The magic ingredient that brings Pixar movies to life | Danielle Feinberg

769,582 views ใƒป 2016-04-28

TED


์•„๋ž˜ ์˜๋ฌธ์ž๋ง‰์„ ๋”๋ธ”ํด๋ฆญํ•˜์‹œ๋ฉด ์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค.

๋ฒˆ์—ญ: Ju Hye Lim ๊ฒ€ํ† : Jihyeon J. Kim
00:12
When I was seven years old,
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์ œ๊ฐ€ ์ผ๊ณฑ ์‚ด์ด์—ˆ์„ ๋•Œ
00:14
some well-meaning adult asked me what I wanted to be when I grew up.
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์„ ์˜์˜ ๋œป์œผ๋กœ ๊ทธ๋Ÿฌ์…จ๊ฒ ์ง€๋งŒ ์ œ ๊ฟˆ์„ ๋ฌผ์œผ์…จ๋˜ ๋ถ„์ด ์žˆ์Šต๋‹ˆ๋‹ค.
00:18
Proudly, I said: "An artist."
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์ €๋Š” ์ž๋ž‘์Šค๋Ÿฝ๊ฒŒ ์˜ˆ์ˆ ๊ฐ€๋ผ๊ณ  ๋‹ตํ–ˆ์Šต๋‹ˆ๋‹ค.
00:20
"No, you don't," he said,
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๊ทธ๋Š” "๋ณ„๋กœ์ผ ๊ฑธ.
00:22
"You can't make a living being an artist!"
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๊ทธ๊ฑธ๋กœ๋Š” ๋จน๊ณ  ์‚ด๊ธฐ ํž˜๋“ค์–ด." ๋ผ๊ณ  ๋งํ–ˆ์Šต๋‹ˆ๋‹ค.
00:24
My little seven-year-old Picasso dreams were crushed.
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7์‚ด ๋•Œ ๊ฐ€์กŒ๋˜ ํ”ผ์นด์†Œ์˜ ๊ฟˆ์€ ์‚ฐ์‚ฐ์กฐ๊ฐ๋‚ฌ์Šต๋‹ˆ๋‹ค.
00:28
But I gathered myself,
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ํ•˜์ง€๋งŒ ๊ณง ๋งˆ์Œ์„ ๋‹ค์žก๊ณ 
00:29
went off in search of a new dream,
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์ƒˆ ๊ฟˆ์„ ์ฐพ๊ธฐ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
00:31
eventually settling on being a scientist,
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๊ทธ๋ฆฌ๊ณ  ๊ณผํ•™์ž๊ฐ€ ๋˜๊ธฐ๋กœ ํ–ˆ์Šต๋‹ˆ๋‹ค.
00:34
perhaps something like the next Albert Einstein.
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์ฐจ์„ธ๋Œ€ ์•Œ๋ฒ„ํŠธ ์•„์ธ์Šˆํƒ€์ธ ๋ง์ด์ฃ .
00:37
(Laughter)
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(์›ƒ์Œ)
00:40
I have always loved math and science,
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์ €๋Š” ํ•ญ์ƒ ์ˆ˜ํ•™๊ณผ ๊ณผํ•™์„ ์ข‹์•„ํ–ˆ์–ด์š”.
00:42
later, coding.
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๋‚˜์ค‘์—๋Š” ์ฝ”๋”ฉ๋„ ์ข‹์•„ํ•˜๊ฒŒ ๋์–ด์š”.
00:43
And so I decided to study computer programming in college.
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๊ทธ๋ž˜์„œ ๋Œ€ํ•™์—์„œ ์ปดํ“จํ„ฐ ํ”„๋กœ๊ทธ๋ž˜๋ฐ์„ ์ „๊ณตํ•˜๊ธฐ๋กœ ํ–ˆ์Šต๋‹ˆ๋‹ค.
00:47
In my junior year,
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๋Œ€ํ•™๊ต 3ํ•™๋…„ ๋•Œ
00:48
my computer graphics professor showed us these wonderful short films.
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์ปดํ“จํ„ฐ ๊ทธ๋ž˜ํ”ฝ ์ˆ˜์—… ๊ต์ˆ˜๋‹˜๊ป˜์„œ ๋ฉ‹์ง„ ๋‹จํŽธ ์˜ํ™”๋ฅผ ๋ณด์—ฌ์ฃผ์…จ์Šต๋‹ˆ๋‹ค.
00:52
It was the first computer animation any of us had ever seen.
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๊ทธ๊ฒŒ ์ €ํฌ ๋ชจ๋‘๊ฐ€ ์ฒ˜์Œ์œผ๋กœ ๋ณธ ์ปดํ“จํ„ฐ ์• ๋‹ˆ๋ฉ”์ด์…˜์ด์—ˆ์Šต๋‹ˆ๋‹ค.
00:56
I watched these films in wonder, transfixed,
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์ €๋Š” ๊ฐํƒ„ํ•˜๋ฉฐ ์›€์ง์ด์ง€๋„ ์•Š๊ณ  ์• ๋‹ˆ๋ฉ”์ด์…˜์„ ๋ณด์•˜์Šต๋‹ˆ๋‹ค.
00:59
fireworks going off in my head,
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๋จธ๋ฆฟ์†์—์„œ ํญ์ฃฝ์ด ํ„ฐ์ง€๊ณ  ์žˆ์—ˆ์–ด์š”.
01:01
thinking, "That is what I want to do with my life."
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"์ด๊ฒŒ ๋ฐ”๋กœ ๋‚ด๊ฐ€ ์ธ์ƒ์—์„œ ํ•˜๊ณ  ์‹ถ์€ ์ผ์ด์•ผ."๋ผ๊ณ  ์ƒ๊ฐํ•˜๋ฉด์„œ์š”.
01:05
The idea that all the math, science and code I had been learning
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์ œ๊ฐ€ ๋ฐฐ์šด ์ˆ˜ํ•™๊ณผ ๊ณผํ•™, ์ฝ”๋“œ๊ฐ€ ๋ชจ๋‘ ๊ฒฐํ•ฉ๋˜์–ด
01:08
could come together to create these worlds and characters
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์ œ๊ฐ€ ๊ณต๊ฐํ•˜๋Š” ์ด๋Ÿฐ ์„ธ๊ณ„์™€ ์ธ๋ฌผ,
01:11
and stories I connected with,
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์ด์•ผ๊ธฐ๋ฅผ ์ฐฝ์กฐํ•  ์ˆ˜ ์žˆ๋‹ค๋Š” ๋ฐœ์ƒ์ด
01:13
was pure magic for me.
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์ œ๊ฒŒ๋Š” ๋งˆ๋ฒ• ๊ฐ™์•˜์Šต๋‹ˆ๋‹ค.
01:16
Just two years later, I started working
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2๋…„ ํ›„์— ์ €๋Š” ๊ทธ๋Ÿฐ ์˜ํ™”๋ฅผ ๋งŒ๋“œ๋Š”
01:18
at the place that made those films, Pixar Animation Studios.
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ํ”ฝ์‚ฌ ์• ๋‹ˆ๋ฉ”์ด์…˜ ์ŠคํŠœ๋””์˜ค์—์„œ ์ผ์„ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
01:21
It was here I learned how we actually execute those films.
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์—ฌ๊ธฐ์—์„œ ๋งŒํ™” ์˜ํ™”๋ฅผ ๋งŒ๋“œ๋Š” ๋ฐฉ๋ฒ•์„ ๋ฐฐ์› ์Šต๋‹ˆ๋‹ค.
01:24
To create our movies,
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์˜ํ™”๋ฅผ ๋งŒ๋“ค๊ธฐ ์œ„ํ•ด์„œ๋Š”
01:25
we create a three-dimensional world inside the computer.
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์ปดํ“จํ„ฐ ์•ˆ์—์„œ 3์ฐจ์› ์„ธ๊ณ„๋ฅผ ์ฐฝ์กฐํ•ด์•ผ ํ–ˆ์Šต๋‹ˆ๋‹ค.
