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

譯者: 易帆 余 審譯者: Deborah Lu

When I was seven years old,

我7歲的時候，

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

有位好心的大人問我， 我長大後要當甚麼？

Proudly, I said: "An artist."

我驕傲地說： 「我要當一位藝術家」。

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

他說：「不，你不可以」，

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

「當藝術家賺不了錢的！」

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

我7歲的小小畢加索夢想 就這樣被破滅了。

But I gathered myself,

但我打起精神，

went off in search of a new dream,

前往尋找另一個新的夢想，

eventually settling on being a scientist,

最後確定想當一位科學家，

perhaps something like the next Albert Einstein.

看會不會成為 下一個愛因斯坦。

(Laughter)

（笑聲）

I have always loved math and science,

我一直很喜歡數學及科學，

later, coding.

長大後，喜歡寫程式。

And so I decided to study computer programming in college.

所以我決定要在大學裡 研究電腦程式設計。

In my junior year,

在我大三的時候，

my computer graphics professor showed us these wonderful short films.

我的電腦繪圖教授，展示了一段 很棒的短片給我們看。

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

它是第一部電腦動畫， 我們以前都沒見過。

I watched these films in wonder, transfixed,

我看著這些影片，發呆驚訝，

fireworks going off in my head,

我的腦袋裡開始顫放煙火，

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

並想著，「這就是我這一生 一直想做的事啊！」

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

所有我學到的數學、 科學、程式語言設計

could come together to create these worlds and characters

終於可以整合在一起 來創造這些世界與人物，

and stories I connected with,

以及與我相連結的故事，

was pure magic for me.

這對我來說， 簡直是太棒了。

Just two years later, I started working

兩年後，我開始在

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

這些影片的製作公司工作， 「皮克斯動畫工作室」。

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

在那裏我學會了如何真正地 執行製作這些影片。

To create our movies,

為了創作出我們的電影，

we create a three-dimensional world inside the computer.

我們在電腦裡面， 創造了一個3D世界。

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

我們從一個點，連成了線， 把線連成了一個面，

that creates characters,

從角色製作、

or trees and rocks that eventually become a forest.

到樹、石頭，最後變成了森林。

And because it's a three-dimensional world,

因為它是3D的世界，

we can move a camera around inside that world.

我們可以在裡面任意 移動我們的攝影機。

I was fascinated by all of it.

我被這一切深深吸引了。

But then I got my first taste of lighting.

之後我第一次嘗試到 「打光」的樂趣，

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

「打光」在實務上，就是把燈 設置到這個3D的世界。

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

我實際上在這裡面 到處都有移動的光標。

Here you can see I've added a light,

你可以在這裡看到， 我已經加了一個燈，

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

我打開了軟體裡面 粗糙版本的光，

turn on shadows

打開陰影效果，

and placing the light.

放置了燈光。

As I place a light,

當我打光上去後，

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

我就要想，它在真實 世界裡會如何呈現 ，

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

並同時要兼顧到美學 及故事的需要。

So it might look like this at first,

所以，它一開始也許是長這樣，

but as we adjust this and move that

但當我們這邊調整一下， 那邊移動一下，

in weeks of work,

工作幾個禮拜後，

in rough form it might look like this,

初步的版本也許就像這樣，

and in final form, like this.

最後的版本就會是這樣。

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

就是這種打光的時刻， 讓我深深地愛上了它。

It's where we go from this

我們會從這樣的狀況，

to this.

變成這樣的狀況。

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

當這些瑣碎的片段 結合在一起的時刻，

and suddenly the world comes to life

整個世界就好像活躍了起來，

as if it's an actual place that exists.

彷彿是一個實際存在的地方。

This moment never gets old,

這種感動的時刻 永遠不會老去，

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

尤其對一個七歲就想當一位 藝術家的小女生來說。

As I learned to light,

在學習燈光照明的歷程，

I learned about using light to help tell story,

我學會了用光來 協助故事的描述，

to set the time of day,

用光來設定一天的時間、

to create the mood,

用光創造出情緒、

to guide the audience's eye,

用光來引導觀眾的視線、

how to make a character look appealing

學會了如何使一個角色 看起來更動人

or stand out in a busy set.

或在一個繁忙的場景裡 凸顯他的存在。

Did you see WALL-E?

各位有看到瓦力嗎？

(Laughter)

（笑聲）

There he is.

