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

譯者: Harry Chen 審譯者: Dan Wang

What if I could present you a story

如果我可以向你們做一個報導，

that you would remember with your entire body

你們將能用全身來記下它，

and not just with your mind?

而不僅是用腦子記住會是怎樣的光景呢？

My whole life as a journalist, I've really been compelled

我當了一輩子的記者， 我真的早已不得不嘗試去寫

to try to make stories that can make a difference

可以帶來改變、

and maybe inspire people to care.

甚或喚起大家關注的報導。

I've worked in print. I've worked in documentary.

我曾在書面媒體業、紀錄片報導、

I've worked in broadcast.

廣播界工作過；

But it really wasn't until I got involved with virtual reality

但直到我跟虛擬實境扯上邊後，

that I started seeing these really intense,

我才開始看見來自人們 這些確實強烈、

authentic reactions from people

實切的反應，

that really blew my mind.

這讓我興奮激動了起來。

So the deal is that with VR, virtual reality,

所以重點是有了虛擬實境－

I can put you on scene

我就能把你們放進新聞的場景裡。

in the middle of the story.

By putting on these goggles that track wherever you look,

利用戴上這些追索你視角的目視鏡，

you get this whole-body sensation,

妳可以得到這種全身的感受，

like you're actually, like, there.

如同你實際上就在那邊一樣。

So five years ago was about when I really began to push the envelope

所以大約在五年前我開始做出突破－

with using virtual reality and journalism together.

把虛擬實境和做報導結合在一起；

And I wanted to do a piece about hunger.

我想要做一則關於飢困的報導，

Families in America are going hungry, food banks are overwhelmed,

在美國的許多家庭正歷經飢困， 食物銀行是人滿為患的，

and they're often running out of food.

而且它們常常發光了食物。

Now, I knew I couldn't make people feel hungry,

我知道我無法使人們感受到饑困，

but maybe I could figure out a way to get them to feel something physical.

不過或許我能找出方法 來讓他們感同身受。

So -- again, this is five years ago --

又是在五年前了，

so doing journalism and virtual reality together

把做報導與虛擬實境結合在一起

was considered a worse-than-half-baked idea,

被認為是比半調子還糟糕的主意，

and I had no funding.

而且我還沒有金援！

Believe me, I had a lot of colleagues laughing at me.

相信我有很多同儕一直取笑我，

And I did, though, have a really great intern,

即便如此我有著一位很棒的女實習生，

a woman named Michaela Kobsa-Mark.

名字叫密卡拉． 卡伯賽馬克，

And together we went out to food banks

我們一起外訪食物銀行

and started recording audio and photographs.

以及展開錄音和照相。

Until one day she came back to my office

直到某天她回到我的辦公室來，

and she was bawling, she was just crying.

以及一直嚎啕大哭、就光只是哭著，

She had been on scene at a long line,

她剛才在大排長龍的現場，

where the woman running the line was feeling extremely overwhelmed,

她正在那裡排著隊感覺塞爆了，

and she was screaming, "There's too many people!

她尖聲叫喊道： 「太多人了！太多人了！」

There's too many people!"

And this man with diabetes doesn't get food in time,

有位患有糖尿病的男性 還沒來得及取得食物，

his blood sugar drops too low, and he collapses into a coma.

他的血糖降得太低而昏迷倒地。

As soon as I heard that audio,

我一聽到該錄音，

I knew that this would be the kind of evocative piece

我就知道這將會是 那種心有所感的片段，

that could really describe what was going on at food banks.

能夠實切地描繪出當下 食物銀行正發生的事情。

So here's the real line. You can see how long it was, right?

這就是實際的人龍， 你們能夠看出來有多長對吧，

And again, as I said, we didn't have very much funding,

再次如同我說過的我們沒有太多金援，

so I had to reproduce it with virtual humans that were donated,

所以我得要重現此事件， 有著領受捐贈的虛擬人物，

and people begged and borrowed favors to help me create the models

還有乞討、借助善舉的人們， 來幫我創造模擬情境，

and make things as accurate as we could.

而且盡我們所能的做得精準。

And then we tried to convey what happened that day

然後我們企圖傳達那天發生了什麼事，

with as much as accuracy as is possible.

盡可能一分不差地傳達出去。

(Video) Voice: There's too many people! There's too many people!

（影片）旁白： 太多人了！太多人了！

Voice: OK, he's having a seizure.

旁白：他正在癲癇！

Voice: We need an ambulance.

旁白：我們需要救護車！

Nonny de la Peña: So the man on the right,

娜妮徳拉潘亞： 所以在右視窗的這個男人，

for him, he's walking around the body.

他正繞著該身軀周邊在走；

For him, he's in the room with that body.

他就在房間裏伴著地上的身軀，

Like, that guy is at his feet.