01:28
We start with a point that makes a line that makes a face
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์ ์œผ๋กœ ์‹œ์ž‘ํ•ด์„œ ์„ ์„ ๋งŒ๋“ค๊ณ  ์„ ์œผ๋กœ ์–ผ๊ตด์„ ๋งŒ๋“ค์–ด
01:32
that creates characters,
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๊ทธ๋ ‡๊ฒŒ ์ธ๋ฌผ์„ ๋งŒ๋“ค๊ฑฐ๋‚˜
01:34
or trees and rocks that eventually become a forest.
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๋‚˜๋ฌด์™€ ๋Œ์„ ๋งŒ๋“ค์–ด์„œ ์ˆฒ์„ ๋งŒ๋“ค์–ด๋ƒˆ์Šต๋‹ˆ๋‹ค.
01:37
And because it's a three-dimensional world,
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3์ฐจ์›์˜ ์„ธ๊ณ„์˜€๊ธฐ ๋•Œ๋ฌธ์—
01:39
we can move a camera around inside that world.
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๊ทธ ์„ธ๊ณ„ ์•ˆ์—์„œ ์นด๋ฉ”๋ผ๋ฅผ ์›€์ง์ผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
01:43
I was fascinated by all of it.
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์ €๋Š” ์ด ๋ชจ๋“  ๊ฒƒ์— ๋งค๋ฃŒ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
01:45
But then I got my first taste of lighting.
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๊ทธ๋ฆฌ๊ณ  ์ฒ˜์Œ์œผ๋กœ ์กฐ๋ช…์„ ์ผœ๋ณด๊ฒŒ ๋˜์—ˆ์Šต๋‹ˆ๋‹ค.
01:48
Lighting in practice is placing lights inside this three-dimensional world.
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์‹ค์ œ๋กœ ์กฐ๋ช…์„ ์ผœ๋Š” ๊ฒƒ์€ 3์ฐจ์› ์„ธ๊ณ„ ์•ˆ์— ์กฐ๋ช…์„ ๋„ฃ๋Š” ๊ฒ๋‹ˆ๋‹ค.
01:52
I actually have icons of lights I move around in there.
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์‹ค์ œ๋กœ ์˜ฎ๊ธธ ์ˆ˜ ์žˆ๋Š” ์กฐ๋ช… ์•„์ด์ฝ˜์ด ์žˆ์–ด์š”.
01:54
Here you can see I've added a light,
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์—ฌ๊ธฐ ์กฐ๋ช…์„ ์ถ”๊ฐ€ํ•œ ๊ฑธ ๋ณด์‹ค ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
01:56
I'm turning on the rough version of lighting in our software,
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์šฐ๋ฆฌ๊ฐ€ ์“ฐ๋Š” ์†Œํ”„ํŠธ์›จ์–ด์—์„œ ์กฐ๋ช…์„ ๋„ฃ๋Š” ์ž‘์—…์˜ ์ดˆ๊ณ ๋ฅผ ํ•˜๊ณ 
01:59
turn on shadows
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๊ทธ๋ฆผ์ž๋ฅผ ๋„ฃ๊ณ 
02:00
and placing the light.
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๋น›์„ ๋ฐฐ์น˜ํ•ฉ๋‹ˆ๋‹ค.
02:02
As I place a light,
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์กฐ๋ช…์„ ๋ฐฐ์น˜ํ•˜๋ฉด์„œ
02:03
I think about what it might look like in real life,
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ํ˜„์‹ค์—์„œ๋Š” ์–ด๋–ป๊ฒŒ ๋ณด์ผ์ง€๋„ ์ƒ๊ฐํ•˜์ง€๋งŒ
02:06
but balance that out with what we need artistically and for the story.
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์˜ˆ์ˆ ์ ์ธ ๋ฉด์ด๋‚˜ ์ด์•ผ๊ธฐ๋ฅผ ํ‘œํ˜„ํ•˜๋Š” ๋ฉด์—์„œ ํ•„์š”ํ•œ ๊ฒƒ๊ณผ ๊ท ํ˜•๋„ ๋งž์ถฅ๋‹ˆ๋‹ค.
02:10
So it might look like this at first,
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๊ทธ๋ž˜์„œ ์ดˆ๋ฐ˜์—๋Š” ์ด๋ ‡์ง€๋งŒ
02:14
but as we adjust this and move that
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์ด๊ฑธ ์กฐ์ •ํ•˜๊ณ  ์ €๊ฑธ ์˜ฎ๊ธฐ๋ฉด์„œ
02:16
in weeks of work,
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๋ช‡ ์ฃผ ๋™์•ˆ ์ž‘์—…ํ•˜๋ฉด
02:18
in rough form it might look like this,
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๋Œ€๋žต์ ์œผ๋กœ ์ด๋ ‡๊ฒŒ ๋˜๊ณ 
02:21
and in final form, like this.
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์ตœ์ข…์ ์œผ๋กœ๋Š” ์ด๋ ‡๊ฒŒ ๋ฉ๋‹ˆ๋‹ค.
02:28
There's this moment in lighting that made me fall utterly in love with it.
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์กฐ๋ช…์„ ๋„ฃ๋Š” ๊ณผ์ •์„ ์‚ฌ๋ž‘ํ•˜๊ฒŒ ๋œ ๊ฒƒ์ด ๋ฐ”๋กœ ์ด๋Ÿฐ ์ˆœ๊ฐ„ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
02:32
It's where we go from this
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์ด๋Ÿฐ ๋ชจ์Šต์—์„œ ๋ณ€ํ•ด์„œ
02:34
to this.
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์ด๋ ‡๊ฒŒ ๋˜๋Š” ๊ฑฐ์˜ˆ์š”.
02:36
It's the moment where all the pieces come together,
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๋ชจ๋“  ์กฐ๊ฐ์ด ๋‹ค ํ•ฉ์ณ์กŒ์„ ๋•Œ
02:38
and suddenly the world comes to life
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์„ธ๊ณ„๊ฐ€ ์‹ค์ œ๋กœ ์กด์žฌํ•˜๋Š” ๊ณณ์ฒ˜๋Ÿผ ์‚ด์•„๋‚ฉ๋‹ˆ๋‹ค.
02:41
as if it's an actual place that exists.
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02:44
This moment never gets old,
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์ด ์ˆœ๊ฐ„์€ ์ ˆ๋Œ€ ์งˆ๋ฆฌ์ง€ ์•Š์•„์š”.
02:45
especially for that little seven-year-old girl that wanted to be an artist.
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์˜ˆ์ˆ ๊ฐ€๊ฐ€ ๊ฟˆ์ด์—ˆ๋˜ 7์‚ด์งœ๋ฆฌ ์†Œ๋…€์—๊ฒŒ๋Š” ํŠนํžˆ๋‚˜ ๋” ๊ทธ๋ ‡์ฃ .
02:49
As I learned to light,
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์กฐ๋ช… ๋„ฃ๋Š” ๊ฑธ ๋ฐฐ์šฐ๋ฉด์„œ
02:50
I learned about using light to help tell story,
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์ €๋Š” ๋น›์„ ์ด์šฉํ•ด ์ด์•ผ๊ธฐ๋ฅผ ๋“ค๋ ค์ฃผ๋Š” ๊ฑธ ๋ฐฐ์› ๊ณ 
02:54
to set the time of day,
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ํ•˜๋ฃจ ์ค‘์˜ ์‹œ๊ฐ„์„ ์„ค์ •ํ•˜๊ณ 
02:57
to create the mood,
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๋ถ„์œ„๊ธฐ๋ฅผ ์กฐ์„ฑํ•˜๊ณ 
02:59
to guide the audience's eye,
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๊ด€๊ฐ์˜ ์‹œ์„ ์„ ์•ˆ๋‚ดํ•˜๊ณ 
03:02
how to make a character look appealing
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์ธ๋ฌผ์„ ๋” ๋งค๋ ฅ์ ์œผ๋กœ ๋ณด์ด๊ฒŒ ๋งŒ๋“ค๊ฑฐ๋‚˜
03:05
or stand out in a busy set.
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๋ณต์žกํ•œ ๋ฐฐ๊ฒฝ ์†์—์„œ ๋‹๋ณด์ด๊ฒŒ ํ•˜๋Š” ๊ฑธ ๋ฐฐ์› ์–ด์š”.
03:08
Did you see WALL-E?
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์›”-E๋ฅผ ๋ณด์…จ๋‚˜์š”?
03:09
(Laughter)
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(์›ƒ์Œ)
03:10
There he is.
