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

翻译人员: Chen Zou 校对人员: Leo Wei

When I was seven years old,

在我7岁的时候，

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

有位好心的大人问我 长大后想做什么。

Proudly, I said: "An artist."

我自豪地说：“一名艺术家。”

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

“不，你不会，” 他说道，

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

“当艺术家你是养不活自己的！”

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

我7岁的小小毕加索梦想破灭了。

但是我重整旗鼓，

But I gathered myself,

went off in search of a new dream,

去寻找新的梦想，

eventually settling on being a scientist,

最终我确定要当一名科学家，

perhaps something like the next Albert Einstein.

也许会成为下一个爱因斯坦。

(Laughter)

（笑声）

I have always loved math and science,

我一直都热爱数学和科学，

later, coding.

后来还爱上了写代码。

And so I decided to study computer programming in college.

因此在大学里我决定学习电脑编程。

In my junior year,

在大学三年级的时候，

my computer graphics professor showed us these wonderful short films.

我的计算机图形教授向我们 展示了这些神奇的短片。

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

我们全班都是第一次见到电脑动画。

I watched these films in wonder, transfixed,

我惊奇地看着这些短片，简直惊呆了，

fireworks going off in my head,

激情的火花在我的脑中迸发，

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

我想，"这就是我梦想的工作。"

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

所有我学到的数学，科学和编程，

could come together to create these worlds and characters

整合在一起可以用来 创造这些世界，角色，

and stories I connected with,

以及故事的这种想法，

was pure magic for me.

对我来说充满了魔力。

Just two years later, I started working

就在两年之后，我开始在

创作了这些电影的地方工作， 皮克斯动画工作室。

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

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

在这里我真正学会了如何制作那些电影。

To create our movies,

为制作电影，

we create a three-dimensional world inside the computer.

我们在电脑里制作了3D世界。

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

我们从一个点连成线，线构成面，

that creates characters,

这样创造角色，

or trees and rocks that eventually become a forest.

或者树，或者石头， 逐渐形成了一片森林。

And because it's a three-dimensional world,

因为这是一个3D世界，

we can move a camera around inside that world.

我们可以在那个世界里移动镜头。

I was fascinated by all of it.

我被这一切深深吸引住了。

But then I got my first taste of lighting.

然后我第一次尝试了布光。

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

布光实际上就是在 这个3D世界里放置光源。

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

我有光源的图标能够在里面移动。

Here you can see I've added a light,

这里你们可以看到我加了一个光源，

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

我打开的是软件里的粗略版光源，

turn on shadows

打开阴影，

and placing the light.

然后放置光源。

As I place a light,

当我放置一个光源时，

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

我会想在现实生活中 看上去应该是什么样子，

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

但同时也要平衡我们在 艺术和故事上的需要。

So it might look like this at first,

所以开始它看起来会像这样，

but as we adjust this and move that

但是随着我们在接下来的几个星期中

in weeks of work,

不断进行各种调整和移动，

in rough form it might look like this,

在粗略模式下看起来就变成这样了，

and in final form, like this.

在最终模式中是这样。

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

就在布光完成的这个瞬间， 我完全地爱上了它。

It's where we go from this

这是我们从这样

to this.

变成这样的地方。

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

这是所有部分整合在一起的时刻，

and suddenly the world comes to life

突然整个世界活了过来，

as if it's an actual place that exists.

就好像这是一个真实存在的地方。

This moment never gets old,

这个时刻永远也不会被淡忘，

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

尤其对一个想成为 艺术家的7岁的女孩来说。

As I learned to light,

随着我不断学习布光，

I learned about using light to help tell story,

我学会了用光去辅助故事的叙述，

to set the time of day,

去设置一天中的时间，

to create the mood,

去创造气氛，

to guide the audience's eye,

去引导观众的视线，

how to make a character look appealing

如何使一个角色有感染力，

or stand out in a busy set.

或使其在一个凌乱的场景里显得突出。

Did you see WALL-E?

你们看到瓦力了吗？

(Laughter)

（笑声）

There he is.

