TED Talks Live
Danielle Feinberg: The magic ingredient that brings Pixar movies to life
Danielle Feinberg: O ingrediente máxico que lle da vida ás películas de Pixar
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Danielle Feinberg, directora de fotografía de Pixar, crea historias con alma usando as matemáticas, a ciencia e a codificación. Tralas esceas de Buscando a Nemo, Toy Story, Brave,Wall-E e moitas outras, descóbrese como Pixar entrelaza arte e ciencia para crear mundos fantásticos nos que as cousas que imaxinas poden facerse realidad. Esta conferencia TED vén do especia de PBS"TED Talks: ciencia e asombro
Danielle Feinberg - Director of photography, Pixar
At Pixar, Danielle Feinberg delights in bending the rules of light to her every whim. Full bio
At Pixar, Danielle Feinberg delights in bending the rules of light to her every whim. Full bio
Double-click the English transcript below to play the video.
00:12
When I was seven years old,
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Cando tiña sete anos,
00:14
some well-meaning adult asked me
what I wanted to be when I grew up.
what I wanted to be when I grew up.
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algún adulto ben intencionado preguntoume
que quería ser cando fora grande.
que quería ser cando fora grande.
00:18
Proudly, I said: "An artist."
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Con orgullo, díxenlle: "Un artista".
00:20
"No, you don't," he said,
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"Non, non", dixo,
00:22
"You can't make a living being an artist!"
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¿Non podes ganarte a vida sendo artista!
00:24
My little seven-year-old
Picasso dreams were crushed.
Picasso dreams were crushed.
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Os meus soños do pequeno Picasso
de sete anos esmagados.
de sete anos esmagados.
00:28
But I gathered myself,
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Pero eu recompúxenme.
00:29
went off in search of a new dream,
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Fun na procura dun novo soño.
00:31
eventually settling on being a scientist,
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Que ó final foi
ser un científico.
ser un científico.
00:34
perhaps something like
the next Albert Einstein.
the next Albert Einstein.
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Quizáis algo así como
o próximo Einstein.
o próximo Einstein.
00:37
(Laughter)
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(Risas)
00:40
I have always loved math and science,
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Sempre me gustaron
as mates e a ciencia.
as mates e a ciencia.
00:42
later, coding.
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Despois, a codificación.
00:43
And so I decided to study
computer programming in college.
computer programming in college.
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Así que decidín estudar programación
informática na universidade.
informática na universidade.
00:47
In my junior year,
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No meu primeiro ano,
00:48
my computer graphics professor
showed us these wonderful short films.
showed us these wonderful short films.
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O meu mestre de gráficos por ordenador
amosounos estes cortos.
amosounos estes cortos.
00:52
It was the first computer animation
any of us had ever seen.
any of us had ever seen.
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Foi a primeira animación por ordenador
que vimos nas nosas vidas.
que vimos nas nosas vidas.
00:56
I watched these films
in wonder, transfixed,
in wonder, transfixed,
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Vin estas películas
estrañada, paralizada.
estrañada, paralizada.
00:59
fireworks going off in my head,
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Fogos de artificio
saíndo da miña cabeza,
saíndo da miña cabeza,
01:01
thinking, "That is what
I want to do with my life."
I want to do with my life."
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pensando, "Iso é
o que quero facer na miña vida"
o que quero facer na miña vida"
01:05
The idea that all the math, science
and code I had been learning
and code I had been learning
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A idea de que tódalas mates, ciencias
e codificación que aprendera
e codificación que aprendera
01:08
could come together to create
these worlds and characters
these worlds and characters
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podería xuntarse para crear
estes mundos e personaxes
estes mundos e personaxes
01:11
and stories I connected with,
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e historias coas que os conectaba
01:13
was pure magic for me.
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era pura maxia para min.
01:16
Just two years later, I started working
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Dous anos despois, comecei a traballlar
01:18
at the place that made those films,
Pixar Animation Studios.