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์›”-E๊ฐ€ ์ €๊ธฐ ์žˆ์Šต๋‹ˆ๋‹ค.
03:13
As you can see,
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๋ณด์‹œ๋‹ค์‹œํ”ผ
03:14
we can create any world that we want inside the computer.
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์šฐ๋ฆฌ๋Š” ์›ํ•˜๋Š” ์„ธ์ƒ์€ ๋ชจ๋‘ ์ปดํ“จํ„ฐ ์†์— ๋งŒ๋“ค ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
03:17
We can make a world with monsters,
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๊ดด๋ฌผ์ด ์žˆ๋Š” ์„ธ์ƒ์ด๋‚˜
03:20
with robots that fall in love,
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๋กœ๋ด‡์ด ์‚ฌ๋ž‘์— ๋น ์ง€๋Š” ์„ธ์ƒ๋„ ๋งŒ๋“ค ์ˆ˜ ์žˆ๊ณ 
03:23
we can even make pigs fly.
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๋ผ์ง€๋ฅผ ๋‚ ๊ฒŒ ํ•  ์ˆ˜๋„ ์žˆ์–ด์š”.
03:25
(Laughter)
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(์›ƒ์Œ)
03:30
While this is an incredible thing,
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์ด๊ฑด ๊ต‰์žฅํ•œ ์ผ์ด๊ธฐ๋„ ํ•˜์ง€๋งŒ
03:32
this untethered artistic freedom,
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๋ฌถ์—ฌ์žˆ์ง€ ์•Š์€ ์˜ˆ์ˆ ์  ์ž์œ ๊ฐ€
03:34
it can create chaos.
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ํ˜ผ๋ž€์„ ์•ผ๊ธฐํ•  ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
03:36
It can create unbelievable worlds,
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๋ฏฟ๊ธฐ ํž˜๋“  ์„ธ์ƒ๊ณผ
03:39
unbelievable movement,
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๋ฏฟ๊ธฐ ํž˜๋“  ์ˆœ๊ฐ„์„ ๋งŒ๋“ค์–ด๋‚ผ ์ˆ˜ ์žˆ๊ณ 
03:41
things that are jarring to the audience.
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์ด๊ฑด ๊ด€๊ฐ์˜ ๋ˆˆ์— ๊ฑฐ์Šฌ๋ฆด ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
03:43
So to combat this, we tether ourselves with science.
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์ด๊ฒƒ์— ๋งž์„œ๊ธฐ ์œ„ํ•ด ์ €ํฌ๋Š” ์Šค์Šค๋กœ๋ฅผ ๊ณผํ•™์˜ ํ‹€์— ํ•œ์ •์‹œํ‚ต๋‹ˆ๋‹ค.
03:46
We use science and the world we know
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๊ณผํ•™๊ณผ ์šฐ๋ฆฌ๊ฐ€ ์•Œ๊ณ  ์žˆ๋Š” ์„ธ์ƒ์„
03:48
as a backbone,
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๊ธฐ๋ณธ ๊ณจ๊ฒฉ์œผ๋กœ ์‚ฌ์šฉํ•ด์„œ
03:49
to ground ourselves in something relatable and recognizable.
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๊ณต๊ฐํ•  ์ˆ˜ ์žˆ๊ณ  ์ธ์‹ํ•  ์ˆ˜ ์žˆ๋Š” ๊ฒƒ์— ์ €ํฌ์˜ ๊ธฐ๋ฐ˜์„ ๋‘ก๋‹ˆ๋‹ค.
03:53
"Finding Nemo" is an excellent example of this.
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"๋‹ˆ๋ชจ๋ฅผ ์ฐพ์•„์„œ"๊ฐ€ ์ด๊ฒƒ์˜ ํ›Œ๋ฅญํ•œ ์˜ˆ์ž…๋‹ˆ๋‹ค.
03:56
A major portion of the movie takes place underwater.
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์˜ํ™”์˜ ๋Œ€๋ถ€๋ถ„์€ ๋ฐ”๋‹ท์†์—์„œ ์ผ์–ด๋‚ฉ๋‹ˆ๋‹ค.
03:59
But how do you make it look underwater?
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ํ•˜์ง€๋งŒ ์–ด๋–ป๊ฒŒ ๋ฐ”๋‹ท์†์ฒ˜๋Ÿผ ๋ณด์ด๊ฒŒ ํ•  ์ˆ˜ ์žˆ์„๊นŒ์š”?
04:01
In early research and development,
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์ดˆ๊ธฐ ์กฐ์‚ฌ์™€ ๊ฐœ๋ฐœ ๋‹จ๊ณ„์—์„œ
04:02
we took a clip of underwater footage and recreated it in the computer.
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๋ฐ”๋‹ท์† ์žฅ๋ฉด์„ ๊ฐ€์ ธ์™€์„œ ์ปดํ“จํ„ฐ ์•ˆ์— ์žฌํ˜„ํ–ˆ์Šต๋‹ˆ๋‹ค.
04:06
Then we broke it back down
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๊ทธ๋ฆฌ๊ณ ๋Š” ๋‹ค์‹œ ๋ถ„ํ•ดํ•ด์„œ
04:08
to see which elements make up that underwater look.
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๋ฐ”๋‹ท์†์ฒ˜๋Ÿผ ๋ณด์ด๊ฒŒ ํ•˜๋Š” ์š”์†Œ๊ฐ€ ๋ฌด์—‡์ธ์ง€๋ฅผ ๋ณด์•˜์Šต๋‹ˆ๋‹ค.
04:11
One of the most critical elements
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๊ฐ€์žฅ ์ค‘์š”ํ•œ ์š”์†Œ ์ค‘ ํ•˜๋‚˜๊ฐ€
04:13
was how the light travels through the water.
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๋น›์ด ๋ฌผ์„ ํˆฌ๊ณผํ•ด ๋ณด์ด๋Š” ๋ฐฉ๋ฒ•์ž…๋‹ˆ๋‹ค.
04:15
So we coded up a light that mimics this physics --
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์šฐ๋ฆฌ๋Š” ๋‹ค์Œ์˜ ๋ฌผ๋ฆฌ๋ฒ•์น™์„ ํ‰๋‚ด๋‚ธ ์กฐ๋ช…์„ ์ฝ”๋”ฉํ–ˆ์Šต๋‹ˆ๋‹ค.
04:18
first, the visibility of the water,
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์ฒซ์งธ, ๋ฌผ ์†์—์„œ์˜ ๊ฐ€์‹œ์„ฑ๊ณผ
04:19
and then what happens with the color.
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๊ทธ ๋‹ค์Œ์œผ๋กœ๋Š” ์ƒ‰์ด ์–ด๋–ป๊ฒŒ ๋ณ€ํ•˜๋Š”์ง€๋ฅผ์š”.
04:22
Objects close to the eye have their full, rich colors.
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๋ˆˆ๊ณผ ๊ฐ€๊นŒ์šด ๋ฌผ์ฒด๋Š” ์›๋ž˜์˜ ํ’๋ถ€ํ•œ ์ƒ‰์„ ๋ฑ๋‹ˆ๋‹ค.
04:26
As light travels deeper into the water,
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๋น›์ด ๋ฌผ ์†์„ ๋” ๊นŠ์ด ํ†ต๊ณผํ•˜๋ฉด์„œ
04:28
we lose the red wavelengths,
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์ ์ƒ‰ ํŒŒ์žฅ์ด ์‚ฌ๋ผ์ง€๊ณ 
04:30
then the green wavelengths,
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๊ทธ ๋‹ค์Œ์—” ๋…น์ƒ‰ ํŒŒ์žฅ์ด ์‚ฌ๋ผ์ง€๊ณ 
04:31
leaving us with blue at the far depths.
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์•„์ฃผ ๋จผ ๊ณณ์—์„œ๋Š” ํŒŒ๋ž€์ƒ‰ ํŒŒ์žฅ์ด ๋‚จ์Šต๋‹ˆ๋‹ค.
04:34
In this clip you can see two other important elements.
