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

83,544 views ・ 2015-12-15

TED


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翻译人员: Becky Yuan 校对人员: Xiaoya Song
00:12
What if I could present you a story
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如果我给你讲一个故事,
00:14
that you would remember with your entire body
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一个你会用整个身体,
00:17
and not just with your mind?
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而不仅仅是在脑海中 记住的故事,怎么样?
00:19
My whole life as a journalist, I've really been compelled
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我是一个记者,我一直在努力
00:22
to try to make stories that can make a difference
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去写一些故事,可以做出一些改变,
00:24
and maybe inspire people to care.
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也许可以激发人们的同情心。
00:26
I've worked in print. I've worked in documentary.
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我在报社工作过,我制作过纪录片。
00:29
I've worked in broadcast.
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也曾在广播公司供职。
00:30
But it really wasn't until I got involved with virtual reality
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但是,当我接触到虚拟现实的时候,
00:33
that I started seeing these really intense,
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我才真正开始看到人们那些强烈的
00:36
authentic reactions from people
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真实的反应,
00:38
that really blew my mind.
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从根本上改变了我的看法。
00:40
So the deal is that with VR, virtual reality,
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那么在虚拟现实中,
00:44
I can put you on scene
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我可以把你放在一个故事的
00:47
in the middle of the story.
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某个场景中。
00:50
By putting on these goggles that track wherever you look,
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戴上追踪你视野的眼镜,
00:53
you get this whole-body sensation,
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你的全身感官都会有种
00:56
like you're actually, like, there.
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身临其境的感觉。
00:59
So five years ago was about when I really began to push the envelope
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就在五年前,我真正开始
01:02
with using virtual reality and journalism together.
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把虚拟现实和记者的工作结合起来。
01:05
And I wanted to do a piece about hunger.
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我想做一个关于饥饿的作品。
01:08
Families in America are going hungry, food banks are overwhelmed,
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美国的家庭正在遭受饥饿, 食品供给处人满为患,
01:11
and they're often running out of food.
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人们经常吃不饱饭。
01:14
Now, I knew I couldn't make people feel hungry,
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我知道我不能让人们真正感受到饥饿,
01:17
but maybe I could figure out a way to get them to feel something physical.
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但也许我可以找到一个方法, 让他们在生理上感受到些什么。
01:22
So -- again, this is five years ago --
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于是——重申一下,这是五年前——
01:25
so doing journalism and virtual reality together
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把记者的工作和虚拟现实结合在一起
是一个全新的想法,前途未卜,
01:29
was considered a worse-than-half-baked idea,
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而且我没有任何基金支持。
01:32
and I had no funding.
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01:33
Believe me, I had a lot of colleagues laughing at me.
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相信我,有很多同事都嘲笑我。
01:35
And I did, though, have a really great intern,
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但是,我有一个很好的实习生,
01:39
a woman named Michaela Kobsa-Mark.
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她叫米歇尔马克。
01:41
And together we went out to food banks
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我们一起去了食品供给处,
01:43
and started recording audio and photographs.
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开始进行录音和拍照。
01:46
Until one day she came back to my office
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直到有一天,她来到我的办公室,
01:48
and she was bawling, she was just crying.
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痛哭不止,泪流满面。
01:51
She had been on scene at a long line,
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她看到了一条排队领取事物的长队,
01:53
where the woman running the line was feeling extremely overwhelmed,
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那里有一个管理队伍的女人情绪崩溃了,
01:57
and she was screaming, "There's too many people!
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她在尖叫,”人太多了!
02:00
There's too many people!"
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人太多了!”
02:02
And this man with diabetes doesn't get food in time,
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然后有一个得了糖尿病的男人 没有及时得到食物,
02:06
his blood sugar drops too low, and he collapses into a coma.
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他的血糖降得太低了,昏了过去。
02:10
As soon as I heard that audio,
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当我听到那个录音的时候,
02:12
I knew that this would be the kind of evocative piece
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我知道这就是那种
02:15
that could really describe what was going on at food banks.
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能够真正反应食品供给处的情况, 并引起感情共鸣的作品。
02:19
So here's the real line. You can see how long it was, right?