Pixar Animation Studios.
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no lugar que facía eses vídeos
Pixar Animation Studios.
Pixar Animation Studios.
01:21
It was here I learned how
we actually execute those films.
we actually execute those films.
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Foi aquí onde aprendín
como realizar eses vídeos.
como realizar eses vídeos.
Para as nosas películas,
01:24
To create our movies,
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01:25
we create a three-dimensional
world inside the computer.
world inside the computer.
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creamos un mundo tridimensional
dentro do ordenador.
dentro do ordenador.
01:28
We start with a point that makes
a line that makes a face
a line that makes a face
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Comezamos cun punto
que fai unha liña, que fai unha cara
que fai unha liña, que fai unha cara
01:32
that creates characters,
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que crea personaxes,
01:34
or trees and rocks
that eventually become a forest.
that eventually become a forest.
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ou árbores ou rochas
que se converten en bosques.
que se converten en bosques.
01:37
And because it's
a three-dimensional world,
a three-dimensional world,
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E como é
un mundo tridimensional,
un mundo tridimensional,
01:39
we can move a camera
around inside that world.
around inside that world.
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podemos mover a cámara
arredor dentro dese mundo.
arredor dentro dese mundo.
01:43
I was fascinated by all of it.
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Todo isto fascinoume.
01:45
But then I got my first taste of lighting.
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Pero despois tiven a miña
primeira iluminación.
primeira iluminación.
01:48
Lighting in practice is placing lights
inside this three-dimensional world.
inside this three-dimensional world.
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Na práctica a iluminación é colocar
luces neste mundo tridimensional.
luces neste mundo tridimensional.
01:52
I actually have icons of lights
I move around in there.
I move around in there.
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De feito teño iconas de luces
que movo por aí.
que movo por aí.
01:54
Here you can see I've added a light,
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Aquí poden ver que engadín unha luz.
01:56
I'm turning on the rough version
of lighting in our software,
of lighting in our software,
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Esta é a versión aproximada
de iluminación no noso software.
de iluminación no noso software.
01:59
turn on shadows
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Activar sombras
02:00
and placing the light.
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e colocar a luz.
02:02
As I place a light,
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A medida que poño a luz,
02:03
I think about what it might
look like in real life,
look like in real life,
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penso como se vería
na vida real,
na vida real,
02:06
but balance that out with what we need
artistically and for the story.
artistically and for the story.
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en balance co que precisamos
artisticamente e para a historia.
artisticamente e para a historia.
02:10
So it might look like this at first,
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Entón teremos algo así nun principio,
02:14
but as we adjust this and move that
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mais se axustamos isto e movemos aquilo
02:16
in weeks of work,
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cunhas semanas de traballo,
02:18
in rough form it might look like this,
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nun principio debería parecerse a isto,
02:21
and in final form, like this.
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e ó final a isto.
02:28
There's this moment in lighting
that made me fall utterly in love with it.
that made me fall utterly in love with it.
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Hay un momento na iluminación
que me fixo namorarme dela.
que me fixo namorarme dela.
02:32
It's where we go from this
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É onde pasamos disto
02:34
to this.
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a isto.
02:36
It's the moment where
all the pieces come together,
all the pieces come together,
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É o momento no que
tódalas pezas se xuntan,
tódalas pezas se xuntan,
02:38
and suddenly the world comes to life
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e de socato o mundo cobra vida
02:41
as if it's an actual place that exists.
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como se fose un lugar real.
02:44
This moment never gets old,
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Este momento nunca aborrece,
02:45
especially for that little seven-year-old
girl that wanted to be an artist.
girl that wanted to be an artist.
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especialmente a aquela nena de sete anos
que quería ser unha artista.
que quería ser unha artista.