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์ด ์˜์ƒ์—์„œ ๋‚˜๋จธ์ง€ ์ค‘์š”ํ•œ ๋‘ ์š”์†Œ๋ฅผ ๋ณด์‹ค ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
04:37
The first is the surge and swell,
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์ฒซ์งธ๋Š” ๋ฌผ์ด ๋ฐ€๋ ค๋“ค์–ด์˜ค๋Š” ๊ฒƒ,
04:39
or the invisible underwater current
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๋˜๋Š” ๋ˆˆ์—๋Š” ๋ณด์ด์ง€ ์•Š๋Š” ๋ฐ”๋‹ท์† ํ๋ฆ„์ž…๋‹ˆ๋‹ค.
04:41
that pushes the bits of particulate around in the water.
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๋ฌผ ์†์—์„œ ๋ฏธ๋ฆฝ์ž๋ฅผ ์›€์ง์ด๊ฒŒ ํ•˜์ฃ .
04:44
The second is the caustics.
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๋‘๋ฒˆ์งธ๋Š” ์ปค์Šคํ‹ฑ(๋น› ๊ทธ๋ฆผ์ž)์ž…๋‹ˆ๋‹ค.
04:46
These are the ribbons of light,
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์ˆ˜์˜์žฅ ๋ฐ”๋‹ฅ์—์„œ
04:48
like you might see on the bottom of a pool,
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๋ณผ ์ˆ˜ ์žˆ๋Š” ๋น›์˜ ๋ ์ธ๋ฐ
04:50
that are created when the sun bends through the crests
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ํ•ด์ˆ˜๋ฉด ์œ„์˜ ๋ฌผ๊ฒฐ์ด๋‚˜ ํŒŒ๋„์˜ ๋งˆ๋ฃจ์—
04:52
of the ripples and waves on the ocean's surface.
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ํ–‡๋น›์ด ๊ตด์ ˆ๋  ๋•Œ ์ƒ๊น๋‹ˆ๋‹ค.
04:57
Here we have the fog beams.
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์—ฌ๊ธฐ ์•ˆ๊ฐœ๋“ฑ์œผ๋กœ ๋งŒ๋“  ๋น›์ค„๊ธฐ๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค.
04:58
These give us color depth cues,
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์ด ๋น›์ด ์ƒ‰์‹ฌ๋„๋„ ์•Œ๋ ค์ฃผ๊ณ 
05:00
but also tells which direction is up
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ํ•ด์ˆ˜๋ฉด์ด ๋ณด์ด์ง€ ์•Š๋Š” ์žฅ๋ฉด์—์„œ๋Š”
05:02
in shots where we don't see the water surface.
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์–ด๋Š ์ชฝ์ด ์œ„์ธ์ง€๋„ ์•Œ๋ ค์ค๋‹ˆ๋‹ค.
05:04
The other really cool thing you can see here
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์—ฌ๊ธฐ์„œ ๋ณผ ์ˆ˜ ์žˆ๋Š” ์ •๋ง ๋ฉ‹์ง„ ๊ฒƒ์€
05:06
is that we lit that particulate only with the caustics,
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์ปค์Šคํ‹ฑ ๋งŒ์œผ๋กœ ๋ฏธ๋ฆฝ์ž๋ฅผ ๋น„์ถ”์—ˆ๋Š”๋ฐ
05:10
so that as it goes in and out of those ribbons of light,
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๋ฏธ๋ฆฝ์ž๊ฐ€ ๋น›์ค„๊ธฐ ์•ˆ์œผ๋กœ ๋“ค์–ด์˜ค๊ณ  ๋‚˜๊ฐ€๋ฉด์„œ
05:12
it appears and disappears,
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๋‚˜ํƒ€๋‚˜๊ณ  ์‚ฌ๋ผ์ง„๋‹ค๋Š” ์ ์ž…๋‹ˆ๋‹ค.
05:14
lending a subtle, magical sparkle to the underwater.
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๋ฐ”๋‹ท์† ์„ธ์ƒ์— ๋ฏธ๋ฌ˜ํ•œ ๋งˆ๋ฒ•๊ฐ™์€ ๊ด‘์ฑ„๋ฅผ ๊ฐ€์ ธ๋‹ค์ฃผ์ฃ .
05:18
You can see how we're using the science --
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์˜ˆ์ˆ ๊ฐ€์˜ ์ž์œ ๋ฅผ ์ œํ•œํ•˜๊ธฐ ์œ„ํ•ด
05:21
the physics of water, light and movement --
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์šฐ๋ฆฌ๋Š” ๊ณผํ•™์„, ๋ฌผ๊ณผ ๋น›๊ณผ ์›€์ง์ž„์˜ ๋ฌผ๋ฆฌ ๋ฒ•์น™์„
05:23
to tether that artistic freedom.
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์ด์šฉํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
05:26
But we are not beholden to it.
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ํ•˜์ง€๋งŒ ๊ฑฐ๊ธฐ์— ์ „์ ์œผ๋กœ ๊ธฐ๋Œ€์ง„ ์•Š์•„์š”.
05:28
We considered each of these elements
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์šฐ๋ฆฌ๋Š” ๊ฐ ์š”์†Œ๋“ค๊ณผ
05:30
and which ones had to be scientifically accurate
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์–ด๋–ค ์š”์†Œ๋“ค์ด ๊ณผํ•™์ ์œผ๋กœ ์ •ํ™•ํ•ด์•ผ ํ•˜๋Š”์ง€์™€
05:33
and which ones we could push and pull to suit the story and the mood.
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์ด์•ผ๊ธฐ์™€ ๋ถ„์œ„๊ธฐ์— ๋งž๊ฒŒ ์–ด๋–ค ๊ฒƒ์„ ๋”ํ•˜๊ณ  ๋นผ์•ผ ํ•˜๋Š”์ง€๋ฅผ ๊ณ ๋ คํ•ฉ๋‹ˆ๋‹ค.
05:37
We realized early on that color was one we had some leeway with.
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์šฐ๋ฆฌ๋Š” ์ƒ‰์—์„œ๋Š” ์ข€ ์ž์œ ๋กœ์šธ ์ˆ˜ ์žˆ๋‹ค๋Š” ๊ฑธ ์ผ์ฐŒ๊ฐ์น˜ ๊นจ๋‹ฌ์•˜์Šต๋‹ˆ๋‹ค.
05:41
So here's a traditionally colored underwater scene.
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์—ฌ๊ธฐ ์ผ๋ฐ˜์ ์œผ๋กœ ์ƒ‰์„ ์ž…ํžŒ ๋ฐ”๋‹ท์† ์žฅ๋ฉด์ด ์žˆ์Šต๋‹ˆ๋‹ค.
05:44
But here, we can take Sydney Harbor and push it fairly green
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ํ•˜์ง€๋งŒ ์‹œ๋“œ๋‹ˆํ•˜๋ฒ„๋ฅผ ๊ฐ€์ ธ๋‹ค ์ดˆ๋ก์ƒ‰์„ ๊ฐ•ํ™”ํ•ด์„œ
05:47
to suit the sad mood of what's happening.
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์‚ฌ๊ฑด์˜ ์šฐ์šธํ•œ ๋ถ„์œ„๊ธฐ์— ๋งž์ถœ ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
05:50
In this scene, it's really important we see deep into the underwater,
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์ด ์žฅ๋ฉด์—์„œ ์šฐ๋ฆฌ๋Š” ์‹ฌํ•ด๋ฅผ ๋“ค์—ฌ๋‹ค๋ณด์•„์•ผ ํ•ฉ๋‹ˆ๋‹ค.
05:53
so we understand what the East Australian Current is,
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ํ˜ธ์ฃผ ๋™๋ถ€ ํ•ด๋ฅ˜๊ฐ€ ์–ด๋–ค์ง€๋ฅผ ์•Œ๊ณ 
05:56
that the turtles are diving into and going on this roller coaster ride.
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๊ฑฐ๋ถ์ด๋“ค์ด ๋ฌผ์— ๋“ค์–ด๊ฐ€์„œ ๋กค๋Ÿฌ์ฝ”์Šคํ„ฐ๊ฐ™์€ ํ•ด๋ฅ˜๋ฅผ ํƒ€๊ฒŒ ๋œ๋‹ค๋Š” ๊ฒƒ ์•Œ๊ธฐ ์œ„ํ•ด์„œ์š”.
