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

Prevodilac: Milenka Okuka Lektor: Mile Živković

When I was seven years old,

Kada mi je bilo sedam godina,

some well-meaning adult asked me what I wanted to be when I grew up.

jedna dobronamerna odrasla osoba me je pitala šta želim biti kad odrastem.

Proudly, I said: "An artist."

Ponosno sam rekla: "Umetnica."

"No, you don't," he said,

"Ne, ne želiš", rekao je,

"You can't make a living being an artist!"

"Ne možeš da zarađuješ za život kao umetnica!"

My little seven-year-old Picasso dreams were crushed.

Srušio je moje pikasovske snove sedmogodišnjakinje.

But I gathered myself,

No, sabrala sam se,

went off in search of a new dream,

otišla da potražim novi san,

eventually settling on being a scientist,

na kraju ću se skrasiti kao naučnica,

perhaps something like the next Albert Einstein.

možda nešto poput budućeg Alberta Ajnštajna.

(Laughter)

(Smeh)

I have always loved math and science,

Oduvek sam volela matematiku i nauku,

later, coding.

kasnije kodiranje.

And so I decided to study computer programming in college.

Pa sam odlučila da studiram kompjutersko programiranje.

In my junior year,

Na prvoj godini,

my computer graphics professor showed us these wonderful short films.

profesor kompjuterske grafike nam je pokazao ove divne kratke filmove.

It was the first computer animation any of us had ever seen.

Bila je to prva kompjuterska animacija koju je bilo ko od nas video.

I watched these films in wonder, transfixed,

Posmatrala sam ove filmove očarana, zapanjena,

fireworks going off in my head,

u glavi mi je varničilo,

thinking, "That is what I want to do with my life."

misleći: "Ovim bih želela da se bavim u životu."

The idea that all the math, science and code I had been learning

Zamisao da sva matematika, nauka i kodovi koje sam učila

could come together to create these worlds and characters

mogu da se spoje i tvore ove svetove i likove

and stories I connected with,

i priče u kojima se pronalazim,

was pure magic for me.

činilo mi se kao čista čarolija.

Just two years later, I started working

Samo dve godine potom, zaposlila sam se

at the place that made those films, Pixar Animation Studios.

tamo gde su pravili te filmove, u Piksarovom studiju za animaciju.

It was here I learned how we actually execute those films.

Tu sam naučila kako zapravo pravimo te filmove.

To create our movies,

Da bismo ih napravili,

we create a three-dimensional world inside the computer.

stvaramo trodimenzionalne svetove unutar kompjutera.

We start with a point that makes a line that makes a face

Počinjemo tačkom, od koje nastaje linija, od koje nastaje lice

that creates characters,

koje sačinjava likove,

or trees and rocks that eventually become a forest.

ili drveće i stene koji vremenom postaju šuma.

And because it's a three-dimensional world,

I zato što je to trodimenzionalan svet,

we can move a camera around inside that world.

možemo se kretati kamerom uokolo unutar tog sveta.

I was fascinated by all of it.

Sve to me je fasciniralo.

But then I got my first taste of lighting.

Ali onda sam se okušala u rasveti.

Lighting in practice is placing lights inside this three-dimensional world.

Rasveta je u praksi stavljanje svetla unutar trodimenzionalnog sveta.

I actually have icons of lights I move around in there.

Zapravo imam ikone svetala koje unutra pokrećem.

Here you can see I've added a light,

Ovde vidite da sam dodala svetlo.

I'm turning on the rough version of lighting in our software,

Prebacujem na grubu verziju rasvete u našem softveru,

turn on shadows

uključujem senke

and placing the light.

i postavljam svetlo.

As I place a light,

Kako postavljam svetlo,

I think about what it might look like in real life,

razmišljam kako bi moglo da izgleda u stvarnosti,

but balance that out with what we need artistically and for the story.

ali to uravnotežujem sa onim što nam treba umetnički i za priču.

So it might look like this at first,

Pa, na početku to može da izgleda ovako,

but as we adjust this and move that

ali kako podešavam ovo i pomeram to,

in weeks of work,

tokom nedelja rada,

in rough form it might look like this,

gruba verzija može da izgleda ovako,

and in final form, like this.

a konačna verzija - ovako.

There's this moment in lighting that made me fall utterly in love with it.