02:49
As I learned to light,
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Mentres aprendín a iluminar
02:50
I learned about using light
to help tell story,
to help tell story,
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Aprendín a usar a iluminación
para axudar á historia,
para axudar á historia,
02:54
to set the time of day,
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para dicir a hora do día,
02:57
to create the mood,
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para crear o estado de ánimo,
02:59
to guide the audience's eye,
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para guiar a vista da audiencia,
03:02
how to make a character look appealing
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Como facer que un personaxe
pareza atractivo.
pareza atractivo.
03:05
or stand out in a busy set.
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ou parado nun escenario cheo.
03:08
Did you see WALL-E?
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Viron WALL-E?
03:09
(Laughter)
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(Risas)
03:10
There he is.
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Aí está.
03:13
As you can see,
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Como poden ver,
03:14
we can create any world that we want
inside the computer.
inside the computer.
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podemos crear calquera mundo
dentro do ordenador.
dentro do ordenador.
03:17
We can make a world with monsters,
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Podemos facer un mundo con monstros,
03:20
with robots that fall in love,
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con robots que se namoran,
03:23
we can even make pigs fly.
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mesmo podemos facer ós porcos voar.
03:25
(Laughter)
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(Risas)
03:30
While this is an incredible thing,
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Aínda que isto é incrible.
03:32
this untethered artistic freedom,
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esta liberdade artística,
03:34
it can create chaos.
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pode crear un caos.
03:36
It can create unbelievable worlds,
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Pode crear mundos incribles,
03:39
unbelievable movement,
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movementos incribles...
03:41
things that are jarring to the audience.
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Cousas incomprensibles para a audiencia.
03:43
So to combat this, we tether
ourselves with science.
ourselves with science.
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Para exitar isto
imos unidos á ciencia.
imos unidos á ciencia.
03:46
We use science and the world we know
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Empregamos a ciencia e o mundo real
03:48
as a backbone,
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como unha espiña dorsal,
03:49
to ground ourselves in something
relatable and recognizable.
relatable and recognizable.
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para adherirnos ás cousas
relacionables e recoñecibles.
relacionables e recoñecibles.
03:53
"Finding Nemo" is an excellent
example of this.
example of this.
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"Buscando a Nemo" é un excelente
exemplo disto.
exemplo disto.
03:56
A major portion of the movie
takes place underwater.
takes place underwater.
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A maior parte da película
ocorre baixo a auga.
ocorre baixo a auga.
03:59
But how do you make it look underwater?
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Mais ¿como se fai
para que pareza baixo a auga?
para que pareza baixo a auga?
04:01
In early research and development,
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Na busca e desenvolvemento iniciais
04:02
we took a clip of underwater footage
and recreated it in the computer.
and recreated it in the computer.
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pegamos un video baixo a auga
e refixemolo no ordenador.
e refixemolo no ordenador.
04:06
Then we broke it back down
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Entón nós desconstruímola
04:08
to see which elements make up
that underwater look.
that underwater look.
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para ver que elementos compuñan
aquela imaxe baixo a auga.
aquela imaxe baixo a auga.
04:11
One of the most critical elements
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Un dos elementos cruciais
04:13
was how the light travels
through the water.
through the water.
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era como a luz viaxa a través da auga.
04:15
So we coded up a light
that mimics this physics --
that mimics this physics --
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Entón codificamos unha luz.
04:18
first, the visibility of the water,
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Primeiro a visibilidade da auga,
04:19
and then what happens with the color.
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despois o que acontece coa cor.
04:22
Objects close to the eye
have their full, rich colors.
have their full, rich colors.
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Os obxectos próximos ós ollos
teñen as cores completas e vivas.
teñen as cores completas e vivas.
04:26
As light travels deeper into the water,
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A medida que a luz viaxa máis profundo,
04:28
we lose the red wavelengths,
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perdemos as luces vermellas,
04:30
then the green wavelengths,
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despois as verdes,
04:31
leaving us with blue at the far depths.
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deixándonos co azul nas profundidades.
04:34
In this clip you can see
two other important elements.
two other important elements.
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Neste video poden ver
outros dous elementos importantes.
outros dous elementos importantes.