05:59
So we pushed the visibility of the water
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๊ทธ๋ž˜์„œ ์šฐ๋ฆฌ๋Š” ํ˜„์‹ค์—์„œ ๋ณผ ์ˆ˜ ์žˆ๋Š” ๊ฒƒ๋ณด๋‹ค
06:01
well past anything you would ever see in real life.
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ํ›จ์”ฌ ๋” ๊ฐ€์‹œ์„ฑ์„ ๋†’์˜€์Šต๋‹ˆ๋‹ค.
06:04
Because in the end,
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์™œ๋ƒํ•˜๋ฉด ์šฐ๋ฆฌ๋Š” ์ตœ์ข…์ ์œผ๋กœ
06:06
we are not trying to recreate the scientifically correct real world,
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๊ณผํ•™์ ์œผ๋กœ ํƒ€๋‹นํ•œ ํ˜„์‹ค ์„ธ๊ณ„๋ฅผ ์žฌ์ฐฝ์กฐํ•˜๋ ค๋Š” ๊ฒƒ์ด ์•„๋‹ˆ๋ผ
06:10
we're trying to create a believable world,
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์กด์žฌํ•  ๋ฒ•ํ•œ ์„ธ๊ณ„๋ฅผ ์ฐฝ์กฐํ•˜๋ ค๋Š” ๊ฑฐ๋‹ˆ๊นŒ์š”.
06:12
one the audience can immerse themselves in to experience the story.
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์ด์•ผ๊ธฐ์˜ ์‚ฌ๊ฑด์— ๊ด€๊ฐ๋“ค์ด ๋ชฐ์ž…ํ•  ์ˆ˜ ์žˆ๋Š” ์„ธ๊ณ„๋ฅผ์š”.
06:17
We use science to create something wonderful.
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์šฐ๋ฆฌ๋Š” ๊ณผํ•™์„ ์ด์šฉํ•ด ๊ฒฝ์ด๋กœ์šด ๊ฑธ ๋งŒ๋“ค์–ด๋‚ด๊ณ 
06:20
We use story and artistic touch to get us to a place of wonder.
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์ด์•ผ๊ธฐ์™€ ์˜ˆ์ˆ ์ ์ธ ํ„ฐ์น˜๋กœ ๋†€๋ผ์šด ๊ณณ์œผ๋กœ ๋ฐ๋ ค๊ฐ‘๋‹ˆ๋‹ค.
06:25
This guy, WALL-E, is a great example of that.
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์—ฌ๊ธฐ ์›”-E๊ฐ€ ์ข‹์€ ์˜ˆ์‹œ์ž…๋‹ˆ๋‹ค.
06:28
He finds beauty in the simplest things.
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์›”-E๋Š” ๋‹จ์ˆœํ•œ ๊ฒƒ์—์„œ ์•„๋ฆ„๋‹ค์›€์„ ์ฐพ์•„๋ƒ…๋‹ˆ๋‹ค.
06:30
But when he came in to lighting, we knew we had a big problem.
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ํ•˜์ง€๋งŒ ์›”-E์— ์กฐ๋ช…์„ ๋น„์ถ”์—ˆ์„ ๋•Œ ํฐ ๋ฌธ์ œ๊ฐ€ ์ƒ๊ฒผ์Šต๋‹ˆ๋‹ค.
06:33
We got so geeked-out on making WALL-E this convincing robot,
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๊ทธ๋Ÿด์‹ธํ•œ ๋กœ๋ด‡์„ ๋งŒ๋“œ๋Š” ๋ฐ ๋„ˆ๋ฌด ์—ด์ค‘ํ•œ ๋‚˜๋จธ์ง€
06:37
that we made his binoculars practically optically perfect.
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์Œ์•ˆ๊ฒฝ์„ ๊ด‘ํ•™์ ์œผ๋กœ ์™„๋ฒฝํ•˜๊ฒŒ ๋งŒ๋“ค์–ด๋ฒ„๋ ธ์Šต๋‹ˆ๋‹ค.
06:40
(Laughter)
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(์›ƒ์Œ)
06:43
His binoculars are one of the most critical acting devices he has.
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์Œ์•ˆ๊ฒฝ์€ ์›”-E๊ฐ€ ๊ฐ€์ง„ ๊ฐ€์žฅ ์ค‘์š”ํ•œ ์—ฐ๊ธฐ ์žฅ์น˜ ์ค‘ ํ•˜๋‚˜์ž…๋‹ˆ๋‹ค.
06:47
He doesn't have a face or even traditional dialogue, for that matter.
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์–ผ๊ตด๋„ ์—†๊ณ  ๋ง๋„ ํ•˜์ง€ ๋ชปํ•˜๋‹ˆ๊นŒ์š”.
06:50
So the animators were heavily dependent on the binoculars
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๊ทธ๋ž˜์„œ ์ œ์ž‘์ž๋“ค์€ ์›”-E์˜ ์—ฐ๊ธฐ์™€ ๊ฐ์ •์„ ์„ค๋“๋ ฅ์žˆ๊ฒŒ ๋ณด์—ฌ์ฃผ๊ธฐ ์œ„ํ•ด
06:53
to sell his acting and emotions.
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์Œ์•ˆ๊ฒฝ์— ํฌ๊ฒŒ ์˜์กดํ–ˆ์Šต๋‹ˆ๋‹ค.
06:56
We started lighting and we realized
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์กฐ๋ช… ์ž‘์—…์„ ์‹œ์ž‘ํ–ˆ์„ ๋–„
06:58
the triple lenses inside his binoculars were a mess of reflections.
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์Œ์•ˆ๊ฒฝ ์•ˆ์˜ ์‚ผ์ค‘ ๋ Œ์ฆˆ์— ๋น›์ด ๋„ˆ๋ฌด ์–ด์ง€๋Ÿฝ๊ฒŒ ๋ฐ˜์‚ฌ๋œ๋‹ค๋Š” ๊ฑธ ์•Œ์•˜์Šต๋‹ˆ๋‹ค.
07:02
He was starting to look glassy-eyed.
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๋ˆˆ์ด ํ๋ฆฌ๋ฉํ……ํ•ด ๋ณด์ด๊ธฐ ์‹œ์ž‘ํ–ˆ์ฃ .
07:05
(Laughter)
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(์›ƒ์Œ)
07:06
Now, glassy-eyed is a fundamentally awful thing
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๊ด€๊ฐ์—๊ฒŒ ๋กœ๋ด‡ํ•œํ…Œ ์ธ๊ฒฉ์ด ์žˆ๊ณ 
07:10
when you are trying to convince an audience
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์‚ฌ๋ž‘๋„ ํ•  ์ˆ˜ ์žˆ๋‹ค๊ณ  ์„ค๋“ํ•ด์•ผ ํ•  ๋•Œ
07:12
that a robot has a personality and he's capable of falling in love.
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๋ฉํ•œ ๋ˆˆ์€ ์ œ์ผ ๋”์ฐํ•œ ๊ฒ๋‹ˆ๋‹ค.
07:16
So we went to work on these optically perfect binoculars,
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๊ทธ๋ž˜์„œ ๊ด‘ํ•™์ ์œผ๋กœ ์™„๋ฒฝํ•œ ์Œ์•ˆ๊ฒฝ์„ ์ˆ˜์ •ํ•˜๊ธฐ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
07:20
trying to find a solution that would maintain his true robot materials
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๋กœ๋ด‡์˜ ์‹ค์ œ ๋ถ€ํ’ˆ๋“ค์„ ์œ ์ง€ํ•˜๋ฉด์„œ ๋ฐ˜์‚ฌ ๋ฌธ์ œ๋ฅผ ํ•ด๊ฒฐํ•  ์ˆ˜ ์žˆ๋Š”
07:23
but solve this reflection problem.
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ํ•ด๊ฒฐ์ฑ…์„ ์ฐพ์œผ๋ ค๊ณ  ๋…ธ๋ ฅํ•˜๋ฉด์„œ์š”.
07:26
So we started with the lenses.
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๊ทธ๋ž˜์„œ ๋ Œ์ฆˆ๋ถ€ํ„ฐ ์ž‘์—…ํ–ˆ์Šต๋‹ˆ๋‹ค.