Postoji taj tren u rasveti zbog koga sam se krajnje zaljubila u nju.

It's where we go from this

To je kad ovo

to this.

postane ovo.

It's the moment where all the pieces come together,

To je tren u kom se sve kockice slože,

and suddenly the world comes to life

i svet iznenada oživi,

as if it's an actual place that exists.

kao da se radi o stvarnom mestu.

This moment never gets old,

Ovaj tren nikad ne zastareva,

especially for that little seven-year-old girl that wanted to be an artist.

naročito za tu sedmogodišnjakinju koja je želela da bude umetnica.

As I learned to light,

Dok sam učila o rasveti,

I learned about using light to help tell story,

naučila sam kako svetlo pomaže u pričanju priče,

to set the time of day,

kako podešava vreme radnje,

to create the mood,

kako stvara raspoloženje,

to guide the audience's eye,

kako vodi pogled gledalaca,

how to make a character look appealing

kako čini likove privlačnijim

or stand out in a busy set.

ili ih ističe unutar natrpanog kadra.

Did you see WALL-E?

Da li ste gledali Volija?

(Laughter)

(Smeh)

There he is.

Ovo je on.

As you can see,

Kao što vidite,

we can create any world that we want inside the computer.

možemo da stvorimo svet koji poželimo unutar kompjutera.

We can make a world with monsters,

Možemo da napravimo svet s čudovištima,

with robots that fall in love,

robotima koji se zaljubljuju,

we can even make pigs fly.

možemo čak da napravimo leteću prasad.

(Laughter)

(Smeh)

While this is an incredible thing,

Iako je ovo nešto neverovatno,

this untethered artistic freedom,

ova neobuzdana umetnička sloboda

it can create chaos.

može da stvori haos.

It can create unbelievable worlds,

Može da svori neuverljive svetove,

unbelievable movement,

neuverljive pokrete,

things that are jarring to the audience.

nešto što publici bode oči.

So to combat this, we tether ourselves with science.

Kako bismo se izborili s tim, obuzdavamo se naukom.

We use science and the world we know

Koristimo nauku i svet koji znamo

as a backbone,

kao kičmu,

to ground ourselves in something relatable and recognizable.

da bismo imali uporište u nečem s čim se poistovećujemo

i što prepoznajemo.

"Finding Nemo" is an excellent example of this.

"Potraga za Nemom" je odličan primer ovoga.

A major portion of the movie takes place underwater.

Veći deo filma se dešava pod vodom.

But how do you make it look underwater?

Ali kako da postignete podvodni izgled?

In early research and development,

Rano tokom istraživanja i razvoja,

we took a clip of underwater footage and recreated it in the computer.

uzeli smo isečak podvodnog snimka i nanovo ga stvorili u kompjuteru.

Then we broke it back down

Onda smo ga razložili,

to see which elements make up that underwater look.

kako bi videli koji elementi čine taj podvodni izgled.

One of the most critical elements

Jedan od ključnih elemenata

was how the light travels through the water.

je bilo to kako svetlost putuje kroz vodu.

So we coded up a light that mimics this physics --

Pa smo kodirali svetlost koja podražava fiziku -

first, the visibility of the water,

pre svega vidljivost vode,

and then what happens with the color.

a potom šta se dešava s bojom.

Objects close to the eye have their full, rich colors.

Objekti bliži oku, imaju punu, bogatu boju.

As light travels deeper into the water,

Kako svetlost putuje dublje kroz vodu,

we lose the red wavelengths,

gubimo crvene talasne dužine,

then the green wavelengths,

potom zelene talasne dužine,

leaving us with blue at the far depths.

ostavljajući nas s plavom u velikim dubinama.

In this clip you can see two other important elements.

U ovom isečku možete da vidite još dva značajna elementa.

The first is the surge and swell,

Prvo imamo uzburkanost i talasanje,

or the invisible underwater current

iliti nevidljive podvodne struje,

that pushes the bits of particulate around in the water.

koje pokreću sitne čestice po vodi.

The second is the caustics.

Potom imamo kaustičnost.

These are the ribbons of light,

Ovo su svetlosne trake,

like you might see on the bottom of a pool,

koje možete da vidite na dnu bazena,

that are created when the sun bends through the crests

a nastaju kad se sunčeva svetlost prelama kroz nabore

of the ripples and waves on the ocean's surface.

mreškanja i talasa na površini okeana.