他在这儿。

As you can see,

就像你们看到的，

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

我们可以在电脑里 创造任何我们想要的世界。

We can make a world with monsters,

我们可以使世界充满了怪兽，

with robots that fall in love,

充满了陷入爱河的机器人，

we can even make pigs fly.

我们甚至可以使猪飞起来。

(Laughter)

（笑声）

While this is an incredible thing,

这是一件不可思议的事，

this untethered artistic freedom,

同时也是不受束缚的艺术自由，

it can create chaos.

它可以创造混乱。

It can create unbelievable worlds,

它可以创造出难以置信的世界，

unbelievable movement,

难以置信的运动，

things that are jarring to the audience.

使观众觉得不舒服的东西。

So to combat this, we tether ourselves with science.

所以，为了对抗这些, 我们用科学约束自己。

We use science and the world we know

我们以科学和已知的常识

as a backbone,

作为支柱，

to ground ourselves in something relatable and recognizable.

把我们与可关联和可识别的事物联系起来。

"Finding Nemo" is an excellent example of this.

“海底总动员” 就是一个杰出的例子。

A major portion of the movie takes place underwater.

电影中很大一部分故事发生在水下。

But how do you make it look underwater?

但是你怎样使它看起来是在水下呢？

In early research and development,

在早期的研发中，

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

我们拿出一段水下的影片 在电脑里面重建它。

Then we broke it back down

然后我们把它进行分解

to see which elements make up that underwater look.

去找出形成水下场景的元素。

One of the most critical elements

最关键的元素之一

was how the light travels through the water.

是光线如何在水中移动。

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

所以我们编码了一种光源 模拟这种物理现象——

first, the visibility of the water,

首先，是水的能见度，

and then what happens with the color.

然后是颜色的变化。

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

距离近的物体有完整的，丰富的色彩。

As light travels deeper into the water,

随着水深增加，

we lose the red wavelengths,

我们失去了红色波段的光，

then the green wavelengths,

然后是绿色波段，

leaving us with blue at the far depths.

在很深的地方只剩下蓝色。

In this clip you can see two other important elements.

在这个片段里你们可以看到 两个其它重要元素。

The first is the surge and swell,

第一个是涌动，

or the invisible underwater current

或者说是不可见的暗流，

that pushes the bits of particulate around in the water.

这推动了周围水中的少量微粒。

The second is the caustics.

第二个是光的散射。

These are the ribbons of light,

这些是光线照射的条纹，

like you might see on the bottom of a pool,

就像你可以在池底看到的一样，

that are created when the sun bends through the crests

这些是光线在海面上穿过涟漪和波浪的

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

波峰时发生了弯曲。

Here we have the fog beams.

这里我们有雾化光束。

These give us color depth cues,

这些给了我们不同色彩的深度暗示，

but also tells which direction is up

并且在看不到水面的地方

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

告诉我们哪个方向是上方。

The other really cool thing you can see here

在此你们能看到的另一件很酷的事是，

is that we lit that particulate only with the caustics,

我们只有光的散射来照亮微粒，

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

因此随着它进入和离开光的散射带，

it appears and disappears,

它出会出现然后消失，

lending a subtle, magical sparkle to the underwater.

产生了一个微妙的，魔幻的， 生气勃勃的水下世界。

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

你们可以看到我们是如何使用科学——

the physics of water, light and movement --

水、光线和移动的物理特性——

to tether that artistic freedom.

来与艺术的自由相联系。

But we are not beholden to it.

但是我们不会被它禁锢。

We considered each of these elements

我们会仔细考虑每一个元素，

and which ones had to be scientifically accurate

然后决定哪些必须要达到科学准确度，

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

哪些为了故事情节和气氛可以妥协。

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

我们在早期就意识到色彩 就是一项有发挥空间的元素。

So here's a traditionally colored underwater scene.

这是一个用传统色彩渲染方式 制作的水下场景。

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

但是这儿，我们可以将悉尼港调整得非常绿

to suit the sad mood of what's happening.

来配合正在发生的悲伤的气氛。

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

在这个场景里，到深水下面去看真的非常重要，

so we understand what the East Australian Current is,

这样我们就能理解东澳大利亚的洋流，

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

那些海龟正在潜入洋流， 搭乘这个“过山车”。

So we pushed the visibility of the water

所以我们将水的能见度

well past anything you would ever see in real life.