他在這裡。

As you can see,

就如各位所看到的，

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

我們可以在電腦裡面， 創造出我們想要的世界。

We can make a world with monsters,

我們可以創造出怪物的世界、

with robots that fall in love,

陷入愛河的機器人，

we can even make pigs fly.

我們甚至會讓豬飛起來。

(Laughter)

（笑聲）

While this is an incredible thing,

這個美崙美奐的東西，

this untethered artistic freedom,

這個不受拘束的藝術自由，

it can create chaos.

它會創造出混亂、

It can create unbelievable worlds,

它會創造出難以置信的世界、

unbelievable movement,

難以置信的變化、

things that are jarring to the audience.

一些會讓觀眾不安的東西。

So to combat this, we tether ourselves with science.

所以為了解決這些事情， 我們用科學約束我們自己。

We use science and the world we know

我們利用所知的科學

as a backbone,

及世界作為我們的骨幹，

to ground ourselves in something relatable and recognizable.

來為我們自己的作品打下 深入人心及具有辨識性的基礎。

"Finding Nemo" is an excellent example of this.

「海底總動員」 就是一個很好的例子。

A major portion of the movie takes place underwater.

電影大部分的場景都在水底下。

But how do you make it look underwater?

但你要如何讓它 看起來是在水底下？

In early research and development,

在早期的研究與發展中，

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

我們會拿出一段水底下的連續鏡頭影片， 並把該場景從電腦裡面重製出來。

Then we broke it back down

我們會把它拆解開來，

to see which elements make up that underwater look.

看看水底下的場景 是由那些元素所構成。

One of the most critical elements

其中一個最關鍵的元素就是：

was how the light travels through the water.

「光線」是如何在水中運行穿越的。

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

所以，我們程式設計出一個 可以模擬這種物理現象的光源——

first, the visibility of the water,

首先是水的能見度，

and then what happens with the color.

再來是顏色發生了甚麼變化。

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

靠近我們眼睛的物體 較具有完整豐富的色彩。

As light travels deeper into the water,

隨著光線穿越到水裡深處時，

we lose the red wavelengths,

紅色波長的光會逐漸消失，

then the green wavelengths,

然後是綠色波長的光，

leaving us with blue at the far depths.

最後最深處的地方， 只剩下藍色波長的光。

In this clip you can see two other important elements.

在這段影片中，你可以看到 另外兩個重要的元素。

The first is the surge and swell,

第一個是水波紋的呈現，

or the invisible underwater current

或者是水底下看不到的暗流，

that pushes the bits of particulate around in the water.

這些暗流會推動 附近水域的微粒子。

The second is the caustics.

第二個是「焦散面」。

These are the ribbons of light,

由這些光線散焦後 所形成的帶子，

like you might see on the bottom of a pool,

像是各位在水池底下 所看到的「光帶」，

that are created when the sun bends through the crests

也就是陽光穿過海面上的 漣漪和波浪時所產生的折射現象。

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

這個是「霧的光束」，

Here we have the fog beams.

These give us color depth cues,

這些線索不僅讓我們了解 顏色與深度的關係，

but also tells which direction is up

也告訴了我們哪個方向是上方，

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

尤其是當你看不到水面時。

The other really cool thing you can see here

另一件很酷的事情就是，

is that we lit that particulate only with the caustics,

我們會把在 「散焦面的微粒子」點亮，

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

讓它在「光帶」中進進出出，

it appears and disappears,

它就會呈現 忽隱忽現的現象，

lending a subtle, magical sparkle to the underwater.

增添了水底下那種 微妙神奇的晶瑩剔透感。

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

你可以看到我們如何使用科學——

the physics of water, light and movement --

水的物理現象、照明、波動——

to tether that artistic freedom.

緊密地與藝術的自由相連結。

But we are not beholden to it.

但我們不因此而感到開心。

We considered each of these elements

我們考慮到這些元素彼此間

and which ones had to be scientifically accurate

在科學上的準確度，

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

及哪些我們可以移動， 以符合故事情節與角色情緒的需要。

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

我們在早期就意識到， 顏色是一個我們可以發揮的地方。

So here's a traditionally colored underwater scene.

這裡是一個用原始方式 上色的水下場景。

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

但這裡，我們可以用 雪梨港底下的綠色水景，

to suit the sad mood of what's happening.