Here we have the fog beams.

Ovde imamo snopove magle.

These give us color depth cues,

Oni nam daju dublje nijanse boja,

but also tells which direction is up

ali nam takođe saopštavaju šta je gore,

in shots where we don't see the water surface.

na snimcima gde ne vidimo površinu vode.

The other really cool thing you can see here

Druga zaista sjajna stvar koju ovde vidite

is that we lit that particulate only with the caustics,

je da smo jedino kaustično, osvetlili te čestice,

so that as it goes in and out of those ribbons of light,

pa kako ulaze i izlaze iz tih snopova svetlosti,

it appears and disappears,

one se pojavljuju i nestaju,

lending a subtle, magical sparkle to the underwater.

dajući suptilan, čaroban sjaj podvodnom svetu.

You can see how we're using the science --

Možete da vidite kako koristimo nauku -

the physics of water, light and movement --

fiziku vode, svetla i pokreta -

to tether that artistic freedom.

kako bi obuzdali umetničku slobodu.

But we are not beholden to it.

Ali nismo obavezani time.

We considered each of these elements

Razmatrali smo sve te elemente,

and which ones had to be scientifically accurate

kao i to koji od njih moraju da budu naučno tačni,

and which ones we could push and pull to suit the story and the mood.

a koje možemo da prekrajamo kako bi se uklopili u ton priče.

We realized early on that color was one we had some leeway with.

Rano smo shvatili da je boja ta koja nam daje određenu slobodu.

So here's a traditionally colored underwater scene.

Pa, ovde imamo tradicionalno obojenu podvodnu scenu.

But here, we can take Sydney Harbor and push it fairly green

Ali možemo da uzmemo Sidnejsku luku i da je obojimo u zeleno

to suit the sad mood of what's happening.

kako bi išla uz tužni ton onoga što se zbiva.

In this scene, it's really important we see deep into the underwater,

U ovoj sceni, veoma je važno da vidimo duboko pod vodom,

so we understand what the East Australian Current is,

kako bismo razumeli šta je Istočnoaustralijska struja,

that the turtles are diving into and going on this roller coaster ride.

u koju kornjače zaranjaju i upuštaju se u vožnju rolerkosterom.

So we pushed the visibility of the water

Pa smo pojačali vidljivost pod vodom,

well past anything you would ever see in real life.

daleko mimo bilo čega što biste videli u stvarnosti.

Because in the end,

Jer naposletku,

we are not trying to recreate the scientifically correct real world,

ne pokušavamo da nanovo stvorimo naučno tačan stvaran svet,

we're trying to create a believable world,

pokušavamo da stvorimo uverljiv svet,

one the audience can immerse themselves in to experience the story.

koji dozvoljava publici da se udubi u iskustvo priče.

We use science to create something wonderful.

Koristimo nauku da bi stvorili nešto čarobno.

We use story and artistic touch to get us to a place of wonder.

Koristimo priču i umetnički dodir da bi stigli do mesta čarolije.

This guy, WALL-E, is a great example of that.

Ovaj momak, Voli, sjajan je primer za to.

He finds beauty in the simplest things.

On otkriva lepotu u najjednostavnijim stvarima.

But when he came in to lighting, we knew we had a big problem.

No kad je stigao do rasvete, znali smo da imamo veliki problem.

We got so geeked-out on making WALL-E this convincing robot,

Toliko smo štrebali da bi stvorili Volija kao uverljivog robota,

that we made his binoculars practically optically perfect.

da smo mu napravili optički praktično savršen dvogled.

(Laughter)

(Smeh)

His binoculars are one of the most critical acting devices he has.

Njegov dvogled je najkrucijalnije glumačko sredstvo koje poseduje.

He doesn't have a face or even traditional dialogue, for that matter.

Nema lice, pa čak ni tradicionalni dijalog, ako hoćete.

So the animators were heavily dependent on the binoculars

Pa su animatori uveliko zavisili od dvogleda,

to sell his acting and emotions.

kako bi prikazali glumu i emocije.

We started lighting and we realized

Počeli smo sa rasvetom i shvatili

the triple lenses inside his binoculars were a mess of reflections.

da trostruka sočiva u njegovom dvogledu uzrokuju haotične odraze.