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这是现实中的队伍, 你可以看见它有多长,对吧?
02:22
And again, as I said, we didn't have very much funding,
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重申一下,我们没有什么基金资助,
02:25
so I had to reproduce it with virtual humans that were donated,
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所以我想要重现这些场景,就必须 找到一些志愿者,
02:29
and people begged and borrowed favors to help me create the models
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请求他们帮忙制造出各种模型,
把场景做得尽可能真实。
02:33
and make things as accurate as we could.
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02:35
And then we tried to convey what happened that day
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之后我们试着尽量真实地
02:38
with as much as accuracy as is possible.
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展现出那天到底发生了什么。
(视频)声音:有太多人了!有太多人了!
02:41
(Video) Voice: There's too many people! There's too many people!
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声音:看起来他的癫痫发作了。
02:54
Voice: OK, he's having a seizure.
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声音:我们需要一辆救护车。
03:11
Voice: We need an ambulance.
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03:14
Nonny de la Peña: So the man on the right,
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诺尼德拉皮娜(NP): 画面右边的那个男人,
他正在那个身体旁边走动。
03:16
for him, he's walking around the body.
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03:18
For him, he's in the room with that body.
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对于他来说, 他和那个身体同在一个房间里。
03:21
Like, that guy is at his feet.
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好像那个倒下的男人就在他的脚旁。
03:23
And even though, through his peripheral vision,
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即使如此,通过外围的视角,
03:25
he can see that he's in this lab space,
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他仍然可以看见他是在这个实验室里,
03:27
he should be able to see that he's not actually on the street,
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他应该能看见自己并不是真正在街上,
03:32
but he feels like he's there with those people.
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但他会感觉他正和那些人 一起经历这一切。
03:35
He's very cautious not to step on this guy
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他小心地避免踩到那个人身上,
03:37
who isn't really there, right?
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而那个人其实并不存在,对吧?
03:39
So that piece ended up going to Sundance in 2012,
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那个作品在2012年进入了圣丹斯系列,
03:42
a kind of amazing thing, and it was the first virtual reality film
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很了不起,这几乎是有史以来第一部
03:46
ever, basically.
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虚拟现实作品。
当我们去那里的时候,我非常忐忑。
03:49
And when we went, I was really terrified.
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我真的不知道人们的反应会是什么,
03:51
I didn't really know how people were going to react
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03:53
and what was going to happen.
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会有什么样的效果。
03:54
And we showed up with this duct-taped pair of goggles.
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我们带着这些带录像管的眼镜到场。
03:57
(Video) Oh, you're crying. You're crying. Gina, you're crying.
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(视频)哦,你在哭,你在哭,吉娜,你在哭。
04:01
So you can hear the surprise in my voice, right?
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NP:你们可以听到我声音里 透出的惊讶,对吧?
04:04
And this kind of reaction ended up being the kind of reaction we saw
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这就是我们所看到的观众的反应,
一次又一次同样的反应:
04:08
over and over and over:
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人们跪在地上试图安慰 病情发作的患者,
04:11
people down on the ground trying to comfort the seizure victim,
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04:14
trying to whisper something into his ear
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试图在他耳边低语,
04:16
or in some way help, even though they couldn't.
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或者提供一些帮助, 即使他们完全帮不上。
04:20
And I had a lot of people come out of that piece saying,
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很多人从这个作品中走出来后都说,
“哦,天哪,我太沮丧了, 我帮不了那个人。”
04:23
"Oh my God, I was so frustrated. I couldn't help the guy,"
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并把这种感受带回到 他们自己的生活中。
04:26
and take that back into their lives.
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04:28
So after this piece was made,
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在这个作品完成之后,
南加利福尼亚大学的电影系的院长,
04:32
the dean of the cinema school at USC, the University of Southern California,
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带来了世界经济论坛主席, 来观看这部“饥饿”,
04:36
brought in the head of the World Economic Forum to try "Hunger,"
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04:40
and he took off the goggles,
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他摘下了眼镜,
04:41
and he commissioned a piece about Syria on the spot.
