TED Talks2016.4.28---Danielle Feinberg :神奇的成分帶來皮克斯電影人生

TED Talks2016.4.28---Danielle Feinberg :神奇的成分帶來皮克斯電影人生
發佈日期：2016年4月28日
Danielle Feinberg, Pixar's director of photography, creates stories with soul and wonder using math, science and code. Go behind the scenes of Finding Nemo, Toy Story, Brave, WALL-E and more, and discover how Pixar interweaves art and science to create fantastic worlds where the things you imagine can become real. This talk comes from the PBS special "TED Talks: Science & Wonder.
神奇的成分带来皮克斯电影人生|丹妮尔铁... 丹妮尔范伯格，摄影皮克斯的导演，创建一个具有灵魂的故事和奇迹用数学，科学和代码。去海底总动员，玩具总动员，勇敢，WALL-E多的幕后，并发现皮克斯如何交织的艺术和科学创造梦幻般的世界里，你想象中的东西都可以成为真正的。本讲座来自PBS特殊的“TED演讲：科学奇迹。



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0:12When I was seven years old, 0:14some well-meaning adult asked me what I wanted to be when I grew up. 0:18Proudly, I said: "An artist." 0:20"No, you don't," he said, 0:22"You can't make a living being an artist!" 0:24My little seven-year-old Picasso dreams were crushed. 0:28But I gathered myself, 0:29went off in search of a new dream, 0:31eventually settling on being a scientist, 0:34perhaps something like the next Albert Einstein. 0:37(Laughter) 0:40I have always loved math and science, 0:42later, coding. 0:43And so I decided to study computer programming in college. 0:47In my junior year, 0:48my computer graphics professor showed us these wonderful short films. 0:52It was the first computer animation any of us had ever seen. 0:56I watched these films in wonder, transfixed, 0:59fireworks going off in my head,

1:01thinking, "That is what I want to do with my life." 1:05The idea that all the math, science and code I had been learning 1:08could come together to create these worlds and characters 1:11and stories I connected with, 1:13was pure magic for me. 1:16Just two years later, I started working 1:18at the place that made those films, Pixar Animation Studios. 1:21It was here I learned how we actually execute those films. 1:24To create our movies, 1:25we create a three-dimensional world inside the computer. 1:28We start with a point that makes a line that makes a face 1:32that creates characters, 1:34or trees and rocks that eventually become a forest. 1:37And because it's a three-dimensional world, 1:39we can move a camera around inside that world. 1:43I was fascinated by all of it. 1:45But then I got my first taste of lighting. 1:48Lighting in practice is placing lights inside this three-dimensional world. 1:52I actually have icons of lights I move around in there. 1:54Here you can see I've added a light, 1:56I'm turning on the rough version of lighting in our software, 1:59turn on shadows

2:00and placing the light. 2:02As I place a light, 2:03I think about what it might look like in real life, 2:06but balance that out with what we need artistically and for the story. 2:10So it might look like this at first, 2:14but as we adjust this and move that 2:16in weeks of work, 2:18in rough form it might look like this, 2:21and in final form, like this. 2:28There's this moment in lighting that made me fall utterly in love with it. 2:32It's where we go from this 2:34to this. 2:36It's the moment where all the pieces come together, 2:38and suddenly the world comes to life 2:41as if it's an actual place that exists. 2:44This moment never gets old, 2:45especially for that little seven-year-old girl that wanted to be an artist. 2:49As I learned to light, 2:50I learned about using light to help tell story, 2:54to set the time of day, 2:57to create the mood, 2:59to guide the audience's eye,

3:02how to make a character look appealing 3:05or stand out in a busy set. 3:08Did you see WALL-E? 3:09(Laughter) 3:10There he is. 3:13As you can see, 3:14we can create any world that we want inside the computer. 3:17We can make a world with monsters, 3:20with robots that fall in love, 3:23we can even make pigs fly. 3:25(Laughter) 3:30While this is an incredible thing, 3:32this untethered artistic freedom, 3:34it can create chaos. 3:36It can create unbelievable worlds, 3:39unbelievable movement, 3:41things that are jarring to the audience. 3:43So to combat this, we tether ourselves with science. 3:46We use science and the world we know 3:48as a backbone, 3:49to ground ourselves in something relatable and recognizable. 3:53"Finding Nemo" is an excellent example of this. 3:56A major portion of the movie takes place underwater. 3:59But how do you make it look underwater?