He was starting to look glassy-eyed.

Pogled mu je počeo da izgleda staklasto.

(Laughter)

(Smeh)

Now, glassy-eyed is a fundamentally awful thing

Sad, staklasti pogled je u osnovi nešto grozno

when you are trying to convince an audience

kad pokušavate da ubedite publiku

that a robot has a personality and he's capable of falling in love.

da robot ima ličnost i da je u stanju da se zaljubi.

So we went to work on these optically perfect binoculars,

Pa smo se bacili na rad na ovom optički savršenom dvogledu,

trying to find a solution that would maintain his true robot materials

pokušavajući da nađemo rešenje koje bi očuvalo autentične robotske materijale,

but solve this reflection problem.

ali bi rešilo ovaj problem s odrazima.

So we started with the lenses.

Pa smo krenuli od sočiva.

Here's the flat-front lens,

Ovo je ravno prednje sočivo,

we have a concave lens

imamo konkavno sočivo

and a convex lens.

i konveksno sočivo.

And here you see all three together,

A ovde vidite sva tri zajedno,

showing us all these reflections.

kako nam pokazuju sve te odraze.

We tried turning them down,

Pokušali smo da ih isključimo,

we tried blocking them,

pokušali smo da ih blokiramo,

nothing was working.

ništa nije odgovaralo.

You can see here,

Možete ovde da vidite

sometimes we needed something specific reflected in his eyes --

da nam je bio potreban odraz nečeg posebnog u njegovim očima -

usually Eve.

obično Eve.

So we couldn't just use some faked abstract image on the lenses.

Pa nismo mogli da koristimo nekakvu lažnu apstraktnu sliku na sočivima.

So here we have Eve on the first lens,

Ovde imamo Evu na prvom sočivu,

we put Eve on the second lens,

stavljamo Evu na drugo sočivo,

it's not working.

ne odgovara.

We turn it down,

Isključimo ga,

it's still not working.

i dalje ne odgovara.

And then we have our eureka moment.

I tad smo imali eureka momenat.

We add a light to WALL-E that accidentally leaks into his eyes.

Dodali smo svetlo koje nehotično curi u Volijeve oči.

You can see it light up these gray aperture blades.

Vidite kako osvetljava ove sive obode blende.

Suddenly, those aperture blades are poking through that reflection

Iznenada ti obodi blende štrče kroz taj odraz

the way nothing else has.

više od bilo čega drugog.

Now we recognize WALL-E as having an eye.

Sad prepoznajemo oko kod Volija.

As humans we have the white of our eye,

Ljudi imaju beonjače,

the colored iris

obojenu dužicu

and the black pupil.

i crnu zenicu.

Now WALL-E has the black of an eye,

Sad Voli ima crnu beonjaču,

the gray aperture blades

sive obode blende

and the black pupil.

i crne zenice.

Suddenly, WALL-E feels like he has a soul,

Iznenada se čini da Voli ima dušu,

like there's a character with emotion inside.

kao da imamo lik sa unutrašnjim osećanjima.

Later in the movie towards the end,

Kasnije u filmu, pred kraj,

WALL-E loses his personality,

Voli gubi ličnost,

essentially going dead.

u suštini umire.

This is the perfect time to bring back that glassy-eyed look.

Ovo je savršen momenat da vratim taj staklasti pogled.

In the next scene, WALL-E comes back to life.

U sledećoj sceni Voli oživljava.

We bring that light back to bring the aperture blades back,

Vraćamo tu svetlost kako bi vratili obode blende

and he returns to that sweet, soulful robot we've come to love.

i on postaje opet taj dragi, osetljivi robot koga smo zavoleli.

(Video) WALL-E: Eva?

(Snimak) Voli: Eva?

Danielle Feinberg: There's a beauty in these unexpected moments --

Danijela Fejnberg: Lepota je u ovim neočekivanim trenucima -

when you find the key to unlocking a robot's soul,

kad pronađete ključ da oslobodite dušu robota,

the moment when you discover what you want to do with your life.

momenat kad otkrijete čime želite da se bavite u životu.

The jellyfish in "Finding Nemo" was one of those moments for me.

Meduze iz "Potrage za Nemom" su bile jedan od tih momenata za mene.