04:37
The first is the surge and swell,
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O primeiro é a ondulación,
04:39
or the invisible underwater current
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ou as correntes invisibles
04:41
that pushes the bits of particulate
around in the water.
around in the water.
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que empurran os anacos de partículas
arredor da auga.
arredor da auga.
04:44
The second is the caustics.
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O segundo son as acústicas.
04:46
These are the ribbons of light,
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Son cintas de luz.
04:48
like you might see
on the bottom of a pool,
on the bottom of a pool,
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Que se poden ver
no fondo dunha piscina.
no fondo dunha piscina.
04:50
that are created when the sun
bends through the crests
bends through the crests
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Créanse cando o sol
inclina nunha crista
inclina nunha crista
04:52
of the ripples and waves
on the ocean's surface.
on the ocean's surface.
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de ondas e ondulacións
na superficie do océano.
na superficie do océano.
04:57
Here we have the fog beams.
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Os bancos de néboa.
04:58
These give us color depth cues,
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Dannos sinais
de profundidade e cor,
de profundidade e cor,
05:00
but also tells which direction is up
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mais tamén indican
que direción é arriba
que direción é arriba
05:02
in shots where we don't
see the water surface.
see the water surface.
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en escenas nas que non vemos
a superficie .
a superficie .
05:04
The other really cool thing
you can see here
you can see here
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Outra cousa alucinante
que podedes ver aquí
que podedes ver aquí
05:06
is that we lit that particulate
only with the caustics,
only with the caustics,
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é que cando iluminamos esta partícula
solo con la cáustica,
solo con la cáustica,
05:10
so that as it goes in and out
of those ribbons of light,
of those ribbons of light,
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de maneira que entra e sae
desas cintas de luz,
desas cintas de luz,
05:12
it appears and disappears,
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aparece e desaparece,
05:14
lending a subtle, magical
sparkle to the underwater.
sparkle to the underwater.
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dando unha sutil, chispa máxica
baixo a auga.
baixo a auga.
05:18
You can see how we're using the science --
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Poden ver como empregamos a ciencia:
05:21
the physics of water,
light and movement --
light and movement --
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A física da auga,
a luz e o movemento...
a luz e o movemento...
05:23
to tether that artistic freedom.
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para unila a esa liberdade artística.
05:26
But we are not beholden to it.
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Mais non estamos en débeda con el.
05:28
We considered each of these elements
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Consideramos cada un
dos elementos
dos elementos
05:30
and which ones had to be
scientifically accurate
scientifically accurate
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e cales eran
científicamente correctos
científicamente correctos
05:33
and which ones we could push and pull
to suit the story and the mood.
to suit the story and the mood.
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e cales podíamos modificar
para axustar a historia e o ánimo.
para axustar a historia e o ánimo.
05:37
We realized early on that color
was one we had some leeway with.
was one we had some leeway with.
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Decatámonos de que con esa cor
tiñamos unha marxe de maniobra.
tiñamos unha marxe de maniobra.
05:41
So here's a traditionally colored
underwater scene.
underwater scene.
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Aquí amosamos unha escena
normal baixo a auga a cor
normal baixo a auga a cor
05:44
But here, we can take Sydney Harbor
and push it fairly green
and push it fairly green
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Mais aquí, podemos poñer
o porto de Sidney de cor verde
o porto de Sidney de cor verde
05:47
to suit the sad mood of what's happening.
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para transmitir un estádo de ánimo triste.
05:50
In this scene, it's really important
we see deep into the underwater,
we see deep into the underwater,
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Nesta escena, é moi importante
que vexamos a profundidade do mar,
que vexamos a profundidade do mar,
05:53
so we understand what
the East Australian Current is,
the East Australian Current is,
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para entender o que é
a corrente do este de Australia,
a corrente do este de Australia,
05:56
that the turtles are diving into
and going on this roller coaster ride.
and going on this roller coaster ride.