來呈現悲傷事情發生的情境。

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

在這個場景裡，我們了解到 深入水底去看是非常重要的，

so we understand what the East Australian Current is,

這讓我們了解到了 澳洲東部的洋流是長甚麼樣子，

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

這些海龜潛到洋流後， 像是在搭雲霄飛車一樣。

So we pushed the visibility of the water

所以我們把水的能見度，

well past anything you would ever see in real life.

推進到一個你在真實世界裡 從未見過的極致狀態。

Because in the end,

因為最後，

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

我們並不是要嘗試重現 科學正確的真實世界，

we're trying to create a believable world,

我們是要嘗試創造出 一種令人信服的世界，

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

一個可以讓觀眾將他們自己 融入到體驗故事的世界。

We use science to create something wonderful.

我們用科學讓一些東西變得完美。

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

我們利用故事和對藝術的感動 將我們帶到一個美麗的世界。

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

這傢伙，瓦力，就是一個很好的例子。

He finds beauty in the simplest things.

他在最簡單的事物裡，發現了「美」。

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

但是當他要開始照明的時候， 我們發現了一個大問題。

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

我們發瘋似地在製作 這部很有說服力的瓦力機器人，

that we made his binoculars practically optically perfect.

我們把他的雙筒望遠鏡 做的堪稱是光學上的完美作品。

(Laughter)

（笑聲）

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

他的雙筒望遠鏡是他所擁有 最重要的行為裝置之一。

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

他沒有臉，甚至沒有傳統上的 對話模式來呈現他的情緒，

So the animators were heavily dependent on the binoculars

所以動畫家們相當 依賴這個望遠鏡

to sell his acting and emotions.

來展現瓦力的行為和情緒。

We started lighting and we realized

我們開始照明後， 然後我們意識到，

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

在他望遠鏡裡面的3個鏡片 造成了反射上的混亂。

He was starting to look glassy-eyed.

他看起來有點眼神呆滯。

(Laughter)

（笑聲）

Now, glassy-eyed is a fundamentally awful thing

呆滯的眼神基本上 沒甚麼說服力，

when you are trying to convince an audience

尤其是，當你嘗試要 說服觀眾相信

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

那個機器人有自己的個性且 有能力可以陷入愛河時。

So we went to work on these optically perfect binoculars,

所以我們在望遠鏡上 下了很多光學上的功夫。

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

試著去找到一個可以維持 他真實機器人的性質

but solve this reflection problem.

但同時又可以解決 反射問題的方法。

So we started with the lenses.

所以我們從鏡片上下手。

Here's the flat-front lens,

這是一個平面鏡，

we have a concave lens

我們有一個凹面鏡

and a convex lens.

和一個凸面鏡。

And here you see all three together,

你們可以看到當它們三個放在一起時，

showing us all these reflections.

向我們展示了所有的反射狀況。

We tried turning them down,

我們試著關掉它們，

we tried blocking them,

我們試著鎖住它們，

nothing was working.

但都起不了作用。

You can see here,

在這裡各位可以看到，

sometimes we needed something specific reflected in his eyes --

有時候我們需要一些具體的 東西反射在他的眼睛裡——

usually Eve.

特別是「伊芙」。

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

所以我們不能在鏡片裡用一些 虛假的抽象圖象。

So here we have Eve on the first lens,

這裡「伊芙」出現在第一個鏡片上，

we put Eve on the second lens,

我們把「伊芙」放在第二個鏡片上，

it's not working.

都沒有用。

We turn it down,

我們把它關掉，

it's still not working.

還是沒有用。

And then we have our eureka moment.

然後我們有了驚喜的發現。

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

我們把燈光打到瓦力身上時， 燈光意外地從他的眼睛滲透了進去。

You can see it light up these gray aperture blades.

你可以看到它照亮了 這些灰色的光圈片。

Suddenly, those aperture blades are poking through that reflection

突然間，這些光圈片把 反射給透視出來了，

the way nothing else has.

這是從來沒有的現象。

Now we recognize WALL-E as having an eye.

現在我們認定瓦力有了眼睛。

As humans we have the white of our eye,

就如同我們人類的白眼球、

the colored iris

彩色的虹膜、

and the black pupil.

以及黑色的瞳孔。

Now WALL-E has the black of an eye,

現在瓦力有黑色的眼睛、

the gray aperture blades

灰色的光圈片

and the black pupil.

和黑色的瞳孔

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

突然間，瓦力感覺 有了他自己的靈魂，

like there's a character with emotion inside.

像是在他身體裡面有了一個 充滿了情緒的角色。

Later in the movie towards the end,

之後在電影結束之前，

WALL-E loses his personality,

瓦力失去了他的個性，

essentially going dead.

