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.
如果我可以向你們做一個報導, 你們將能用全身來記下它, 而不僅是用腦子記住會是怎樣的光景呢? 我當了一輩子的記者, 我真的早已不得不嘗試去寫 可以帶來改變、 甚或喚起大家關注的報導。 我曾在書面媒體業、紀錄片報導、 廣播界工作過; 但直到我跟虛擬實境扯上邊後, 我才開始看見來自人們 這些確實強烈、 實切的反應, 這讓我興奮激動了起來。
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.
所以重點是有了虛擬實境- 我就能把你們放進新聞的場景裡。 利用戴上這些追索你視角的目視鏡, 妳可以得到這種全身的感受, 如同你實際上就在那邊一樣。 所以大約在五年前我開始做出突破- 把虛擬實境和做報導結合在一起; 我想要做一則關於飢困的報導, 在美國的許多家庭正歷經飢困, 食物銀行是人滿為患的, 而且它們常常發光了食物。 我知道我無法使人們感受到饑困, 不過或許我能找出方法 來讓他們感同身受。
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.
又是在五年前了, 把做報導與虛擬實境結合在一起 被認為是比半調子還糟糕的主意, 而且我還沒有金援! 相信我有很多同儕一直取笑我, 即便如此我有著一位很棒的女實習生, 名字叫密卡拉. 卡伯賽馬克, 我們一起外訪食物銀行 以及展開錄音和照相。 直到某天她回到我的辦公室來, 以及一直嚎啕大哭、就光只是哭著, 她剛才在大排長龍的現場, 她正在那裡排著隊感覺塞爆了, 她尖聲叫喊道: 「太多人了!太多人了!」 有位患有糖尿病的男性 還沒來得及取得食物, 他的血糖降得太低而昏迷倒地。 我一聽到該錄音, 我就知道這將會是 那種心有所感的片段, 能夠實切地描繪出當下 食物銀行正發生的事情。
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.
這就是實際的人龍, 你們能夠看出來有多長對吧, 再次如同我說過的我們沒有太多金援, 所以我得要重現此事件, 有著領受捐贈的虛擬人物, 還有乞討、借助善舉的人們, 來幫我創造模擬情境, 而且盡我們所能的做得精準。 然後我們企圖傳達那天發生了什麼事, 盡可能一分不差地傳達出去。
(Video) Voice: There's too many people! There's too many people!
(影片)旁白: 太多人了!太多人了!
Voice: OK, he's having a seizure.
旁白:他正在癲癇!
Voice: We need an ambulance.
旁白:我們需要救護車!
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?
娜妮徳拉潘亞: 所以在右視窗的這個男人, 他正繞著該身軀周邊在走; 他就在房間裏伴著地上的身軀, 就像該位仁兄就在他的腳下一般。 然而即便藉由他的餘光 他能夠看出他是在實驗室裡, 他應該能夠看出他根本不在街上, 但是他感覺自己好像 和那些人一起在那邊一樣, 他非常注意不要去踩到 實際上並不在那邊的傢伙對吧?
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.
所以在 2012 年時這段影片 結果進到聖丹斯電影節 -有點不可思議的事情- 而且根本上它是有史以來 首部虛擬實境的影片。 當我們去那裡時我真的是驚慌失措, 我根本不知道大家接下來會如何反應、 以及將會發生些什麽事情? 我們帶著黏帶導管的目試鏡出場。
(Video) Oh, you're crying. You're crying. Gina, you're crying.
(影片)妳正在哭泣! 妳正在哭泣!吉娜妳正在哭耶!
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.
大家能聽出我聲音中的驚訝對吧? 這種反應最終變成了我們一而再、 再而三看到的反應。 蹲著的人試著安撫癲癇的患者、 試著在他耳邊低語些什麽、 或是用其他的方法來幫他, 儘管他們根本啥也做不到。 有很多人對這段影片發表意見說: 「天哪!我多麼的莫可奈何, 我幫不了這位仁兄」, 然後把那種感覺帶回生活中。
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.