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na que as tartarugas bucean
e embarcarnos nesta montaña rusa.
e embarcarnos nesta montaña rusa.
05:59
So we pushed the visibility of the water
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Así que aumentamos
a visibilidade da auga.
a visibilidade da auga.
06:01
well past anything you would
ever see in real life.
ever see in real life.
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de maneira que
se semellase á realidade.
se semellase á realidade.
06:04
Because in the end,
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Porque ó final,
06:06
we are not trying to recreate
the scientifically correct real world,
the scientifically correct real world,
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non tratamos de recrear
o mundo real de maneira científica,
o mundo real de maneira científica,
06:10
we're trying to create a believable world,
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senón un mundo crible,
06:12
one the audience can immerse
themselves in to experience the story.
themselves in to experience the story.
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no que a audiencia se poida somerxer
para experimentar a historia
para experimentar a historia
06:17
We use science to create
something wonderful.
something wonderful.
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Empregamos a ciencia para crear
algo marabilloso.
algo marabilloso.
06:20
We use story and artistic touch
to get us to a place of wonder.
to get us to a place of wonder.
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Usamos historia e un toque artístico
para chegar a este lugar marabilloso.
para chegar a este lugar marabilloso.
06:25
This guy, WALL-E, is a great
example of that.
example of that.
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Este rapaz, WALL-E, é un exemplo
xenial disto.
xenial disto.
06:28
He finds beauty in the simplest things.
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Atopa a beleza nas cousas máis sinxelas.
06:30
But when he came in to lighting,
we knew we had a big problem.
we knew we had a big problem.
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Pero no tema de iluminación
sabiamos que tiñamos un problema.
sabiamos que tiñamos un problema.
06:33
We got so geeked-out on making
WALL-E this convincing robot,
WALL-E this convincing robot,
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Obsesionámonos tanto en facer
que WALL-E fose un robot convincente,
que WALL-E fose un robot convincente,
06:37
that we made his binoculars
practically optically perfect.
practically optically perfect.
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que fixemos os seus prismáticos
opticamente case perfectos.
opticamente case perfectos.
06:40
(Laughter)
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(Risas)
06:43
His binoculars are one of the most
critical acting devices he has.
critical acting devices he has.
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Os seus prismáticos son un dos
utensilios máis críticos que posúe.
utensilios máis críticos que posúe.
06:47
He doesn't have a face or even
traditional dialogue, for that matter.
traditional dialogue, for that matter.
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Non ten sequera unha cara
ou un diálogo tradicional.
ou un diálogo tradicional.
06:50
So the animators were heavily
dependent on the binoculars
dependent on the binoculars
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Así que os animadores dependían
moito dos prismáticos
moito dos prismáticos
06:53
to sell his acting and emotions.
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para amosar os seus actos e emocións.
06:56
We started lighting and we realized
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Comezamos a iluminar e decatámonos
06:58
the triple lenses inside his binoculars
were a mess of reflections.
were a mess of reflections.
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de que os triples lentes nos prismáticos
serían un caos de reflexións.
serían un caos de reflexións.
07:02
He was starting to look glassy-eyed.
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Parecía que tiña ollos de cristal.
07:05
(Laughter)
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(Risas)
07:06
Now, glassy-eyed
is a fundamentally awful thing
is a fundamentally awful thing
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Entón, os ollos de cristal
son algo horrible
son algo horrible
07:10
when you are trying
to convince an audience
to convince an audience
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se tratas de convencer
a unha audiencia
a unha audiencia
07:12
that a robot has a personality
and he's capable of falling in love.
and he's capable of falling in love.
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de que un robot ten personalidade
e de que pode namorarse.
e de que pode namorarse.
07:16
So we went to work on these optically
perfect binoculars,
perfect binoculars,
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Así que nos puxemos a traballar
nestes prismáticos opticamente perfectos,
nestes prismáticos opticamente perfectos,
07:20
trying to find a solution that would
maintain his true robot materials
maintain his true robot materials
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tratando de atopar unha solución
que mantivera o seu material robot
que mantivera o seu material robot
07:23
but solve this reflection problem.