There are scenes in every movie that struggle to come together.

Svaki film ima scene koje se teško uklapaju.

This was one of those scenes.

Ovo je bila jedna od tih scena.

The director had a vision for this scene

Reditelj je imao zamisao ove scene,

based on some wonderful footage of jellyfish in the South Pacific.

zasnovanu na divnom snimku meduza u Južnom Pacifiku.

As we went along,

Kako smo se vodili time,

we were floundering.

zapinjali smo.

The reviews with the director

Recenzije s rediteljem

turned from the normal look-and-feel conversation

su prešle iz normalnih razgovora o izgledu i osećaju

into more and more questions about numbers and percentages.

u sve više i više pitanja o brojkama i procentima.

Maybe because unlike normal,

Možda jer smo nasuprot uobičajenom,

we were basing it on something in real life,

zasnivali to na nečemu stvarnom

or maybe just because we had lost our way.

ili smo prosto zalutali.

But it had become about using our brain without our eyes,

Ali svelo se na to da smo koristili mozgove bez očiju,

the science without the art.

nauku bez umetnosti.

That scientific tether was strangling the scene.

Ta naučna spona je davila scenu.

But even through all the frustrations,

No čak i kroz sve to nerviranje,

I still believed it could be beautiful.

i dalje sam verovala da može da bude lepo.

So when it came in to lighting,

Pa kad smo stigli do rasvete.

I dug in.

Bacila sam se na to.

As I worked to balance the blues and the pinks,

Dok sam ujednačavala plavu i rozu boju,

the caustics dancing on the jellyfish bells,

kaustični ples na stomacima meduza,

the undulating fog beams,

talasaste snopove magle,

something promising began to appear.

nešto obećavajuće je počelo da izranja.

I came in one morning and checked the previous night's work.

Došla sam jednog jutra da proverim rad od prošle noći.

And I got excited.

I bila sam uzbuđena.

And then I showed it to the lighting director

A potom sam to pokazala direktorki rasvete

and she got excited.

i ona je bila uzbuđena.

Soon, I was showing to the director in a dark room full of 50 people.

Uskoro sam to prikazivala reditelju u mračnoj prostoriji s 50 ljudi.

In director review,

U rediteljevoj recenziji

you hope you might get some nice words,

se nadate da ćete videti lepe reči,

then you get some notes and fixes, generally.

a potom uopšteno dobijete neke beleške i ispravke.

And then, hopefully, you get a final,

A potom se nadate da ćete dobiti konačno znak

signaling to move on to the next stage.

da pređete na sledeću fazu.

I gave my intro, and I played the jellyfish scene.

Izložila sam uvodni govor i pustila scenu s meduzama.

And the director was silent for an uncomfortably long amount of time.

A reditelj je ćutao neprijatno dugo vremena.

Just long enough for me to think,

Taman toliko da pomislim:

"Oh no, this is doomed."

"O ne, ovo je propast."

And then he started clapping.

A onda je počeo da aplaudira.

And then the production designer started clapping.

Potom je dizajner produkcije počeo da aplaudira.

And then the whole room was clapping.

I zatim su svi u prostoriji aplaudirali.

This is the moment that I live for in lighting.

Za ovaj trenutak u rasveti živim.

The moment where it all comes together

Trenutak kad se sve uklopi

and we get a world that we can believe in.

i kad dobijemo svet u koji možemo da poverujemo.

We use math, science and code to create these amazing worlds.

Koristimo matematiku, nauku i kôd da bismo stvorili ove čudesne svetove.

We use storytelling and art to bring them to life.

Koristimo pripovedanje i umetnost da ih oživimo.

It's this interweaving of art and science

Ovo preplitanje umetnosti i nauke,

that elevates the world to a place of wonder,

uzvisuje svet do čarobnog mesta,

a place with soul,

do mesta sa dušom,

a place we can believe in,

mesta u koje možemo da poverujemo,

a place where the things you imagine can become real --

mesta gde stvari koje zamišljate mogu da se ostvare -

and a world where a girl suddenly realizes

i do sveta u kom devojka iznenada shvati,

not only is she a scientist,

da nije samo naučnica,

but also an artist.

već je i umetnica.

Thank you.

Hvala vam.

(Applause)

(Aplauz)