推到一个你们在现实生活中 从没见过的程度。

Because in the end,

因为最终，

我们并没有打算重建达到 科学精准度的现实世界，

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

we're trying to create a believable world,

我们在尝试创造一个逼真的世界，

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

一个可以让观众融入到这个故事中的世界。

We use science to create something wonderful.

我们用科学去创造一些很棒的东西。

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

通过故事和艺术修饰 将我们带到一个神奇的地方。

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

这个瓦力，就是一个很好的例子。

He finds beauty in the simplest things.

他从最简单的事物中就能发现美。

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

但到了给他布光的时候， 我们发现了一个大问题。

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

我们在制作瓦力这个逼真的 机器人时进行了过于精准的处理，

that we made his binoculars practically optically perfect.

我们把他的双筒眼睛做得 近乎达到了光学上的完美。

(Laughter)

（笑声）

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

他的双筒眼睛是它拥有的 最关键的行动部件之一。

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

他没有脸， 甚至没有传统的对话。

So the animators were heavily dependent on the binoculars

因此动画制作者严重地依赖他的双筒眼睛

to sell his acting and emotions.

去展现他的行为和情感。

We started lighting and we realized

我们开始布光，然后我们意识到

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

他的双筒眼睛中的 三层镜片导致光的反射十分混乱。

He was starting to look glassy-eyed.

他开始看起来眼神呆滞。

(Laughter)

（笑声）

Now, glassy-eyed is a fundamentally awful thing

现在问题来了，当你尝试说服一个观众

when you are trying to convince an audience

一个机器人是有个性的， 而且他可以陷入爱河，

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

那么眼神呆滞就是一个致命的问题。

So we went to work on these optically perfect binoculars,

所以我们在这些光学上完美的 双筒眼睛上进行研究，

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

努力寻找一个可以维持他真实的 机器人身份的材质，

but solve this reflection problem.

同时又能解决反射问题的方案。

So we started with the lenses.

所以我们从镜片上着手。

Here's the flat-front lens,

这是前面的平面镜，

we have a concave lens

后面有一个凹透镜，

and a convex lens.

最后是一个凸透镜。

And here you see all three together,

这里你们可以同时看到这三个，

showing us all these reflections.

向我们展示了所有的反射。

We tried turning them down,

我们试着关闭它们，

we tried blocking them,

挡住它们，

nothing was working.

但是没什么效果。

You can see here,

你们可以看到，

sometimes we needed something specific reflected in his eyes --

有时我们需要在他的眼睛里 反射一些具体的东西——

usually Eve.

常常是伊娃。

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

所以我们不能只是在镜片上 用一些虚假抽象的图像。

So here we have Eve on the first lens,

那么在这儿我们将伊娃 投影在第一个镜片上，

还试着把它放到第二个镜片上，

we put Eve on the second lens,

it's not working.

都不起作用。

We turn it down,

我们将它关掉，

it's still not working.

还是没用。

And then we have our eureka moment.

然后我们有了灵光一现的时刻。

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

我们为瓦力添加了一个光源， 光线无意中泄漏到了他的眼睛里。

You can see it light up these gray aperture blades.

你们可以看到它照亮了 这些灰色的光圈叶片。

Suddenly, those aperture blades are poking through that reflection

突然，这些光圈叶片 透过那个反射突显出来，

the way nothing else has.

其他任何方式都达不到这种效果。

Now we recognize WALL-E as having an eye.

现在我们可以看出瓦力有眼睛。

As humans we have the white of our eye,

像我们人类有眼白部分，

the colored iris

有带色彩的虹膜

and the black pupil.

以及黑色的瞳孔。

Now WALL-E has the black of an eye,

现在，瓦力有眼睛的黑色，

the gray aperture blades

灰色的光圈叶片

and the black pupil.

和黑色的瞳孔。

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

突然间，瓦力感觉他是有灵魂的，

like there's a character with emotion inside.

就像这是一个有内心情感的角色。

Later in the movie towards the end,

在电影快结束的时候，

WALL-E loses his personality,

瓦力失去了他的个性，

essentially going dead.