基本上已經算是死去了。

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

接下來就是把呆滯眼神 帶回這個場景的最佳時刻。

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

在下一個場景裡， 瓦力重新活了過來。

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

我們把光線重新帶回到光圈片裡，

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

他就變回了那個我們既喜愛又 甜美、有靈魂的機器人了。

(Video) WALL-E: Eva?

（影片）瓦力：依芙？

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

丹妮爾范伯格：這些令人 意想不到的感動時刻有一種美——

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

當你找到那把 釋放機器人靈魂的鎖、

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

當你發掘在你生命中 想要做什麼的時刻。

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

在「海底總動員裡」的水母， 也是其中一個令我感動的時刻。

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

每部電影裡，多少都有一些 場景是很難產出的。

This was one of those scenes.

其中一個場景就是這個。

The director had a vision for this scene

導演對這個場景有一個憧憬，

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

這個場景是以一些美麗的南太平洋水母 的連續鏡頭影片為基礎的。

As we went along,

隨著我們工作開展開來，

we were floundering.

我們開始慌張了。

The reviews with the director

導演的評論

turned from the normal look-and-feel conversation

從平常「觀看-感覺」的對話

into more and more questions about numbers and percentages.

轉變到對我們數字及比例上 越來越多的質疑。

Maybe because unlike normal,

也許因為這些場景 不是正常的場景，

we were basing it on something in real life,

我們當時是以真實生活中的 一些東西來做場景的架構的，

or maybe just because we had lost our way.

也有可能是因為我們找不到方法。

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

但這已經變成是用腦而不是用眼睛，

the science without the art.

用科學而不是用藝術來看這件事了。

That scientific tether was strangling the scene.

科學限制了場景的呈現方式。

But even through all the frustrations,

但即使碰到了這麼多的挫折，

I still believed it could be beautiful.

我仍相信一定有辦法把它變漂亮。

So when it came in to lighting,

所以當提及燈光照明的時候，

I dug in.

我就全力以赴了。

As I worked to balance the blues and the pinks,

在我做藍色與粉色的平衡時，

the caustics dancing on the jellyfish bells,

那些在水母頭上跳舞的「焦散面」、

the undulating fog beams,

波浪狀的霧狀光束，

something promising began to appear.

好像有甚麼好東西 開始要呈現出來了。

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

有一天早上，我進來 檢查前一晚的工作。

And I got excited.

我相當興奮。

And then I showed it to the lighting director

然後我把它拿給燈光導演看，

and she got excited.

她也很興奮。

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

很快的，我在一個有50個人的暗房， 把它展示給導演看。

In director review,

在等待導演評論的這段時間，

you hope you might get some nice words,

你會很希望可以得到一些好的字詞，

then you get some notes and fixes, generally.

通常你會把它註記下來， 然後再做些修正。

And then, hopefully, you get a final,

之後，希望可以得到最後的指示，

signaling to move on to the next stage.

來進入到下一個階段。

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

我簡短做了介紹， 然後開始播放水母的場景。

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

導演沉默了一段很長 令人快要窒息的時間。

Just long enough for me to think,

長到讓我開始想．．．

"Oh no, this is doomed."

「喔，不！完蛋了！」

And then he started clapping.

然後他開始鼓掌。

And then the production designer started clapping.

產品設計師也開始鼓掌。

And then the whole room was clapping.

然後整間的同事開始鼓掌。

This is the moment that I live for in lighting.

這就是我以燈光照明 為生的重要時刻。

The moment where it all comes together

在這個時候所有的東西聚合在一起，

and we get a world that we can believe in.

我們擁有了一個 我們相信的世界。

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

我們用數學、科學、程式設計， 來創造這些驚奇的世界。

We use storytelling and art to bring them to life.

我們用說故事和藝術的方式， 使它們活了起來。

It's this interweaving of art and science

這個藝術與科學交織的時刻，

that elevates the world to a place of wonder,

把世界引領到一個美麗的地方、

a place with soul,

一個充滿靈魂的地方，

a place we can believe in,

一個我們信仰的地方，

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

一個你想像就能成真的地方——

and a world where a girl suddenly realizes

一個讓那個小女孩突然意識到，

not only is she a scientist,

她不僅是個科學家，

but also an artist.

也是一位藝術家的世界。

Thank you.

謝謝各位！

(Applause)

（掌聲）