4:01In early research and development, 4:02we took a clip of underwater footage and recreated it in the computer. 4:06Then we broke it back down 4:08to see which elements make up that underwater look. 4:11One of the most critical elements 4:13was how the light travels through the water. 4:15So we coded up a light that mimics this physics -- 4:18first, the visibility of the water, 4:19and then what happens with the color. 4:22Objects close to the eye have their full, rich colors. 4:26As light travels deeper into the water, 4:28we lose the red wavelengths, 4:30then the green wavelengths, 4:31leaving us with blue at the far depths. 4:34In this clip you can see two other important elements. 4:37The first is the surge and swell, 4:39or the invisible underwater current 4:41that pushes the bits of particulate around in the water. 4:44The second is the caustics. 4:46These are the ribbons of light, 4:48like you might see on the bottom of a pool, 4:50that are created when the sun bends through the crests 4:52of the ripples and waves on the ocean's surface. 4:57Here we have the fog beams. 4:58These give us color depth cues,

5:00but also tells which direction is up 5:02in shots where we don't see the water surface. 5:04The other really cool thing you can see here 5:06is that we lit that particulate only with the caustics, 5:10so that as it goes in and out of those ribbons of light, 5:12it appears and disappears, 5:14lending a subtle, magical sparkle to the underwater. 5:18You can see how we're using the science -- 5:21the physics of water, light and movement -- 5:23to tether that artistic freedom. 5:26But we are not beholden to it. 5:28We considered each of these elements 5:30and which ones had to be scientifically accurate 5:33and which ones we could push and pull to suit the story and the mood. 5:37We realized early on that color was one we had some leeway with. 5:41So here's a traditionally colored underwater scene. 5:44But here, we can take Sydney Harbor and push it fairly green 5:47to suit the sad mood of what's happening. 5:50In this scene, it's really important we see deep into the underwater, 5:53so we understand what the East Australian Current is, 5:56that the turtles are diving into and going on this roller coaster ride. 5:59So we pushed the visibility of the water

6:01well past anything you would ever see in real life. 6:04Because in the end, 6:06we are not trying to recreate the scientifically correct real world, 6:10we're trying to create a believable world, 6:12one the audience can immerse themselves in to experience the story. 6:17We use science to create something wonderful. 6:20We use story and artistic touch to get us to a place of wonder. 6:25This guy, WALL-E, is a great example of that. 6:28He finds beauty in the simplest things. 6:30But when he came in to lighting, we knew we had a big problem. 6:33We got so geeked-out on making WALL-E this convincing robot, 6:37that we made his binoculars practically optically perfect. 6:40(Laughter) 6:43His binoculars are one of the most critical acting devices he has. 6:47He doesn't have a face or even traditional dialogue, for that matter. 6:50So the animators were heavily dependent on the binoculars 6:53to sell his acting and emotions. 6:56We started lighting and we realized 6:58the triple lenses inside his binoculars were a mess of reflections.

7:02He was starting to look glassy-eyed. 7:05(Laughter) 7:06Now, glassy-eyed is a fundamentally awful thing 7:10when you are trying to convince an audience 7:12that a robot has a personality and he's capable of falling in love. 7:16So we went to work on these optically perfect binoculars, 7:20trying to find a solution that would maintain his true robot materials 7:23but solve this reflection problem. 7:26So we started with the lenses. 7:27Here's the flat-front lens, 7:28we have a concave lens 7:30and a convex lens. 7:31And here you see all three together, 7:33showing us all these reflections. 7:36We tried turning them down, 7:37we tried blocking them, 7:39nothing was working. 7:41You can see here, 7:42sometimes we needed something specific reflected in his eyes -- 7:46usually Eve. 7:47So we couldn't just use some faked abstract image on the lenses. 7:50So here we have Eve on the first lens, 7:53we put Eve on the second lens, 7:55it's not working. 7:56We turn it down, 7:57it's still not working. 7:59And then we have our eureka moment.

