The Future of News? Virtual Reality | Nonny de la Peña | TED Talks

Translator: Dewi Barnas Reviewer: Gita Arimanda

What if I could present you a story

Bagaimana seandainya saya menceritakan

that you would remember with your entire body

sesuatu yang dapat Anda ingat dengan segenap indra

and not just with your mind?

dan tidak hanya dengan memori Anda?

My whole life as a journalist, I've really been compelled

Seumur hidup saya sebagai wartawan, saya sangat ingin

to try to make stories that can make a difference

membuat kisah yang dapat membuat perbedaan

and maybe inspire people to care.

dan mungkin menginspirasi orang lain untuk peduli.

I've worked in print. I've worked in documentary.

Saya pernah bekerja di media cetak, di dokumenter,

I've worked in broadcast.

penyiaran.

But it really wasn't until I got involved with virtual reality

Tapi sebelum saya terlibat dengan virtual reality,

that I started seeing these really intense,

saya tidak pernah melihat reaksi otentik

authentic reactions from people

yang begitu hebat dari orang-orang,

that really blew my mind.

yang benar-benar menakjubkan saya.

So the deal is that with VR, virtual reality,

Jadi dengan VR, virtual reality,

I can put you on scene

saya dapat menempatkan Anda di lokasi

in the middle of the story.

di tengah-tengah cerita.

By putting on these goggles that track wherever you look,

Dengan mengenakan kacamata yang mengikuti kemana pun Anda memandang,

you get this whole-body sensation,

Anda merasakan sensasi dengan keseluruhan tubuh Anda

like you're actually, like, there.

seakan-akan, Anda benar-benar ada di sana.

So five years ago was about when I really began to push the envelope

Lima tahun yang lalu, saya mulai

with using virtual reality and journalism together.

menghubungkan virtual reality dan jurnalisme.

And I wanted to do a piece about hunger.

Dan saya ingin meliput berita tentang kelaparan.

Families in America are going hungry, food banks are overwhelmed,

Keluarga Amerika yang kelaparan, sementara bank makanan kewalahan,

and they're often running out of food.

dan mereka seringkali kehabisan makanan.

Now, I knew I couldn't make people feel hungry,

Nah, saya tahu saya tidak bisa membuat orang merasa lapar,

but maybe I could figure out a way to get them to feel something physical.

tapi mungkin saya bisa menemukan cara agar mereka dapat mengalaminya secara fisik.

So -- again, this is five years ago --

Jadi -- ini lima tahun yang lalu --

so doing journalism and virtual reality together

menggabungkan jurnalisme dan virtual reality

was considered a worse-than-half-baked idea,

mungkin dianggap lebih buruk daripada ide-setengah-jadi,

and I had no funding.

dan saya tidak punya dana.

Believe me, I had a lot of colleagues laughing at me.

Percayalah, ada banyak kolega yang menertawakan saya.

And I did, though, have a really great intern,

Tapi saya punya seorang pegawai magang yang hebat,

a woman named Michaela Kobsa-Mark.

seorang perempuan bernama Michaela Kobsa-Mark.

And together we went out to food banks

Dan bersama-sama, kami pergi ke bank makanan

and started recording audio and photographs.

dan mulai merekam audio dan mengambil gambar.

Until one day she came back to my office

Hingga suatu hari dia datang ke ruangan saya

and she was bawling, she was just crying.

dan dia menangis.

She had been on scene at a long line,

Dia berada dalam antrian panjang di lokasi

where the woman running the line was feeling extremely overwhelmed,

ketika seorang perempuan yang kewalahan

and she was screaming, "There's too many people!

berteriak, "Ada begitu banyak orang!"

There's too many people!"

"Ada terlalu banyak orang!"

And this man with diabetes doesn't get food in time,

Dan seorang pria dengan diabetes yang tidak mendapat makanan tepat waktu,

his blood sugar drops too low, and he collapses into a coma.

gula darahnya turun rendah, dan ia jatuh koma.