07:27
Here's the flat-front lens,
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์ด๊ฒŒ ์•ž์— ์žˆ๋Š” ํ‰๋ฉด ๋ Œ์ฆˆ์ด๊ณ 
07:28
we have a concave lens
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์˜ค๋ชฉ ๋ Œ์ฆˆ๊ณ 
07:30
and a convex lens.
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๋ณผ๋ก ๋ Œ์ฆˆ์ž…๋‹ˆ๋‹ค.
07:31
And here you see all three together,
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์„ธ ๊ฐœ๊ฐ€ ํ•ฉ์ณ์ง„ ๋ชจ์Šต์ž…๋‹ˆ๋‹ค.
07:33
showing us all these reflections.
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๋ชจ๋“  ๊ฒŒ ๋‹ค ๋ฐ˜์‚ฌ๋˜๋Š” ๊ฒŒ ๋ณด์ด์ฃ .
07:36
We tried turning them down,
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๋ฐ˜์‚ฌ๋ฅผ ์ค„์ด๋ ค๊ณ ๋„ ํ•ด๋ณด๊ณ 
07:37
we tried blocking them,
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๋ง‰์œผ๋ ค๊ณ ๋„ ํ•ด๋ดค์ง€๋งŒ
07:39
nothing was working.
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์ „๋ถ€ ํšจ๊ณผ๊ฐ€ ์—†์—ˆ์Šต๋‹ˆ๋‹ค.
07:41
You can see here,
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์—ฌ๊ธฐ ๋ณด์‹œ๋ฉด
07:42
sometimes we needed something specific reflected in his eyes --
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๋•Œ๋•Œ๋กœ ํŠน์ •ํ•œ ๋ฌผ์ฒด๋ฅผ ๋ˆˆ์— ๋ฐ˜์‚ฌ๋˜๊ฒŒ ๋งŒ๋“ค์–ด์•ผ ํ–ˆ์Šต๋‹ˆ๋‹ค.
07:46
usually Eve.
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์ฃผ๋กœ ์ด๋ธŒ์˜€์–ด์š”.
07:47
So we couldn't just use some faked abstract image on the lenses.
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๋ Œ์ฆˆ์— ์ถ”์ƒ์ ์ธ ๊ฐ€์งœ ์ด๋ฏธ์ง€๋ฅผ ์“ธ ์ˆ˜๋Š” ์—†์—ˆ์–ด์š”.
07:50
So here we have Eve on the first lens,
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๊ทธ๋ž˜์„œ ์—ฌ๊ธฐ์— ์ด๋ธŒ๊ฐ€ ์ฒซ ๋ฒˆ์งธ ๋ Œ์ฆˆ์— ์žˆ๋Š”๋ฐ
07:53
we put Eve on the second lens,
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๋‘๋ฒˆ์งธ ๋ Œ์ฆˆ์— ์ด๋ธŒ๋ฅผ ๋„ฃ์–ด๋ดค์–ด์š”.
07:55
it's not working.
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๊ทธ๋Ÿฐ๋ฐ ํšจ๊ณผ๊ฐ€ ์—†์—ˆ์–ด์š”.
07:56
We turn it down,
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๋ฐ๊ธฐ๋ฅผ ์ค„์—ฌ๋ณด์•„๋„
07:57
it's still not working.
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ํšจ๊ณผ๊ฐ€ ์—†์—ˆ์–ด์š”.
07:59
And then we have our eureka moment.
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๊ทธ๋Ÿฐ๋ฐ ์œ ๋ ˆ์นด์˜ ์ˆœ๊ฐ„์ด ์ฐพ์•„์™”์Šต๋‹ˆ๋‹ค.
08:01
We add a light to WALL-E that accidentally leaks into his eyes.
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์›”-E์— ์ถ”๊ฐ€ํ•œ ์กฐ๋ช…์ด ์‹ค์ˆ˜๋กœ ๋ˆˆ์— ์ƒˆ์–ด๋“ค์–ด๊ฐ”์–ด์š”.
08:06
You can see it light up these gray aperture blades.
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์—ฌ๊ธฐ ํšŒ์ƒ‰์˜ ์กฐ๋ฆฌ๊ฐœ ๋‚ ์ด ๋ฐ์•„์ง€๋Š” ๊ฑธ ๋ณด์‹ค ์ˆ˜ ์žˆ์ฃ .
08:10
Suddenly, those aperture blades are poking through that reflection
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๋‹ค๋ฅธ ๋ฐฉ๋ฒ•๋“ค์€ ๋ชจ๋‘ ํšจ๊ณผ๊ฐ€ ์—†์—ˆ๋Š”๋ฐ ๊ฐ‘์ž๊ธฐ ์กฐ๋ฆฌ๊ฐœ ๋‚ ์ด
08:13
the way nothing else has.
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๋ฐ˜์‚ฌ๋œ ์ด๋ฏธ์ง€๋ฅผ ๋šซ๊ณ  ๋ˆˆ์— ๋ณด์ด๋Š” ๊ฑฐ์˜ˆ์š”.
08:15
Now we recognize WALL-E as having an eye.
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์ด์ œ๋Š” ์›”-E๊ฐ€ ๋ˆˆ์ด ์žˆ๋Š” ๊ฒƒ์ฒ˜๋Ÿผ ๋ณด์ž…๋‹ˆ๋‹ค.
08:19
As humans we have the white of our eye,
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์‚ฌ๋žŒ๋“ค์—๊ฒŒ ํฐ์ž๊ฐ€ ์žˆ๊ณ 
08:22
the colored iris
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์ƒ‰๊น”์ด ์žˆ๋Š” ํ™์ฑ„๊ฐ€ ์žˆ๊ณ 
08:23
and the black pupil.
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๊ฒ€์€ ๋™๊ณต์ด ์žˆ๋Š” ๊ฒƒ์ฒ˜๋Ÿผ์š”.
08:24
Now WALL-E has the black of an eye,
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์›”-E๋„ ์ด์ œ ๊ฒ€์€์ž๊ฐ€ ์žˆ๊ณ 
08:28
the gray aperture blades
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ํšŒ์ƒ‰์˜ ์กฐ๋ฆฌ๊ฐœ ๋‚ ์ด ์žˆ๊ณ 
08:29
and the black pupil.
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๊ฒ€์€ ๋™๊ณต์ด ์žˆ์—ˆ์Šต๋‹ˆ๋‹ค.
08:31
Suddenly, WALL-E feels like he has a soul,
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์ˆœ๊ฐ„ ์›”-E๊ฐ€ ์˜ํ˜ผ์ด ์žˆ๋Š” ๊ฒƒ์ฒ˜๋Ÿผ
08:35
like there's a character with emotion inside.
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๊ฐ์ •์ด ์žˆ๋Š” ์ธ๋ฌผ์ธ ๊ฒƒ์ฒ˜๋Ÿผ ๋Š๊ปด์ง€๊ธฐ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
08:40
Later in the movie towards the end,
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์˜ํ™” ๋’ท๋ถ€๋ถ„์— ๊ฐ€๋ฉด
08:41
WALL-E loses his personality,
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์›”-E๋Š” ์ธ๊ฒฉ์„ ์žƒ๊ณ 
08:43
essentially going dead.
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์‚ฌ์‹ค์ƒ ์ฃฝ์Šต๋‹ˆ๋‹ค.
08:45
This is the perfect time to bring back that glassy-eyed look.
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์ด ๋•Œ๊ฐ€ ๋ฉํ•œ ๋ˆˆ์„ ๋‹ค์‹œ ๋ถˆ๋Ÿฌ์˜ค๊ธฐ์— ์™„๋ฒฝํ•œ ์ˆœ๊ฐ„์ด์ฃ .
08:49
In the next scene, WALL-E comes back to life.
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๋‹ค์Œ ์žฅ๋ฉด์—์„œ ์›”-E๋Š” ๋‹ค์‹œ ์‚ด์•„๋‚ฉ๋‹ˆ๋‹ค.
08:52
We bring that light back to bring the aperture blades back,
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์šฐ๋ฆฌ๊ฐ€ ์กฐ๋ฆฌ๊ฐœ ๋‚ ์„ ์‚ด๋ ค๋‚ด๊ธฐ ์œ„ํ•ด ๋น›์„ ๋‹ค์‹œ ๋น„์ถ”๋ฉด
08:55
and he returns to that sweet, soulful robot we've come to love.