8:01We add a light to WALL-E that accidentally leaks into his eyes. 8:06You can see it light up these gray aperture blades. 8:10Suddenly, those aperture blades are poking through that reflection 8:13the way nothing else has. 8:15Now we recognize WALL-E as having an eye. 8:19As humans we have the white of our eye, 8:22the colored iris 8:23and the black pupil. 8:24Now WALL-E has the black of an eye, 8:28the gray aperture blades 8:29and the black pupil. 8:31Suddenly, WALL-E feels like he has a soul, 8:35like there's a character with emotion inside. 8:40Later in the movie towards the end, 8:41WALL-E loses his personality, 8:43essentially going dead. 8:45This is the perfect time to bring back that glassy-eyed look. 8:49In the next scene, WALL-E comes back to life. 8:52We bring that light back to bring the aperture blades back, 8:55and he returns to that sweet, soulful robot we've come to love.

9:02(Video) WALL-E: Eva? 9:06Danielle Feinberg: There's a beauty in these unexpected moments -- 9:09when you find the key to unlocking a robot's soul, 9:13the moment when you discover what you want to do with your life. 9:17The jellyfish in "Finding Nemo" was one of those moments for me. 9:20There are scenes in every movie that struggle to come together. 9:24This was one of those scenes. 9:26The director had a vision for this scene 9:28based on some wonderful footage of jellyfish in the South Pacific. 9:33As we went along, 9:35we were floundering. 9:36The reviews with the director 9:38turned from the normal look-and-feel conversation 9:41into more and more questions about numbers and percentages. 9:46Maybe because unlike normal, 9:47we were basing it on something in real life, 9:50or maybe just because we had lost our way. 9:52But it had become about using our brain without our eyes, 9:55the science without the art. 9:58That scientific tether was strangling the scene.

10:02But even through all the frustrations, 10:04I still believed it could be beautiful. 10:06So when it came in to lighting, 10:08I dug in. 10:10As I worked to balance the blues and the pinks, 10:13the caustics dancing on the jellyfish bells, 10:16the undulating fog beams, 10:18something promising began to appear. 10:21I came in one morning and checked the previous night's work. 10:24And I got excited. 10:26And then I showed it to the lighting director 10:28and she got excited. 10:29Soon, I was showing to the director in a dark room full of 50 people. 10:34In director review, 10:35you hope you might get some nice words, 10:38then you get some notes and fixes, generally. 10:41And then, hopefully, you get a final, 10:43signaling to move on to the next stage. 10:46I gave my intro, and I played the jellyfish scene. 10:50And the director was silent for an uncomfortably long amount of time. 10:55Just long enough for me to think, 10:57"Oh no, this is doomed."

11:00And then he started clapping. 11:03And then the production designer started clapping. 11:06And then the whole room was clapping. 11:14This is the moment that I live for in lighting. 11:17The moment where it all comes together 11:19and we get a world that we can believe in. 11:22We use math, science and code to create these amazing worlds. 11:27We use storytelling and art to bring them to life. 11:30It's this interweaving of art and science 11:34that elevates the world to a place of wonder, 11:38a place with soul, 11:39a place we can believe in, 11:42a place where the things you imagine can become real -- 11:47and a world where a girl suddenly realizes 11:50not only is she a scientist, 11:52but also an artist. 11:54Thank you. 11:55(Applause)