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mais solucionando as reflexións.
07:26
So we started with the lenses.
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Así que comezamos cos lentes.
07:27
Here's the flat-front lens,
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Estes son os lentes frontais,
07:28
we have a concave lens
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lentes cóncavos
07:30
and a convex lens.
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e lentes convexos.
07:31
And here you see all three together,
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E aquí podemos ver os tres xuntos,
07:33
showing us all these reflections.
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amosándonos estas reflexións.
07:36
We tried turning them down,
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Tratamos de apagalas,
07:37
we tried blocking them,
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tratamos de bloquealas,
07:39
nothing was working.
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e nada funcionaba.
07:41
You can see here,
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Poden ver aquí que,
07:42
sometimes we needed something specific
reflected in his eyes --
reflected in his eyes --
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ás veces precisabamos algo específico
reflictido nos seus ollos.
reflictido nos seus ollos.
07:46
usually Eve.
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Normalmente a Eva.
07:47
So we couldn't just use some faked
abstract image on the lenses.
abstract image on the lenses.
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Así que non podiamos usar
unha imaxe falsa nos lentes.
unha imaxe falsa nos lentes.
07:50
So here we have Eve on the first lens,
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Aquí temos a Eva no primeiro lente,
07:53
we put Eve on the second lens,
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poñemos a Eva no segundo lente,
07:55
it's not working.
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non funciona.
07:56
We turn it down,
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Apagámolo,
07:57
it's still not working.
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aínda non funciona.
07:59
And then we have our eureka moment.
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E entón temos o noso momento "Eureka".
08:01
We add a light to WALL-E
that accidentally leaks into his eyes.
that accidentally leaks into his eyes.
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Engadimos unha luz a WALL-E que
se filtra por accidente nos seus ollos.
se filtra por accidente nos seus ollos.
08:06
You can see it light up
these gray aperture blades.
these gray aperture blades.
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Podédela ver
a traves dos fío de apertura gris
a traves dos fío de apertura gris
De socato, estas aperturas
expulsa esta reflexión
expulsa esta reflexión
08:10
Suddenly, those aperture blades
are poking through that reflection
are poking through that reflection
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08:13
the way nothing else has.
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O camiño non ten máis.
08:15
Now we recognize WALL-E as having an eye.
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Agora recoñecemos
o ollo de WALL-E.
o ollo de WALL-E.
Como humanos temos o branco dos ollos,
08:19
As humans we have the white of our eye,
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o iris de cor
08:22
the colored iris
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e a pupila negra
08:23
and the black pupil.
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Agora WALL-E ten o negro do ollo,
08:24
Now WALL-E has the black of an eye,
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as aperturas grises
08:28
the gray aperture blades
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08:29
and the black pupil.
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e a pupila negra.
08:31
Suddenly, WALL-E feels like he has a soul,
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De socato, parece que WALL-E ten alma,
como se fose un personaxe
con emocións dentro.
con emocións dentro.
08:35
like there's a character
with emotion inside.
with emotion inside.
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Máis adiante na película, cara a fin,
08:40
Later in the movie towards the end,
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WALL-E perde a personalidade,
08:41
WALL-E loses his personality,
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esencialmente morrendo.
08:43
essentially going dead.
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Este é o momento para traer
a mirada de cristal.
a mirada de cristal.
08:45
This is the perfect time to bring back
that glassy-eyed look.
that glassy-eyed look.
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08:49
In the next scene,
WALL-E comes back to life.
WALL-E comes back to life.
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Na seguinte escena,
WALL-E volve á vida.
WALL-E volve á vida.
Traemos esa luz de novo
para abrir as aperturas,
para abrir as aperturas,
08:52
We bring that light back to bring
the aperture blades back,
the aperture blades back,
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e volta a ese doce
e conmovedor robot que quixemos.
e conmovedor robot que quixemos.