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์šฐ๋ฆฌ๊ฐ€ ์‚ฌ๋ž‘ํ•˜๋Š” ์‚ฌ๋ž‘์Šค๋Ÿฝ๊ณ  ์˜ํ˜ผ์„ ๊ฐ€์ง„ ๋กœ๋ด‡์œผ๋กœ ๋Œ์•„์˜ต๋‹ˆ๋‹ค.
09:02
(Video) WALL-E: Eva?
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(์˜์ƒ) ์›”-E: ์ด๋ธŒ?
09:06
Danielle Feinberg: There's a beauty in these unexpected moments --
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์ด๋Ÿฐ ์˜ˆ์ƒ์น˜ ๋ชปํ•œ ์ˆœ๊ฐ„๋งŒ์˜ ์•„๋ฆ„๋‹ค์›€์ด ์žˆ์Šต๋‹ˆ๋‹ค.
09:09
when you find the key to unlocking a robot's soul,
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๋กœ๋ด‡์˜ ์˜ํ˜ผ์„ ์‚ด๋ฆฌ๋Š” ํ•ต์‹ฌ์„ ์ฐพ๋Š” ์ˆœ๊ฐ„์ด๋‚˜
09:13
the moment when you discover what you want to do with your life.
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์ธ์ƒ์—์„œ ๋ญ˜ ํ•˜๊ณ  ์‹ถ์€์ง€๋ฅผ ๋ฐœ๊ฒฌํ•˜๋Š” ์ˆœ๊ฐ„์— ๋ง์ž…๋‹ˆ๋‹ค.
09:17
The jellyfish in "Finding Nemo" was one of those moments for me.
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"๋‹ˆ๋ชจ๋ฅผ ์ฐพ์•„์„œ"์˜ ํ•ดํŒŒ๋ฆฌ๊ฐ€ ์ €์—๊ฒ ๊ทธ๋Ÿฐ ์ˆœ๊ฐ„์ด์—ˆ์Šต๋‹ˆ๋‹ค.
09:20
There are scenes in every movie that struggle to come together.
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๋ชจ๋“  ์˜ํ™”์—๋Š” ์กฐํ•ฉํ•˜๋Š” ๋ฐ ์• ๋ฅผ ๋จน๋Š” ์žฅ๋ฉด๋“ค์ด ์žˆ์Šต๋‹ˆ๋‹ค.
09:24
This was one of those scenes.
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์ด ์žฅ๋ฉด๋„ ๊ทธ๋žฌ์–ด์š”.
09:26
The director had a vision for this scene
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๊ฐ๋…์€ ๋‚จํƒœํ‰์–‘์˜ ํ•ดํŒŒ๋ฆฌ๊ฐ€ ์ฐํžŒ
09:28
based on some wonderful footage of jellyfish in the South Pacific.
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์‚ฌ์ง„์— ๊ธฐ๋ฐ˜ํ•ด์„œ ์ด ์žฅ๋ฉด์„ ๋จธ๋ฆฟ์†์—์„œ ๊ทธ๋ฆฌ๊ณ  ์žˆ์—ˆ์–ด์š”.
09:33
As we went along,
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์ž‘์—…์„ ํ•˜๋ฉด์„œ
09:35
we were floundering.
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์šฐ๋ฆฌ๋Š” ๋‚œ๊ฐํ•ด์กŒ์Šต๋‹ˆ๋‹ค.
09:36
The reviews with the director
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๊ฐ๋…๊ณผ ๊ฒ€ํ† ํ–ˆ์„ ๋–„
09:38
turned from the normal look-and-feel conversation
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๋ณด๊ณ  ๋Š๋‚€ ๊ฒƒ์— ๋Œ€ํ•œ ํ‰๋ฒ”ํ•œ ๋Œ€ํ™”์—์„œ
09:41
into more and more questions about numbers and percentages.
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์ˆซ์ž์™€ ํ™•๋ฅ ์— ๋Œ€ํ•œ ์งˆ๋ฌธ์ด ๋” ๋งŽ์•„์กŒ๊ฑฐ๋“ ์š”.
09:46
Maybe because unlike normal,
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์šฐ๋ฆฌ๊ฐ€ ํ‰๋ฒ”ํ•œ ๊ฒƒ๊ณผ๋Š” ๋‹ค๋ฅด๊ฒŒ
09:47
we were basing it on something in real life,
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์ด๊ฑธ ํ˜„์‹ค์— ๊ธฐ๋ฐ˜ํ•˜๊ณ  ์žˆ์–ด์„œ ๊ทธ๋žฌ์„ ์ˆ˜๋„ ์žˆ๊ณ 
09:50
or maybe just because we had lost our way.
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๊ทธ๋ƒฅ ๊ธธ์„ ์žƒ์—ˆ๋˜ ๊ฒƒ์ผ ์ˆ˜๋„ ์žˆ์ง€๋งŒ
09:52
But it had become about using our brain without our eyes,
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์ด ์ž‘์—…์€ ๋ˆˆ ์—†์ด ๋‡Œ๋ฅผ ์‚ฌ์šฉํ•˜๋Š” ๊ฒƒ์ด ๋˜์–ด๋ฒ„๋ ธ๊ณ 
09:55
the science without the art.
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์˜ˆ์ˆ ์—†๋Š” ๊ณผํ•™์ด ๋˜์—ˆ์–ด์š”.
09:58
That scientific tether was strangling the scene.
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๊ณผํ•™์ด ์žฅ๋ฉด์˜ ๋ฐœ๋ชฉ์„ ์žก๊ณ  ์žˆ์—ˆ์–ด์š”.
10:02
But even through all the frustrations,
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ํ•˜์ง€๋งŒ ์ˆ˜๋งŽ์€ ์ขŒ์ ˆ์„ ๋Š๋ผ๋Š” ์™€์ค‘์—๋„
10:04
I still believed it could be beautiful.
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์ €๋Š” ์—ฌ์ „ํžˆ ์•„๋ฆ„๋‹ต๊ฒŒ ๋งŒ๋“ค ์ˆ˜ ์žˆ๋‹ค๊ณ  ๋ฏฟ์—ˆ์–ด์š”.
10:06
So when it came in to lighting,
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๊ทธ๋ž˜์„œ ์กฐ๋ช… ์ž‘์—…์—
10:08
I dug in.
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๋” ์—ด์ค‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
10:10
As I worked to balance the blues and the pinks,
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ํŒŒ๋ž€์ƒ‰๊ณผ ๋ถ„ํ™์ƒ‰์˜ ๊ท ํ˜•,
10:13
the caustics dancing on the jellyfish bells,
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ํ•ดํŒŒ๋ฆฌ ๊ฐ“ ์œ„์—์„œ ์ผ๋ ์ด๋Š” ๋น›๊ทธ๋ฆผ์ž์™€
10:16
the undulating fog beams,
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๋„ˆ์šธ๊ฑฐ๋ฆฌ๋Š” ๋น›์‚ด์˜ ๊ท ํ˜•์„ ๋งž์ถ”๋ฉด์„œ
10:18
something promising began to appear.
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ํฌ๋ง์ด ๋ณด์ด๊ธฐ ์‹œ์ž‘ํ–ˆ์Šต๋‹ˆ๋‹ค.
10:21
I came in one morning and checked the previous night's work.
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ํ•˜๋ฃจ๋Š” ์•„์นจ์— ์ถœ๊ทผํ•ด์„œ ์ „๋‚  ๋ฐค์— ํ•œ ์ž‘์—…์„ ํ™•์ธํ–ˆ์Šต๋‹ˆ๋‹ค.
10:24
And I got excited.
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์ €๋Š” ํฅ๋ถ„ํ–ˆ์–ด์š”.
10:26
And then I showed it to the lighting director
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๊ทธ๋ž˜์„œ ์กฐ๋ช… ๊ฐ๋…๋‹˜๊ป˜ ๊ทธ๊ฑธ ๋ณด์—ฌ๋“œ๋ ธ๊ณ 
10:28
and she got excited.
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์กฐ๋ช… ๊ฐ๋…๋‹˜๋„ ํฅ๋ถ„ํ•˜์…จ์–ด์š”.
10:29
Soon, I was showing to the director in a dark room full of 50 people.