As soon as I heard that audio,

Segera setelah mendengar rekaman itu,

I knew that this would be the kind of evocative piece

saya tahu ini akan menjadi laporan menggugah

that could really describe what was going on at food banks.

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?

Jadi ini adalah antrian betulan. Anda bisa lihat betapa panjang, bukan?

And again, as I said, we didn't have very much funding,

Dan seperti saya bilang, kami tak punya banyak dana,

so I had to reproduce it with virtual humans that were donated,

jadi saya harus mereka ulang dengan manusia virtual yang disumbangkan,

and people begged and borrowed favors to help me create the models

dan orang-orang memohon dan membantu saya untuk menciptakan model

and make things as accurate as we could.

dan membuat reka ulang ini se-akurat mungkin.

And then we tried to convey what happened that day

Kemudian kami mencoba untuk menyampaikan kejadian itu

with as much as accuracy as is possible.

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,

Nonny de la Peña: Pria di sebelah kanan,

for him, he's walking around the body.

baginya, ia berjalan mengelilingi jenazah.

For him, he's in the room with that body.

Baginya, ia ada di ruangan itu.

Like, that guy is at his feet.

Seakan-akan pria itu ada di kakinya.

And even though, through his peripheral vision,

Dan meskipun melalui penglihatan periferal

he can see that he's in this lab space,

ia dapat melihat bahwa ia di dalam lab,

he should be able to see that he's not actually on the street,

ia dapat melihat bahwa dia tidak benar-benar ada di jalan,

but he feels like he's there with those people.

tapi ia merasa seakan ia ada di sana bersama mereka.

Dia sangat berhati-hati agar tidak menginjak pria ini

He's very cautious not to step on this guy

who isn't really there, right?

yang sebenarnya tidak ada di sana.

So that piece ended up going to Sundance in 2012,

Jadi dokumenter ini sampai ke Sundance pada tahun 2012,

a kind of amazing thing, and it was the first virtual reality film

dan sungguh menakjubkan, karena ini adalah film virtual reality pertama

ever, basically.

yang pernah ada.

Dan waktu itu, saya benar-benar khawatir.

And when we went, I was really terrified.

I didn't really know how people were going to react

Saya tidak tahu akan seperti apa reaksi orang-orang

and what was going to happen.

dan apa yang akan terjadi.

And we showed up with this duct-taped pair of goggles.

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?

Kamu bisa mendengar kekagetan di suaraku, kan?

And this kind of reaction ended up being the kind of reaction we saw

Dan reaksi semacam inilah yang kami lihat

over and over and over:

lagi dan lagi dan lagi:

people down on the ground trying to comfort the seizure victim,

orang-orang berlutut di tanah untuk membantu korban kejang,

trying to whisper something into his ear

berusaha membisikkan sesuatu ke telinganya

or in some way help, even though they couldn't.

atau membantu sebisanya, meskipun mereka tak mungkin bisa.

And I had a lot of people come out of that piece saying,

Dan banyak orang yang setelah menonton film itu berkata,

"Oh my God, I was so frustrated. I couldn't help the guy,"

"Ya Tuhan, saya frustasi. Saya tak bisa membantu pria itu,"

and take that back into their lives.

dan membawa pengalaman itu dalam hidup mereka.

So after this piece was made,

Setelah film ini dibuat,

the dean of the cinema school at USC, the University of Southern California,

dekan sekolah perfilman di USC, University of Southern California,

brought in the head of the World Economic Forum to try "Hunger,"

mengundang ketua World Economic Forum untuk melihat "Hunger,"

and he took off the goggles,

dan dia melepas kacamatanya,

and he commissioned a piece about Syria on the spot.

dan memesan dokumenter tentang Suriah ketika itu juga.

And I really wanted to do something about Syrian refugee kids,

Dan saya benar-benar ingin melakukan sesuatu untuk anak-anak pengungsi Suriah,

because children have been the worst affected by the Syrian civil war.

karena anak-anak adalah korban paling parah dari perang sipil di Suriah.