0:12当我七岁， 0:14一些好心的大人问我什么，我想是当我长大。 0:18骄傲地说，我说：“一个艺术家。” 0:20 “不，你不这样做，”他说， 0:22 “你不能让生活成为一个艺术家！” 0:24我的小七岁的毕加索梦想被粉碎。 0:28但我自己收集的， 0:29在寻找一个新的梦想去了， 0:31最终解决当一名科学家， 0:34也许是这样的下一个爱因斯坦。 0:37 （笑声） 0:40我一直很喜欢数学和科学， 0:42后来，编码。 0:43所以，我决定学习大学计算机编程。 0:47在我大三的时候， 0:48我的计算机图形学教授向我们展示了这些精彩的短片。 0:52它是第一个电脑动画我们任何人见过。 0:56我看着惊讶这些电影，呆若木鸡， 0:59烟花燃放在我的头上，

1:01想：“这就是我想用我的生命做的。” 1:05所有的数学，科学和代码，我已学习的想法 1:08能走到一起，创建这些世界和人物 1:11和故事，我与连接， 1:13对我来说纯粹的魔法。 1:16仅仅两年后，我开始工作 1:18在，使得这些电影的地方，皮克斯动画工作室。 1:21正是在这里，我学会了如何实际执行这些电影。 1:24为了创建我们的电影， 1:25我们在计算机内部建立一个三维世界。 1:28我们先从一个点，使一个行做了个鬼脸 1:32创建人物， 1:34或树木和岩石，最终变成一片森林。 1:37而且因为它是一个三维的世界， 1:39我们可以解决这个世界里面移动的摄像机。 1:43我被这一切迷住了。 1:45但后来我得到了我的照明的第一口味。 1:48照明在实践中把灯这种三维的世界里面。 1:52其实，我有我的灯光在里面走动的图标。 1:54在这里，你可以看到我已经添加了一盏灯， 1:56我打开我们的软件版本粗糙照明， 1:59打开阴影

2:00和放置的光。 2:02当我把一盏灯， 2:03我想它可能看起来像在现实生活中， 2:06但平衡这一点与我们所需要的艺术和故事。 2:10因此，它可能是这样的，首先， 2:14但我们调整这个移动的 2:16在工作​​周， 2:18在恶劣的形式，它可能是这样的， 2:21并在最终的形式，像这样。 2:28有这一刻灯光让我在爱全然跌倒它。 2:32这就是我们从这走 2:34此。 2:36这也正是所有的作品走到一起的那一刻， 2:38突然世界来生活 2:41仿佛它是是否存在实际的地方。 2:44这一刻永远不会过时， 2:45特别是对于那些小七岁的女孩想成为一个艺术家。 2:49当我学会了光， 2:50我学习了如何使用光来讲述故事， 2:54设定一天中的时间， 2:57创造意境， 2:59引导观众的眼球，

3:02如何让一个角色的外观吸引力 3:05或在繁忙的集脱颖而出。 3:08你看到WALL-E？ 3:09 （笑声） 3:10他在那。 3:13如你看到的， 3:14我们可以创造我们想要在计算机内部任何世界。 3:17我们可以做一个世界的怪物， 3:20与爱上机器人， 3:23我们甚至可以使才怪呢。 3:25 （笑声） 3:30虽然这是一件不可思议的事情， 3:32这种不受限制的艺术自由， 3:34它可以制造混乱。 3:36它可以创造令人难以置信的世界， 3:39令人难以置信的运动， 3:41东西都是不和谐的观众。 3:43因此，要解决这个问题，我们自己拴以科学。 3:46我们用科学和世界，我们知道 3:48作为主干， 3:49到地自己的东西听上去很像和辨认。 3:53 “海底总动员”就是一个很好的例子。 3:56影片的主要部分发生在水下。 3:59但是你如何使它看起来水下？