08:55
and he returns to that sweet,
soulful robot we've come to love.
soulful robot we've come to love.
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09:02
(Video) WALL-E: Eva?
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(Vídeo) WALL.E: Eva?
09:06
Danielle Feinberg: There's a beauty
in these unexpected moments --
in these unexpected moments --
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Hai unha beleza
nestes momentos inesperados,
nestes momentos inesperados,
cando atopas a chave
para desbloquear a alma dun robot,
para desbloquear a alma dun robot,
09:09
when you find the key
to unlocking a robot's soul,
to unlocking a robot's soul,
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o momento no que descobres
o que queres facer coa túa vida.
o que queres facer coa túa vida.
09:13
the moment when you discover
what you want to do with your life.
what you want to do with your life.
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09:17
The jellyfish in "Finding Nemo"
was one of those moments for me.
was one of those moments for me.
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A medusa en "Buscando a nemo"
foi un deses momentos.
foi un deses momentos.
Hai escenas en cada película
que loitan por xuntarse.
que loitan por xuntarse.
09:20
There are scenes in every movie
that struggle to come together.
that struggle to come together.
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Esta era unha desas escenas.
09:24
This was one of those scenes.
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O director tiña unha visión
desta escena
desta escena
09:26
The director had a vision for this scene
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basada nalgún documental
de medusas no Pacífico Sur.
de medusas no Pacífico Sur.
09:28
based on some wonderful footage
of jellyfish in the South Pacific.
of jellyfish in the South Pacific.
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09:33
As we went along,
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A medida que avanzamos
iamos a pique.
09:35
we were floundering.
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As revisións do director
09:36
The reviews with the director
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voltáronse de conversacións normais
09:38
turned from the normal
look-and-feel conversation
look-and-feel conversation
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en máis e máis preguntas
sobre números e porcentaxes.
sobre números e porcentaxes.
09:41
into more and more questions
about numbers and percentages.
about numbers and percentages.
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09:46
Maybe because unlike normal,
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Quizáis porque rara vez,
09:47
we were basing it on
something in real life,
something in real life,
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o estabamos a basar
nalgo da vida real,
nalgo da vida real,
ou quizáis só porque perderamos o rumbo.
09:50
or maybe just because we had lost our way.
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Pero volveuse en ter que usar
o noso cerebro sen os nosos ollos,
o noso cerebro sen os nosos ollos,
09:52
But it had become about using
our brain without our eyes,
our brain without our eyes,
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a ciencia sen a arte.
09:55
the science without the art.
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Esa unión científica
desordenaba a escena.
desordenaba a escena.
09:58
That scientific tether
was strangling the scene.
was strangling the scene.
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Pero a pesar das frustracións,
10:02
But even through all the frustrations,
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Aínda cría que podía ser bonito.
10:04
I still believed it could be beautiful.
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Así que cando tiña que iluminar,
10:06
So when it came in to lighting,
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atacaba.
10:08
I dug in.
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A medida que equilibraba
os azuis e rosas,
os azuis e rosas,
10:10
As I worked to balance
the blues and the pinks,
the blues and the pinks,
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o baile cáustico
dos ventres das medusas,
dos ventres das medusas,
10:13
the caustics dancing
on the jellyfish bells,
on the jellyfish bells,
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os bancos de néboa ondulantes,
10:16
the undulating fog beams,
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algo prometedor comezou a aparecer.
10:18
something promising began to appear.
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10:21
I came in one morning and checked
the previous night's work.
the previous night's work.
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Unha mañá, comprobei
o traballo da noite anterior.
o traballo da noite anterior.
Púxenme moi leda.
10:24
And I got excited.
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Despois amoseillo
á directora de iluminación
á directora de iluminación
10:26
And then I showed it
to the lighting director
to the lighting director
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e ela púxose leda.
10:28
and she got excited.
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10:29
Soon, I was showing to the director
in a dark room full of 50 people.
in a dark room full of 50 people.