基本上说是快要死去了。

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

这是将他呆滞的眼神带回来的完美时刻。

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

在下一个场景中， 瓦力又活了过来。

我们将那个光源弄回来重新照亮光圈叶片，

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

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

然后他变回了那个我们喜爱的 甜美的，有灵魂的机器人。

(Video) WALL-E: Eva?

（视频）瓦力：伊娃？

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

丹尼尔·范伯格：在这些无法预料的 时刻中蕴含着一种美——

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

当你发现如何解锁一个机器人的灵魂时，

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

当你知道了你的人生中要做什么时。

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

“海底总动员”中的水母 对我来说也是这些时刻之一。

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

在每部电影里都有一些需要 纠结一番才能完成的场景。

This was one of those scenes.

这就是那些场景之一。

The director had a vision for this scene

导演对这个场景有一种期待，

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

他看过关于南太平洋中的 水母的一些很棒的片段。

As we went along,

随着工作的深入,

我们开始变得焦头烂额。

we were floundering.

The reviews with the director

导演的评审

turned from the normal look-and-feel conversation

从普通的观后感过渡到了

into more and more questions about numbers and percentages.

越来越多关于 数字和百分比的问题。

Maybe because unlike normal,

也许因为和正常情况不同，

we were basing it on something in real life,

我们是基于一些真实生活来创作它，

or maybe just because we had lost our way.

或者也许只是因为我们失去了方向。

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

但这只是在使用我们的大脑而不是眼睛，

the science without the art.

是使用了没有艺术性的科学。

That scientific tether was strangling the scene.

科学的束缚扼杀了场景。

But even through all the frustrations,

但即使经历了所有的挫折，

I still believed it could be beautiful.

我仍然相信它将是美丽的。

So when it came in to lighting,

因此当到了布光的时候，

I dug in.

我投入了全部的心血。

As I worked to balance the blues and the pinks,

随着我专注于蓝色和粉色的平衡，

the caustics dancing on the jellyfish bells,

散射的光线在钟形的水母上舞动，

the undulating fog beams,

起伏的雾化光束，

something promising began to appear.

我开始看到了一些曙光。

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

一天早上我进来检查头一天晚上的成果。

And I got excited.

然后我变得兴奋起来。

And then I showed it to the lighting director

接着我给灯光导演展示，

and she got excited.

她也变得兴奋起来。

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

很快，我在一个坐满50个人的 黑房间里给导演展示。

In director review,

在导演的评审中，

you hope you might get some nice words,

你会希望可以得到一些积极评价，

then you get some notes and fixes, generally.

然后通常你会得到一些解决问题的建议。

And then, hopefully, you get a final,

然后，可能你还会得到一个最后的

signaling to move on to the next stage.

进入到下一个阶段的信号。

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

我做了介绍，播放了水母场景。

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

然而导演沉默好长一段时间，让我十分忐忑。

Just long enough for me to think,

长得让我不得不想，

"Oh no, this is doomed."

“噢，不，看来没戏了。”

And then he started clapping.

然而他开始鼓掌了。

And then the production designer started clapping.

然后制片设计师开始鼓掌。

And then the whole room was clapping.

接着整个房间的人都在鼓掌。

This is the moment that I live for in lighting.

这就是我为布光倾注心血所期待的时刻。

The moment where it all comes together

在所有部分都完成时，

and we get a world that we can believe in.

就会得到一个逼真的世界。

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

我们用数学，科学，和编程 来创作这些美轮美奂的世界。

We use storytelling and art to bring them to life.

我们用讲故事和艺术 来赋予他们生命。

It's this interweaving of art and science

艺术和科学的交织

that elevates the world to a place of wonder,

将世界提升到了一个神奇的地点，

a place with soul,

一个有灵魂的地方，

a place we can believe in,

一个我们可以相信的地方，

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

一个让你美梦成真的地方——

and a world where a girl suddenly realizes

在这个世界中，一个女孩突然意识到

not only is she a scientist,

她不但是一名科学家，

but also an artist.

还是一名艺术家。

Thank you.

谢谢。

(Applause)

（鼓掌）