4:01在早期的研究和开发， 4:02我们采取的水下录像的剪辑，并在计算机重新创建它。 4:06然后，我们把它弄坏了回落 4:08看看哪些元素组成的水下的样子。 4:11一个最关键的要素的 4:13是光在水中是如何漂洋过海。 4:15因此，我们编写了一个光模仿这个物理 - 4:18首先，水的能见度， 4:19然后用什么颜色发生。 4:22靠近眼睛对象有充分，色彩丰富。 4:26由于光速更深的水， 4:28我们失去了红色的波长， 4:30那么绿色波长， 4:31留给我们的蓝色在最深处。 4:34在这个短片，你可以看到其他两个重要元素。 4:37首先是浪涌和膨胀， 4:39或无形的水下电流 4:41是推动颗粒状的比特围绕在水中。 4:44二是焦散。 4:46这些都是轻的丝带， 4:48就像你能在游泳池的底部看到， 4:50当太阳弯曲通过的峰部所创建 4:52的海洋表面的涟漪和波浪。 4:57在这里，我们有雾横梁。 4:58这给我们的色彩深度线索，

5:00但也告诉哪个方向是向上 5:02在射击，我们看不到水面。 5:04你可以在这里看到的其他很酷的事情 5:06是我们点燃的颗粒只与焦散， 5:10这样，当它进入和退出光的那些色带， 5:12它出现和消失， 5:14妆点微妙，神奇火花水下。 5:18你可以看到我们是如何使用科学 - 5:21水，光与运动的物理 - 5:23系绳艺术自由。 5:26但我们不会感激它。 5:28我们认为这些元素 5:30以及哪些必须是科学准确 5:33而哪些我们可以推拉，以适应故事和心情。 5:37我们早就该颜色意识到是一个大家有一些余地用。 5:41所以这里有一个传统的彩色水下的场面。 5:44但在这里，我们可以采取悉尼港，并推动它相当绿色 5:47以适应正在发生的事情的悲伤的情绪。 5:50在这个场景中，这是非常重要的，我们看到深入到水下， 5:53所以我们了解东澳洋流是什么， 5:56该龟潜入，并打算在这坐过山车。 5:59因此，我们推水的能见度

6:01早已过任何东西，你会看不到真实的生活。 6:04因为在最后， 6:06我们是不是要重新创建正确的科学现实世界中， 6:10我们正在努力创造一个可信的世界， 6:12一个观众可以沉浸在自己的体验故事。 6:17我们利用科学创造美好的东西。 6:20我们用故事和艺术感让我们到一个地方的奇迹。 6:25这家伙，WALL-E，就是一个很好的例子。 6:28他发现在最简单的事情美感。 6:30但是，当他进来的灯光，我们知道我们有一个很大的问题。 6:33我们有这么geeked出在制作WALL-E本有说服力的机器人， 6:37我们做了他的望远镜几乎完美的光。 6:40 （笑声） 6:43他的望远镜是他拥有的最关键的演技设备之一。 6:47他不具有面甚至传统对话，对于这个问题。 6:50所以，动画师都严重依赖于望远镜 6:53卖他的演技和情感。 6:56我们开始照明，我们意识到 6:58他的望远镜里的三镜头是反射的一个烂摊子。

7:02他开始寻找目光呆滞。 7:05 （笑声） 7:06现在，目光呆滞是从根本上可怕的事情 7:10当你试图说服观众 7:12该机器人具有个性和他的能力坠入爱河的。 7:16所以我们去对这些光学望远镜完善工作， 7:20试图找到将保持他的真实机器人的材料解决方案 7:23但解决这个问题的反思。 7:26于是我们开始用镜头。 7:27这里的平板前置镜头， 7:28我们有一个凹透镜 7:30和凸透镜。 7:31在这里，你可以看到所有三个人在一起， 7:33我们展示这一切的思考。 7:36我们试图把他们下来， 7:37我们试图阻止他们， 7:39什么也没有工作。 7:41你可以在这里看到， 7:42有时我们需要具体体现在他眼里的东西 - 7:46通常夏娃。 7:47所以我们不能只使用镜片上的一些伪造的抽象形象。 7:50所以在这里，我们有夏娃的第一个镜头， 7:53我们把夏娃第二透镜上， 7:55它不工作。 7:56我们把它记下来， 7:57它仍然没有工作。 7:59然后，我们有我们的灵光一现。