就像該位仁兄就在他的腳下一般。

And even though, through his peripheral vision,

然而即便藉由他的餘光

he can see that he's in this lab space,

他能夠看出他是在實驗室裡，

he should be able to see that he's not actually on the street,

他應該能夠看出他根本不在街上，

but he feels like he's there with those people.

但是他感覺自己好像 和那些人一起在那邊一樣，

He's very cautious not to step on this guy

他非常注意不要去踩到

who isn't really there, right?

實際上並不在那邊的傢伙對吧？

So that piece ended up going to Sundance in 2012,

所以在 2012 年時這段影片 結果進到聖丹斯電影節

a kind of amazing thing, and it was the first virtual reality film

－有點不可思議的事情－ 而且根本上它是有史以來

ever, basically.

首部虛擬實境的影片。

And when we went, I was really terrified.

當我們去那裡時我真的是驚慌失措，

I didn't really know how people were going to react

我根本不知道大家接下來會如何反應、

and what was going to happen.

以及將會發生些什麽事情？

And we showed up with this duct-taped pair of goggles.

我們帶著黏帶導管的目試鏡出場。

(Video) Oh, you're crying. You're crying. Gina, you're crying.

（影片）妳正在哭泣！ 妳正在哭泣！吉娜妳正在哭耶！

So you can hear the surprise in my voice, right?

大家能聽出我聲音中的驚訝對吧？

And this kind of reaction ended up being the kind of reaction we saw

這種反應最終變成了我們一而再、 再而三看到的反應。

over and over and over:

people down on the ground trying to comfort the seizure victim,

蹲著的人試著安撫癲癇的患者、

trying to whisper something into his ear

試著在他耳邊低語些什麽、

or in some way help, even though they couldn't.

或是用其他的方法來幫他， 儘管他們根本啥也做不到。

And I had a lot of people come out of that piece saying,

有很多人對這段影片發表意見說：

"Oh my God, I was so frustrated. I couldn't help the guy,"

「天哪！我多麼的莫可奈何， 我幫不了這位仁兄」，

and take that back into their lives.

然後把那種感覺帶回生活中。

So after this piece was made,

在這段影片製作完後，

the dean of the cinema school at USC, the University of Southern California,

南加州大學影視學院的院長

brought in the head of the World Economic Forum to try "Hunger,"

邀請世界經濟論壇的主席體驗飢困，

and he took off the goggles,

然後他摘下了目試鏡，

and he commissioned a piece about Syria on the spot.

而且他當場委任要做一則 敘利亞的影片。

And I really wanted to do something about Syrian refugee kids,

而且我真的很想做些有關 敘利亞小孩難民的影片，

because children have been the worst affected by the Syrian civil war.

因為孩童們受敘利亞內戰的影響最深，

I sent a team to the border of Iraq to record material at refugee camps,

我派了一個團隊去伊拉克的邊境 拍攝難民營的題材－

basically an area I wouldn't send a team now,

一個現在我基本上不會 送團隊出去的地區，

as that's where ISIS is really operating.

因為 ISIS／伊斯蘭國 確實正操持著那裡。

And then we also recreated a street scene

然後我們也重置了一個街景，

in which a young girl is singing and a bomb goes off.

其中一位年輕的女孩正唱著歌 而一顆炸彈爆炸了；

Now, when you're in the middle of that scene

當你置身於該場景時

and you hear those sounds,

而且你聽到了那些聲音，

and you see the injured around you,

看到了傷者就在你身邊，

it's an incredibly scary and real feeling.

這是一種無比恐怖而且實在的感受。

I've had individuals who have been involved in real bombings tell me

曾經被真實爆炸波及的人跟我說

that it evokes the same kind of fear.

它能激發同樣的恐懼。

[The civil war in Syria may seem far away]

【敘利亞的內戰似乎遠在天邊】

[until you experience it yourself.]

【直到你自己來體驗】

(Girl singing)

（女孩正在唱歌）

(Explosion)

（爆炸）

[Project Syria]

【敘利亞專案】

[A virtual reality experience]

【虛擬實境的體驗】

NP: We were then invited to take the piece

娜妮徳拉潘亞： 我們之後受邀將這段影片

to the Victoria and Albert Museum in London.

送到倫敦的維多利亞＆艾伯特博物館，

And it wasn't advertised.

而且沒有打廣告；

And we were put in this tapestry room.

我們被在擺在這間織毯房裡，

There was no press about it,

沒有相關報導，

so anybody who happened to walk into the museum to visit it that day

所以那天任何走進博物館參觀的人

would see us with these crazy lights.

將會連同這些異常的光線看到我們。

You know, maybe they would want to see the old storytelling of the tapestries.

也許他們只是想看 關於織毯的古老故事，

They were confronted by our virtual reality cameras.