在這段影片製作完後, 南加州大學影視學院的院長 邀請世界經濟論壇的主席體驗飢困, 然後他摘下了目試鏡, 而且他當場委任要做一則 敘利亞的影片。 而且我真的很想做些有關 敘利亞小孩難民的影片, 因為孩童們受敘利亞內戰的影響最深, 我派了一個團隊去伊拉克的邊境 拍攝難民營的題材- 一個現在我基本上不會 送團隊出去的地區, 因為 ISIS/伊斯蘭國 確實正操持著那裡。 然後我們也重置了一個街景, 其中一位年輕的女孩正唱著歌 而一顆炸彈爆炸了; 當你置身於該場景時 而且你聽到了那些聲音, 看到了傷者就在你身邊, 這是一種無比恐怖而且實在的感受。 曾經被真實爆炸波及的人跟我說 它能激發同樣的恐懼。
[The civil war in Syria may seem far away] [until you experience it yourself.]
【敘利亞的內戰似乎遠在天邊】 【直到你自己來體驗】
(Girl singing)
(女孩正在唱歌)
(Explosion)
(爆炸)
[Project Syria] [A virtual reality experience]
【敘利亞專案】 【虛擬實境的體驗】
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."
娜妮徳拉潘亞: 我們之後受邀將這段影片 送到倫敦的維多利亞&艾伯特博物館, 而且沒有打廣告; 我們被在擺在這間織毯房裡, 沒有相關報導, 所以那天任何走進博物館參觀的人 將會連同這些異常的光線看到我們。 也許他們只是想看 關於織毯的古老故事, 他們碰到的是我們的虛擬實境攝影機; 但是很多人來嘗試看看, 長達五天的展期我們最終收到了 多達 54 頁的訪客留言。 那裏的館長們跟我們說 他們從來沒見過如此熱烈的迴響, 留言諸如「這太真實了!」、 「絕對可信!」, 讓我感到振奮的一個是: 「一種你平常在電視新聞看到的事情, 好像你就身在其中的真實感覺」。
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.
所以它管用對吧,這東西管用的, 而且你來自何方或者幾歲都不要緊, 這真的是心有所感的。
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?
別誤會了!我不是說當你在看影片時 你會忘記你身在此處; 變成是我們能感覺到 自己好像同時身在兩處。 我們能夠有我稱做「雙重體現」的東西, 而且我認為那能讓我們 善用同理心的感覺, 沒錯吧!
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?
所以那當然意味著 我必須要很謹慎的製作這些影片, 我必須要依循最佳記者作業事項, 確保這些有充滿力量的報導 是詳實地被建構出來。 如果我們不親身拍攝題材, 我們就必須要極為小心的 弄清楚材料的起源以及從何而來, 以及是否確實可信。
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.
我給大家舉個例: 在「特雷沃恩.馬丁」案 一個 17 歲大的男孩子, 他在商店買了汽水和糖果, 在回家的路上他被一名叫做 喬治.齊莫曼的社區巡守員尾隨, 齊莫曼後來槍擊與殺害了 這個17歲男孩。 為了做這個報導 我們拿到了完整建物的建造圖, 根據建造圖我們從裏到外 重建了整個場景。 一舉一動都查照打給警察的 911 錄音電話。 有趣的是我們的這個報導 出名了 制作錄音重建的 證物方-「Primeau製作」 表示他們將會作證: 喬治.齊莫曼從車裏出來 在追馬丁之前就把槍上膛了。
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.
所以你可以知道做報導的基本原則 在這裡其實並沒有改變對吧, 我們永遠都會持續遵循相同的原則; 不同的就是身臨其境的場景, 不論你正在看著一個飢困暈倒的人, 或是感覺自己就在爆炸的場景裡, 這就是驅使我去做這些報導 以及認真思考如何去做出它們的動力。 我們正努力要做到這件事, 很明顯地頭帶裝置上要更容易取得, 我們正在創作行動影片, 好比馬丁的影片。 而且這些事情都已經產生功效。 曾有美國人跟我說他們已經捐贈- 直接從銀行戶頭提撥錢 給敘利亞的小孩難民。 「在洛杉磯的挨餓」幫助開啟 一種做新聞的新形態, 我認為在未來這將會 加入所有其他的常見平臺。 謝謝大家
Thank you.
(Applause)
(掌聲)