I sent a team to the border of Iraq to record material at refugee camps,

Saya mengirim tim ke perbatasan Irak untuk merekam para pengungsi di kamp,

basically an area I wouldn't send a team now,

ke wilayah yang sekarang tidak lagi aman,

as that's where ISIS is really operating.

karena disanalah ISIS sekarang beroperasi.

And then we also recreated a street scene

Dan kami juga mereka ulang satu kejadian di jalanan

in which a young girl is singing and a bomb goes off.

dimana seorang gadis kecil sedang bernyanyi dan sebuah bom meledak.

Now, when you're in the middle of that scene

Ketika Anda berada di tengah-tengah kejadian itu,

and you hear those sounds,

dan Anda mendengar suara itu,

dan Anda melihat orang-orang terluka di sekitar Anda,

and you see the injured around you,

it's an incredibly scary and real feeling.

itu adalah perasaan yang sangat menakutkan dan begitu nyata.

I've had individuals who have been involved in real bombings tell me

Saya pernah bertemu orang-orang yang pernah mengalami pengeboman betulan

that it evokes the same kind of fear.

dan mereka bilang perasaan takutnya sama.

[The civil war in Syria may seem far away]

[Perang sipil Suriah mungkin terasa jauh]

[until you experience it yourself.]

[sampai Anda mengalaminya sendiri.]

(Girl singing)

(Gadis menyanyi)

(Explosion)

(Ledakan)

[Project Syria]

[Proyek Suriah]

[A virtual reality experience]

[Pengalaman virtual reality]

NP: We were then invited to take the piece

NP: Kami kemudian diundang untuk membawanya

to the Victoria and Albert Museum in London.

ke Museum Victoria dan Albert di London.

And it wasn't advertised.

Tidak ada iklan.

And we were put in this tapestry room.

Kami ditempatkan di ruangan permadani ini.

There was no press about it,

Tidak ada promosi media,

so anybody who happened to walk into the museum to visit it that day

jadi siapa pun yang kebetulan mengunjungi museum pada hari itu

would see us with these crazy lights.

bisa melihat kami dengan lampu besar ini.

You know, maybe they would want to see the old storytelling of the tapestries.

Yah, mungkin mereka ingin melihat kisah lama yang diceritakan di permadani.

They were confronted by our virtual reality cameras.

Mereka justru menemukan kamera virtual reality kami.

But a lot of people tried it, and over a five-day run

Tapi banyak orang yang mencobanya, dan sepanjang 5 hari

we ended up with 54 pages of guest book comments,

buku pengunjung kami penuh dengan pesan pengunjung sepanjang 54 halaman,

and we were told by the curators there

dan menurut kurator di sana

that they'd never seen such an outpouring.

mereka tak pernah melihat pengunjung seramai itu.

Things like, "It's so real," "Absolutely believable,"

Pesan seperti, "Ini seperti betulan," "Seperti asli,"

or, of course, the one that I was excited about,

atau, tentunya, yang saya paling suka,

"A real feeling as if you were in the middle of something

"Perasaan seakan saya benar-benar ada di tengah kejadian

that you normally see on the TV news."

yang biasanya hanya bisa dilihat dalam berita TV."

So, it works, right? This stuff works.

Jadi, berhasil, kan? Ini bisa berhasil.

And it doesn't really matter where you're from or what age you are --

Dan tak peduli dari mana asal Anda atau usia Anda --

it's really evocative.

ini benar-benar menggugah.

Now, don't get me wrong -- I'm not saying that when you're in a piece

Jangan salah paham -- saya tidak bilang bahwa ketika Anda ada dalam satu adegan

you forget that you're here.

Anda lupa Anda ada di sini.

But it turns out we can feel like we're in two places at once.

Tapi ternyata kita bisa merasa berada di dua tempat sekaligus.

We can have what I call this duality of presence,

Kita bisa memiliki yang saya sebut dualisme keberadaan,

and I think that's what allows me to tap into these feelings of empathy.

dan menurut saya ini memberi saya perasaan empati.

Right?

Ya, kan?