8:01我们增加一个光WALL-E不小心泄露他的眼睛。 8:06你可以看到它照亮这些灰色光圈叶片。 8:10突然，那些光圈叶片是通过反射戳 8:13没有别的办法了。 8:15现在我们认识到WALL-E为具有眼球。 8:19作为人类，我们有我们的眼白， 8:22有色光圈 8:23而黑色的瞳孔。 8:24现在WALL-E有眼睛的黑色， 8:28灰色的光圈叶片 8:29而黑色的瞳孔。 8:31突然，WALL-E觉得他有灵魂， 8:35像有感慨里面的人物。 8:40在电影后朝向端， 8:41 WALL-E失去了自己的个性， 8:43基本上会耗尽。 8:45这是为了带回目光呆滞的样子的最佳时机。 8:49在接下来的情景，WALL-E起死回生。 8:52我们将光回把光圈叶片背面， 8:55并且他回到那甜美，深情的机器人我们来爱。

9:02 （视频）WALL-E：伊娃？ 9:06丹妮尔范伯格：有这些意想不到的时刻美容 - 9:09当你发现钥匙解锁机器人的灵魂， 9:13当你发现的那一刻，你想用自己的生命做什么。 9:17在“海底总动员”的水母是那些时刻对我来说之一。 9:20还有在每一个电影场景的努力走到了一起。 9:24这是那些场景之一。 9:26导演有一个梦想，这个场景 9:28基于水母在南太平洋的一些精彩镜头。 9:33当我们跟着去了， 9:35我们正在挣扎。 9:36与导演的评论 9:38从正常的外观和感觉谈话转向 9:41成左右数字和百分比越来越多的质疑。 9:46也许是因为不像正常的， 9:47我们在现实生活中的东西是基础， 9:50或者仅仅是因为我们失去了我们的方式。 9:52但它已成为使用我们的大脑没有我们的眼睛， 9:55科学没有艺术。 9:58认为科学是束缚扼杀了现场。

10:02但是，即使在所有的挫折， 10:04我仍然相信这可能是美丽的。 10:06因此，当它来到照明， 10:08我挖英寸 10:10至于我的工作是平衡的蓝色和粉红色的， 10:13焦散跳舞海蜇钟声， 10:16起伏的雾梁， 10:18一些有前景开始出现。 10:21我来到一个早晨，并检查了前一天晚上的工作。 10:24我很兴奋。 10:26然后我把它拿给照明董事 10:28她很兴奋。 10:29不久，我展示给导演在黑屋子里充满了50人。 10:34在导演审核， 10:35你希望你可能会得到一些好听的话， 10:38那么你得到一些笔记和修复，一般。 10:41然后，希望你得到一个最终的， 10:43信令来移动到下一个阶段。 10:46我给我介绍，我扮演的水母现场。 10:50和导演沉默令人不安长的时间。 10:55只是足够长的时间，我想， 10:57 “哦，不，这是注定要失败的。”

11:00然后，他开始鼓掌。 11:03然后制作设计师开始鼓掌。 11:06然后整个房间鼓掌。 11:14这是我在照明生活的时刻。 11:17在这一切走到一起的那一刻 11:19我们得到一个世界，我们可以相信的。 11:22我们使用数学，科学和代码来创建这些神奇的世界。 11:27我们用讲故事和艺术带给他们的生活。 11:30正是这种交织的艺术和科学 11:34这提升了世界一个地方的奇迹， 11:38用灵魂的地方， 11:39我们可以相信的地方， 11:42那里的东西，你能想象成为真正的一个地方 - 11:47和一个世界里，一个女孩突然意识到 11:50她不仅是一位科学家， 11:52但也是一个艺术家。 11:54谢谢。 11:55 （掌声）