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随后立即批准了一部 关于当时叙利亚的片子。
04:44
And I really wanted to do something about Syrian refugee kids,
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我真的想为这些 叙利亚的难民孩子们做些什么,
04:47
because children have been the worst affected by the Syrian civil war.
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因为儿童是受到叙利亚的 内战影响最严重的。
04:52
I sent a team to the border of Iraq to record material at refugee camps,
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我派了一个团队去伊拉克边境上的 难民营录制材料,
04:56
basically an area I wouldn't send a team now,
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但目前因为ISIS正在控制那个地区,
04:59
as that's where ISIS is really operating.
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我无法再往那里派遣团队了。
05:02
And then we also recreated a street scene
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随后我们还重建了一个街景,
05:05
in which a young girl is singing and a bomb goes off.
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是一个年轻的女孩在唱歌, 然后一个炸爆炸了。
05:09
Now, when you're in the middle of that scene
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现在,当你在那个场景中央,
05:11
and you hear those sounds,
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听到那些声音,
05:14
and you see the injured around you,
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还看到那些受伤的人就在你的身边,
05:16
it's an incredibly scary and real feeling.
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你会有一种难以置信的 可怕而又真实的感受。
05:19
I've had individuals who have been involved in real bombings tell me
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我认识一些经历过 真正的炸弹爆炸的人,他们告诉我
05:23
that it evokes the same kind of fear.
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这会唤起和那时一样恐惧的感受。
05:28
[The civil war in Syria may seem far away]
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【在你亲身体验之前】
05:34
[until you experience it yourself.]
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【叙利亚内战也许显得很遥远。】
05:41
(Girl singing)
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(女孩的歌声)
05:48
(Explosion)
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(爆炸)
05:50
[Project Syria]
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【叙利亚项目】
05:55
[A virtual reality experience]
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【一个虚拟现实的体验】
05:58
NP: We were then invited to take the piece
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NP:我们被邀请带着这个作品
06:00
to the Victoria and Albert Museum in London.
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去伦敦的维多利亚和阿尔伯塔博物馆。
06:02
And it wasn't advertised.
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没有进行任何宣传。
06:04
And we were put in this tapestry room.
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我们被安排在这间织锦室。
06:06
There was no press about it,
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没有关于这件事的任何新闻报道,
06:07
so anybody who happened to walk into the museum to visit it that day
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所以那天任何碰巧 走进这家博物馆游览的人
06:11
would see us with these crazy lights.
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会在这些炫目的灯光下看见我们。
06:13
You know, maybe they would want to see the old storytelling of the tapestries.
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他们也许本想看这些 壁毯讲述的古老的故事。
06:17
They were confronted by our virtual reality cameras.
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但他们“遭遇”了我们的 虚拟现实的摄像机。
06:20
But a lot of people tried it, and over a five-day run
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很多人尝试了这个虚拟现实的体验, 经过五天的播放,
06:23
we ended up with 54 pages of guest book comments,
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我们得到了54页的观看评论,
06:28
and we were told by the curators there
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那里的馆长告诉我们
06:30
that they'd never seen such an outpouring.
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他们从来没看到过这么多的真情流露。
06:33
Things like, "It's so real," "Absolutely believable,"
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留言中有“太真实了”,“绝对可信,”
06:37
or, of course, the one that I was excited about,
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当然了,还有一条最让我兴奋的,
“这是一种真实的感觉,
06:40
"A real feeling as if you were in the middle of something
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06:43
that you normally see on the TV news."
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就好像身处电视新闻中的场景。”
06:46
So, it works, right? This stuff works.
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虚拟现实的效果很明显,对吧? 效果很震撼。
06:50
And it doesn't really matter where you're from or what age you are --
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它跟你来自哪里, 多大年龄完全无关——
06:54
it's really evocative.
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它真的能让人感同身受。
06:56
Now, don't get me wrong -- I'm not saying that when you're in a piece
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别误会—— 我不是说当你在那个作品中时,
07:00
you forget that you're here.
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你会忘了你在哪里。
而是我们能够感觉到 我们同处于两个地方。
07:03
But it turns out we can feel like we're in two places at once.
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07:06
We can have what I call this duality of presence,
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我称其为二重存在,
07:09
and I think that's what allows me to tap into these feelings of empathy.
