelnim ljudima koji su dodati, ljudi su molili i tražili usluge od drugih da mi pomognu da kreiram modele i napravimo sve precizno koliko je u našoj moći. Zatim smo pokušali da prikažemo šta se dešavalo tog dana sa što većom preciznošću.
(Video) Voice: There's too many people! There's too many people!
(Video) Glas: Previše je ljudi ovde! Previše je ljudi!
Voice: OK, he's having a seizure.
Glas: Ok, ima napad.
Voice: We need an ambulance.
Glas: Treba nam hitna 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?
Noni de la Penja: Dakle, čovek s desna, što se njega tiče, on hoda oko tela. On je u sobi sa tim telom. Ovaj čovek mu je pod nogama. I čak i tada, preko perifernog vida, on može da vidi da je u laboratoriji, trebalo bi da može da vidi da nije stvarno na ulici, ali oseća se kao da jeste tamo sa svim tim ljudima. Vodi računa da ne stane na ovog čoveka, koji zapravo i nije stvarno tu, 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.
Eto taj rad je 2012. godine završio na festivalu Sandens, što je neverovatna stvar, i to je bio prvi film u virtuelnoj stvarnosti svih vremena, zapravo. I kada je krenulo, bila sam prestravljena. Nisam baš znala kako će ljudi reagovati i šta će se dešavati. I tako smo se pojavili sa ovim improvizovanim naočarima.
(Video) Oh, you're crying. You're crying. Gina, you're crying.
(Video) O, pa ti plačeš. Plačeš. Đina, 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 da čujete iznenađenje u mom glasu, zar ne? I ova vrsta reakcije je završila postavši reakcija koju smo viđali iznova i iznova: ljudi na zemlji koji bi pokušavali da uteše žrtvu napada da mu šapnu nešto na uho, ili na neki način pomognu, čak iako nisu mogli. I mnogi su nakon tog snimka govorili: „O Bože, bio sam tako frustriran. Nisam mogao da pomognem čoveku", i odnosili su to sa sobom kroz život.
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.
I tako, nakon što je ovaj rad napravljen, dekan fakulteta filmske umetnosti na Univerzitetu u Južnoj Kaliforniji doneo je rad pred rukovodioce Svetskog ekonomskog foruma da isprobaju „Glad", i kada je skinuo naočare, na licu mesta je poručio rad o Siriji. I zaista sam želela da uradim nešto o sirijskoj deci izbeglicama, jer deca su najugroženija u sirijskom građanskom ratu. Poslala sam tim na granicu Iraka da u izbegličkim kampovima prikuplja materijal. U suštini, to je oblast u koju ih sada ne bih poslala, jer je tamo ID stvarno aktivna. I tada smo takođe rekreirali uličnu scenu u kojoj se vidi mlada devojka koja peva, kada dođe do eksplozije. Kada se nađete u sred ovakve scene i čujete te zvuke, i vidite ranjenike oko sebe, to je neverovatno strašan i stvaran osećaj. Bilo je i pojedinaca koji su preživeli pravo bombardovanje i svedočili da je to u njima probudilo istu vrstu straha.
[The civil war in Syria may seem far away] [until you experience it yourself.]
(Građanski rat u Siriji možda izgleda kao da je daleko] [sve dok ga ne osetite na svojoj koži.)
(Girl singing)
(Devojka peva)
(Explosion)
(Eksplozija)
[Project Syria] [A virtual reality experience]
(Projekat Sirija) (iskustvo virtuelne 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: Zatim smo pozvani da rad prikažemo u Muzeju Viktorije i Alberta u Londonu. Nismo imali nikakvu reklamu. Rad je izložen u sobi sa tapiserijama. Nije pisano o njemu u štampi, pa ko god da bi došao u muzej tog dana mogao je da vidi sva ta luda svetla. Znate, možda su želeli da vide stare priče na tapiserijama. Bili su suočeni sa našim kamerama virtuelne realnosti. No, mnogi ljudi su odlučili da probaju, i nakon 5 dana projekcije imali smo 54 strane komentara u knjizi utisaka, i kustosi su nam rekli da ikada nisu videli takve izlive emocija. Pisali su stvari tipa: „Tako je stvarno", „Potpuno uverljivo", ili naravno, onaj koji me najviše oduševio: „Stvaran osećaj, baš kao da sam u sred nečega što inače viđamo na vestima."
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.
Dakle, radi, zar ne? Ovo stvarno funkcioniše. I nije zapravo važno odakle ste ili koje ste godište - jer ovo zaista može da izazove reakciju.
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?
Sad, nemojte me pogrešno shvatiti - ne kažem da tokom ovoga zaboravite gde ste. Ispostavlja se da možete da se osećate kao da ste istovremeno na dva mesta. Možemo doživeti dualnost prisustva, i msilim da mi baš to dozvoljava da probudim taj osećaj 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 da budem veoma oprezna kada stvaram ova dela. Moram zaista da ispratim najbolju novinarsku praksu i uverim se da su ove moćne priče sazdane s integritetom. Ako sav materijal ne prikupimo sami, moramo da budemo veoma pažljivi u pogledu porekla informacija i njihove autentičnosti.
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.
Da vam dam primer. Primer je u vezi sa slučajem Trejvona Martina, koji je imao 17 godina. Kupio je sok i slatkiše u prodavnici, i na putu do kuće pratio ga je pripadnik građanske straže po imenu Džordž Zimerman koji ga je na kraju upucao i ubio. Da bismo stvorili ovo delo, uzeli smo arhitektonske nacrte celog kompleksa, i na osnovu njih izgradili celu scenu i spolja i iznutra. Sve informacije o akciji smo dobili sa snimljenih poziva upućenih policiji. Zanimljivo, uspeli smo ovom pričom da saopštimo nove vesti. Forenzičari produkcijske kuće zadužene za rekonstrukciju zvuka kažu da bi svedočili na sudu da je Džordž Zimerman, kada je izašao iz kola, već bio otkočio pištolj pre nego što je pojurio 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 videti da se osnovna načela novinarstva ovde baš i ne menjaju, zar ne? I dalje se prate ista načela koja bi se i inače pratila. Ono što je drugačije jeste utisak da ste na terenu, bilo da posmatrate kako čovek kolabira od gladi, bilo da se nađete usred eksplozije. To je ono što me je vuklo napred u ovom radu, teralo da mislim o tome kako da ove radove napravim. Pokušavamo da ovo učinimo više dostupnim. Stvaramo mobilne radove, kao što je slučaj Trejvona Martina. I ove stvari su imale uticaja. Amerikanci su mi rekli da su donirali novac za sirijsku decu izbeglice što je direktan odbitak sa njihovih bankovnih računa. I „Glad" je pomogla da se pokrene novi oblik novinarstva za koji mislim da će se pridružiti ostalim uobičajenim platformama u budućnosti.
Thank you.
Hvala vam.
(Applause)
(Aplauz)