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์ €๋Š” ๊ณง 50๋ช…์˜ ์‚ฌ๋žŒ๋“ค์ด ์žˆ๋Š” ์–ด๋‘์šด ๋ฐฉ์—์„œ ๊ฐ๋…๋‹˜๊ป˜ ๋ณด์—ฌ๋“œ๋ ธ์–ด์š”.
10:34
In director review,
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๊ฐ๋…๋‹˜๊ณผ ๊ฒ€ํ† ํ•˜๋Š” ์‹œ๊ฐ„์—๋Š”
10:35
you hope you might get some nice words,
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์ผ๋ฐ˜์ ์œผ๋กœ๋Š” ์นญ์ฐฌ ๋ช‡ ๋งˆ๋””์™€
10:38
then you get some notes and fixes, generally.
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์ฝ”๋ฉ˜ํŠธ์™€ ๊ณ ์น  ๋ถ€๋ถ„์„ ๋“ฃ๊ธฐ๋ฅผ ๊ธฐ๋Œ€ํ•ฉ๋‹ˆ๋‹ค.
10:41
And then, hopefully, you get a final,
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๊ทธ๋ฆฌ๊ณ  ์šด ์ข‹์œผ๋ฉด ๋‹ค์Œ ๋‹จ๊ณ„๋กœ ๋„˜์–ด๊ฐ€๋„ ๋œ๋‹ค๋Š”
10:43
signaling to move on to the next stage.
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์ตœ์ข…์ ์ธ ์Šน์ธ์„ ๋ฐ›์„ ์ˆ˜ ์žˆ์ฃ .
10:46
I gave my intro, and I played the jellyfish scene.
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์ €๋Š” ์„œ๋ก ์„ ์–˜๊ธฐํ•œ ํ›„ ํ•ดํŒŒ๋ฆฌ ์žฅ๋ฉด์„ ํ‹€์—ˆ์Šต๋‹ˆ๋‹ค.
10:50
And the director was silent for an uncomfortably long amount of time.
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๊ฐ๋…๋‹˜์€ ๋ถˆํŽธํ•  ์ •๋„๋กœ ๊ธด ์‹œ๊ฐ„๋™์•ˆ ๋ง์ด ์—†์œผ์…จ์Šต๋‹ˆ๋‹ค.
10:55
Just long enough for me to think,
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๊ทธ ์‹œ๊ฐ„์ด ๋„ˆ๋ฌด ๊ธธ์—ˆ๊ธฐ์— ์ €๋Š” ์ด๋ ‡๊ฒŒ ์ƒ๊ฐํ–ˆ์Šต๋‹ˆ๋‹ค.
10:57
"Oh no, this is doomed."
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"์•„, ๋งํ–ˆ๊ตฌ๋‚˜."
11:00
And then he started clapping.
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๊ทผ๋ฐ ๊ฐ‘์ž๊ธฐ ๋ฐ•์ˆ˜๋ฅผ ์น˜๊ธฐ ์‹œ์ž‘ํ•˜์…จ์–ด์š”.
11:03
And then the production designer started clapping.
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๊ทธ๋Ÿฌ์ž ์ œ์ž‘ ๋””์ž์ด๋„ˆ ๋ถ„๋„ ๋ฐ•์ˆ˜๋ฅผ ์น˜๊ธฐ ์‹œ์ž‘ํ•˜์…จ๊ณ 
11:06
And then the whole room was clapping.
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๊ทธ๋Ÿฌ์ž ๋ฐฉ์— ์žˆ๋Š” ๋ชจ๋‘๊ฐ€ ๋ฐ•์ˆ˜๋ฅผ ์น˜๊ธฐ ์‹œ์ž‘ํ–ˆ์–ด์š”.
11:14
This is the moment that I live for in lighting.
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์ด๋Ÿฐ ์ˆœ๊ฐ„์„ ์œ„ํ•ด ์กฐ๋ช… ์ž‘์—…์„ ํ•ฉ๋‹ˆ๋‹ค.
11:17
The moment where it all comes together
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๋ชจ๋“  ๊ฒƒ์ด ํ•ฉ์ณ์ ธ์„œ
11:19
and we get a world that we can believe in.
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์กด์žฌํ•œ๋‹ค๊ณ  ๋ฏฟ์„ ์ˆ˜ ์žˆ๋Š” ์„ธ์ƒ์ด ํƒœ์–ด๋‚˜๋Š” ์ˆœ๊ฐ„์ด์š”.
11:22
We use math, science and code to create these amazing worlds.
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์ˆ˜ํ•™, ๊ณผํ•™, ์ฝ”๋”ฉ์„ ์ด์šฉํ•ด ๋†€๋ผ์šด ์„ธ๊ณ„๋ฅผ ๋งŒ๋“ค๊ณ 
11:27
We use storytelling and art to bring them to life.
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์Šคํ† ๋ฆฌํ…”๋ง๊ณผ ์˜ˆ์ˆ ์„ ์ด์šฉํ•ด ์ƒ๋™๊ฐ์„ ๋ถˆ์–ด๋„ฃ์Šต๋‹ˆ๋‹ค.
11:30
It's this interweaving of art and science
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์˜ˆ์ˆ ๊ณผ ๊ณผํ•™ ๊ฐ„์˜ ์กฐํ™”๊ฐ€
11:34
that elevates the world to a place of wonder,
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์„ธ๊ณ„๋ฅผ ๋†€๋ผ์šด ๊ณณ์œผ๋กœ
11:38
a place with soul,
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์˜ํ˜ผ์ด ์žˆ๋Š” ๊ณณ์œผ๋กœ
11:39
a place we can believe in,
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์žˆ์„ ๋ฒ•ํ•œ ๊ณณ์œผ๋กœ
11:42
a place where the things you imagine can become real --
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์šฐ๋ฆฌ๊ฐ€ ์ƒ์ƒํ•˜๋Š” ๊ฒƒ์ด ํ˜„์‹ค์ด ๋˜๋Š” ๊ณณ์œผ๋กœ์š”.
11:47
and a world where a girl suddenly realizes
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๊ทธ๋ฆฌ๊ณ  ์†Œ๋…€๊ฐ€ ์ž์‹ ์ด ๊ณผํ•™์ž์ผ ๋ฟ๋งŒ ์•„๋‹ˆ๋ผ
11:50
not only is she a scientist,
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์˜ˆ์ˆ ๊ฐ€์ด๊ธฐ๋„ ํ•˜๋‹ค๋Š” ๊ฑธ ํ•œ์ˆœ๊ฐ„์— ๊นจ๋‹ซ๋Š” ๊ณณ์œผ๋กœ ๋งŒ๋“ค์–ด์ค๋‹ˆ๋‹ค.
11:52
but also an artist.
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11:54
Thank you.
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๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
11:55
(Applause)
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(๋ฐ•์ˆ˜)
์ด ์›น์‚ฌ์ดํŠธ ์ •๋ณด

์ด ์‚ฌ์ดํŠธ๋Š” ์˜์–ด ํ•™์Šต์— ์œ ์šฉํ•œ YouTube ๋™์˜์ƒ์„ ์†Œ๊ฐœํ•ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์ตœ๊ณ ์˜ ์„ ์ƒ๋‹˜๋“ค์ด ๊ฐ€๋ฅด์น˜๋Š” ์˜์–ด ์ˆ˜์—…์„ ๋ณด๊ฒŒ ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ฐ ๋™์˜์ƒ ํŽ˜์ด์ง€์— ํ‘œ์‹œ๋˜๋Š” ์˜์–ด ์ž๋ง‰์„ ๋”๋ธ” ํด๋ฆญํ•˜๋ฉด ๊ทธ๊ณณ์—์„œ ๋™์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค. ๋น„๋””์˜ค ์žฌ์ƒ์— ๋งž์ถฐ ์ž๋ง‰์ด ์Šคํฌ๋กค๋ฉ๋‹ˆ๋‹ค. ์˜๊ฒฌ์ด๋‚˜ ์š”์ฒญ์ด ์žˆ๋Š” ๊ฒฝ์šฐ ์ด ๋ฌธ์˜ ์–‘์‹์„ ์‚ฌ์šฉํ•˜์—ฌ ๋ฌธ์˜ํ•˜์‹ญ์‹œ์˜ค.

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