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Pronto, amoseillo á directora
nunha sala escura con 50 persoas.
nunha sala escura con 50 persoas.
Na revisión da directora,
10:34
In director review,
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esperas escoitar boas palabras,
10:35
you hope you might get some nice words,
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e despois obtés algunhas anotacións
e arranxos, polo xeral.
e arranxos, polo xeral.
10:38
then you get some notes
and fixes, generally.
and fixes, generally.
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E despois, con sorte, unha conclusión,
10:41
And then, hopefully, you get a final,
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sinalando que pases á seguinte etapa.
10:43
signaling to move on to the next stage.
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Fixen a miña introdución,
e puxen a escena das medusas.
e puxen a escena das medusas.
10:46
I gave my intro, and I played
the jellyfish scene.
the jellyfish scene.
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E o director gardou silencio
por un incomodamente longo tempo.
por un incomodamente longo tempo.
10:50
And the director was silent
for an uncomfortably long amount of time.
for an uncomfortably long amount of time.
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Suficientemente longo para facerme pensar,
10:55
Just long enough for me to think,
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"Non, está condenado ó fracaso."
10:57
"Oh no, this is doomed."
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11:00
And then he started clapping.
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E entón comezou a aplaudir.
E o deseñador de produción aplaudiu.
11:03
And then the production
designer started clapping.
designer started clapping.
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E entón toda a habitación aplaudiu.
11:06
And then the whole room was clapping.
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11:14
This is the moment
that I live for in lighting.
that I live for in lighting.
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Este é o momento
para o que vivín en iluminación.
para o que vivín en iluminación.
O momento no que todo se xunta
11:17
The moment where it all comes together
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e conseguimos un mundo
no que podemos crer.
no que podemos crer.
11:19
and we get a world that we can believe in.
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11:22
We use math, science and code
to create these amazing worlds.
to create these amazing worlds.
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Usamos as mates, ciencia e codificación
para crear estes mundos incríbles.
para crear estes mundos incríbles.
Usamos historias e arte
para traelas á vida.
para traelas á vida.
11:27
We use storytelling and art
to bring them to life.
to bring them to life.
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É o cruce da arte e a ciencia
11:30
It's this interweaving of art and science
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que eleva ó mundo,
a un lugar de maravillas.
a un lugar de maravillas.
11:34
that elevates the world
to a place of wonder,
to a place of wonder,
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un lugar con alma,
11:38
a place with soul,
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un lugar no que podemos crer,
11:39
a place we can believe in,
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un lugar no que as cousas
que imaxinas se volven reais.
que imaxinas se volven reais.
11:42
a place where the things
you imagine can become real --
you imagine can become real --
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11:47
and a world where a girl suddenly realizes
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e un mundo no que unha nena se decata
11:50
not only is she a scientist,
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de que non só é unha científica,
senón tamén unha artista.
11:52
but also an artist.
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Grazas.
11:54
Thank you.
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(Aplausos)
11:55
(Applause)
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ABOUT THE SPEAKER
Danielle Feinberg - Director of photography, PixarAt Pixar, Danielle Feinberg delights in bending the rules of light to her every whim.
Why you should listen
Danielle Feinberg began her career at Pixar Animation Studios in 1997 on the feature film A Bug's Life. She quickly discovered her love for lighting and went on to light on many of Pixar's feature films including Toy Story 2, Monsters, Inc., the Academy Award®-winning Finding Nemo, The Incredibles and Ratatouille. Feinberg was the director of photography for lighting on Pixar’s Academy Award®-winning films WALL-E and Brave and is now working on Pixar's upcoming film, Coco.
Feinberg's love of combining computers and art began when she was eight years old and first programmed a Logo turtle to create images. This eventually led her to a Bachelor of Arts in Computer Science from Harvard University. Now, in addition to her Pixar work, she mentors teenage girls, encouraging them to pursue code, math and science.
Danielle Feinberg | Speaker | TED.com