他們碰到的是我們的虛擬實境攝影機；

But a lot of people tried it, and over a five-day run

但是很多人來嘗試看看，

長達五天的展期我們最終收到了 多達 54 頁的訪客留言。

we ended up with 54 pages of guest book comments,

and we were told by the curators there

那裏的館長們跟我們說

that they'd never seen such an outpouring.

他們從來沒見過如此熱烈的迴響，

Things like, "It's so real," "Absolutely believable,"

留言諸如「這太真實了！」、 「絕對可信！」，

or, of course, the one that I was excited about,

讓我感到振奮的一個是：

"A real feeling as if you were in the middle of something

「一種你平常在電視新聞看到的事情，

that you normally see on the TV news."

好像你就身在其中的真實感覺」。

So, it works, right? This stuff works.

所以它管用對吧，這東西管用的，

And it doesn't really matter where you're from or what age you are --

而且你來自何方或者幾歲都不要緊，

it's really evocative.

這真的是心有所感的。

Now, don't get me wrong -- I'm not saying that when you're in a piece

別誤會了！我不是說當你在看影片時

you forget that you're here.

你會忘記你身在此處；

But it turns out we can feel like we're in two places at once.

變成是我們能感覺到 自己好像同時身在兩處。

We can have what I call this duality of presence,

我們能夠有我稱做「雙重體現」的東西，

and I think that's what allows me to tap into these feelings of empathy.

而且我認為那能讓我們 善用同理心的感覺，

Right?

沒錯吧！

So that means, of course,

所以那當然意味著

that I have to be very cautious about creating these pieces.

我必須要很謹慎的製作這些影片，

I have to really follow best journalistic practices

我必須要依循最佳記者作業事項，

and make sure that these powerful stories

確保這些有充滿力量的報導

are built with integrity.

是詳實地被建構出來。

If we don't capture the material ourselves,

如果我們不親身拍攝題材，

we have to be extremely exacting

我們就必須要極為小心的

about figuring out the provenance and where did this stuff come from

弄清楚材料的起源以及從何而來，

and is it authentic?

以及是否確實可信。

Let me give you an example.

我給大家舉個例：

With this Trayvon Martin case, this is a guy, a kid,

在「特雷沃恩．馬丁」案 一個 17 歲大的男孩子，

who was 17 years old and he bought soda and a candy at a store,

他在商店買了汽水和糖果，

and on his way home he was tracked by a neighborhood watchman

在回家的路上他被一名叫做 喬治．齊莫曼的社區巡守員尾隨，

named George Zimmerman who ended up shooting and killing him.

齊莫曼後來槍擊與殺害了 這個17歲男孩。

To make that piece,

為了做這個報導

we got the architectural drawings of the entire complex,

我們拿到了完整建物的建造圖，

and we rebuilt the entire scene inside and out, based on those drawings.

根據建造圖我們從裏到外 重建了整個場景。

All of the action

一舉一動都查照打給警察的 911 錄音電話。

is informed by the real 911 recorded calls to the police.

And interestingly, we broke some news with this story.

有趣的是我們的這個報導 出名了

The forensic house that did the audio reconstruction, Primeau Productions,

制作錄音重建的 證物方－「Primeau製作」

they say that they would testify

表示他們將會作證：

that George Zimmerman, when he got out of the car,

喬治．齊莫曼從車裏出來

he cocked his gun before he went to give chase to Martin.

在追馬丁之前就把槍上膛了。

So you can see that the basic tenets of journalism,

所以你可以知道做報導的基本原則

they don't really change here, right?

在這裡其實並沒有改變對吧，

We're still following the same principles that we would always.

我們永遠都會持續遵循相同的原則；

What is different is the sense of being on scene,

不同的就是身臨其境的場景，

whether you're watching a guy collapse from hunger

不論你正在看著一個飢困暈倒的人，

or feeling like you're in the middle of a bomb scene.

或是感覺自己就在爆炸的場景裡，

And this is kind of what has driven me forward with these pieces,

這就是驅使我去做這些報導

and thinking about how to make them.

以及認真思考如何去做出它們的動力。

We're trying to make this, obviously, beyond the headset, more available.

我們正努力要做到這件事， 很明顯地頭帶裝置上要更容易取得，

We're creating mobile pieces like the Trayvon Martin piece.

我們正在創作行動影片， 好比馬丁的影片。

And these things have had impact.

而且這些事情都已經產生功效。

I've had Americans tell me that they've donated,

曾有美國人跟我說他們已經捐贈－

direct deductions from their bank account, money to go to Syrian children refugees.

直接從銀行戶頭提撥錢 給敘利亞的小孩難民。

And "Hunger in LA," well, it's helped start

「在洛杉磯的挨餓」幫助開啟

a new form of doing journalism

一種做新聞的新形態，

that I think is going to join all the other normal platforms

我認為在未來這將會 加入所有其他的常見平臺。

in the future.

Thank you.

謝謝大家

(Applause)

（掌聲）