So that means, of course,

Jadi itu artinya, tentu saja,

that I have to be very cautious about creating these pieces.

saya harus benar-benar hati-hati dalam menciptakan adegan-adegan ini.

I have to really follow best journalistic practices

Saya harus benar-benar mengikuti praktik jurnalisme yang terbaik

and make sure that these powerful stories

dan memastikan agar kisah-kisah ini

are built with integrity.

dibuat dengan penuh integritas.

If we don't capture the material ourselves,

Jika kami tidak mengambil bahan secara langsung,

we have to be extremely exacting

kami harus memastikan dengan benar

about figuring out the provenance and where did this stuff come from

sumber dan asalnya

and is it authentic?

dan keasliannya.

Let me give you an example.

Saya akan beri satu contoh.

With this Trayvon Martin case, this is a guy, a kid,

Dalam kasus Travyon Martin, seorang anak laki-laki

who was 17 years old and he bought soda and a candy at a store,

berusia 17 tahun yang membeli soda dan permen di toko,

and on his way home he was tracked by a neighborhood watchman

dan dia dalam perjalanan pulang ketika dihadang oleh seorang penjaga malam

named George Zimmerman who ended up shooting and killing him.

bernama George Zimmerman yang belakangan menembak dan membunuhnya.

To make that piece,

Untuk membuat adegan itu,

we got the architectural drawings of the entire complex,

kami menerima gambar arsitektur kompleks tersebut

and we rebuilt the entire scene inside and out, based on those drawings.

dan kami membangun keseluruhan adegan luar-dalam, berdasarkan gambar tersebut.

All of the action

Seluruh kejadiannya

is informed by the real 911 recorded calls to the police.

diinformasikan oleh telepon 911 yang sebenarnya pada polisi.

And interestingly, we broke some news with this story.

Dan menariknya, kami menelurkan berita dalam cerita ini.

The forensic house that did the audio reconstruction, Primeau Productions,

Kantor forensik yang melakukan rekonstruksi audio, Primeau Productions,

they say that they would testify

mengatakan bahwa mereka akan bersaksi

that George Zimmerman, when he got out of the car,

bahwa ketika George Zimmerman keluar dari mobil,

he cocked his gun before he went to give chase to Martin.

Ia mengokang senjatanya sebelum Ia mengejar Martin.

So you can see that the basic tenets of journalism,

Jadi Anda bisa melihat prinsip-prinsip dasar jurnalisme,

they don't really change here, right?

yang tidak berubah di sini, ya kan?

We're still following the same principles that we would always.

Kami masih mengikuti prinsip yang selalu kami ikuti.

What is different is the sense of being on scene,

Bedanya adalah peraasan berada di lokasi

whether you're watching a guy collapse from hunger

baik ketika Anda menonton seseorang jatuh kelaparan

or feeling like you're in the middle of a bomb scene.

atau merasa berada di tengah adegan pengeboman.

And this is kind of what has driven me forward with these pieces,

Dan inilah yang mendorong saya melakukannya.

and thinking about how to make them.

dan berpikir bagaimana caranya membuatnya

We're trying to make this, obviously, beyond the headset, more available.

Kami mencoba membuatnya lebih gampang diakses, tanpa headset.

We're creating mobile pieces like the Trayvon Martin piece.

Kami membuat adegan "mobile" seperti kasus Trayvon Martin.

And these things have had impact.

Dan mereka berdampak.

I've had Americans tell me that they've donated,

Ada orang yang mengatakan bahwa mereka memberikan donasi,

direct deductions from their bank account, money to go to Syrian children refugees.

mengirimkan uang dari rekening bank mereka untuk anak-anak pengungsi Suriah.

And "Hunger in LA," well, it's helped start

Dan "Hunger in LA" sudah membantu memulai

a new form of doing journalism

sebuah metode jurnalisme

that I think is going to join all the other normal platforms

yang menurut saya akan menjadi salah satu media biasa

in the future.

di masa depan.

Thank you.

Terima kasih.

(Applause)

(Tepuk tangan)