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我认为就是它使我能够 完全地感同身受。
07:14
Right?
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对吧?
所以,这也就意味着,
07:16
So that means, of course,
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07:19
that I have to be very cautious about creating these pieces.
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创作这些作品必须非常谨慎。
07:24
I have to really follow best journalistic practices
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我必须遵循最好的新闻实践,
07:28
and make sure that these powerful stories
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并且确保用诚信
07:30
are built with integrity.
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去打造这些强大的故事。
07:32
If we don't capture the material ourselves,
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如果我们不自己捕捉故事素材,
07:34
we have to be extremely exacting
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我们就必须彻底弄清楚
07:39
about figuring out the provenance and where did this stuff come from
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这些故事的出处,
07:42
and is it authentic?
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以及它们是否真实可信。
07:44
Let me give you an example.
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再来举个例子。
07:45
With this Trayvon Martin case, this is a guy, a kid,
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用特雷文马丁的例子, 他是一个十七岁的小男孩,
07:48
who was 17 years old and he bought soda and a candy at a store,
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他从商店买了苏打和糖果,
07:52
and on his way home he was tracked by a neighborhood watchman
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在他回家的路上,他被一个邻居跟踪,
07:56
named George Zimmerman who ended up shooting and killing him.
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这个名叫乔治齐默曼的人 随后将他枪杀了。
07:59
To make that piece,
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为了做这个作品,
08:00
we got the architectural drawings of the entire complex,
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我们得到了整个建筑群的建筑草图,
08:04
and we rebuilt the entire scene inside and out, based on those drawings.
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并基于这些草图, 重建了整个室内和室外的场景。
08:09
All of the action
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真实的911报警电话录音
08:10
is informed by the real 911 recorded calls to the police.
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告诉了我们事情的经过。
08:16
And interestingly, we broke some news with this story.
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有趣的是,在这个故事里 我们发现了一些新闻。
08:19
The forensic house that did the audio reconstruction, Primeau Productions,
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进行音频重建的普里默制作公司声称,
08:23
they say that they would testify
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他们可以作证
08:25
that George Zimmerman, when he got out of the car,
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当乔治齐默曼从车里出来后,
08:27
he cocked his gun before he went to give chase to Martin.
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在追赶马丁之前就把枪上了膛。
08:32
So you can see that the basic tenets of journalism,
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所以你们可以看到, 身为记者的基本原则
08:35
they don't really change here, right?
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在这里并没有发生改变,不是吗?
08:37
We're still following the same principles that we would always.
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我们始终都在遵循着原则。
08:40
What is different is the sense of being on scene,
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不同的是真正处在这个场景中的感受,
08:44
whether you're watching a guy collapse from hunger
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不管你是在观察一个饥饿难耐, 瘫倒街头的人,
08:46
or feeling like you're in the middle of a bomb scene.
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还是感觉你处在一个爆炸现场。
08:48
And this is kind of what has driven me forward with these pieces,
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这就是驱使我一直做这些作品,
08:53
and thinking about how to make them.
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和思考如何制作它们的原因。
08:55
We're trying to make this, obviously, beyond the headset, more available.
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很显然,我们正在努力去让这些作品 脱离头戴式耳机,更方便观看。
08:59
We're creating mobile pieces like the Trayvon Martin piece.
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我们正在制作移动设备上可观看的作品, 比如特雷文马丁的作品。
09:02
And these things have had impact.
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这些作品已经造成了一定影响。
09:06
I've had Americans tell me that they've donated,
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有些美国人告诉我他们已经直接将自己
09:09
direct deductions from their bank account, money to go to Syrian children refugees.
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银行账户中的一部分钱 捐献给了叙利亚儿童难民。
09:13
And "Hunger in LA," well, it's helped start
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另外,“洛杉矶饥荒”
09:15
a new form of doing journalism
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开创了一种新的做新闻的形式,
09:18
that I think is going to join all the other normal platforms
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我认为这种形式在未来将会和
09:21
in the future.
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其他任何普通平台融合。
09:22
Thank you.
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谢谢。
09:23
(Applause)
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(掌声)
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