TEDGlobal 2012
Rob Legato: The art of creating awe
Robert Legato: Arta de a ului
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Rob Legato creează efecte speciale atât de bune încât (uneori) ele depăşesc realitatea. În această prezentare plină de căldură şi umor, el împărtăşeşte viziunea sa despre îmbunătăţirea realităţii pe marele ecran în filme precum „Apollo 13”, „Titanic” şi „Hugo”.
Rob Legato - Visual Effects Guru
Rob Legato creates surprising and creative visual illusions for movies. Full bio
Rob Legato creates surprising and creative visual illusions for movies. Full bio
Double-click the English transcript below to play the video.
00:16
I worked on a film called "Apollo 13,"
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Am lucrat la un film numit „Apollo 13”
00:18
and when I worked on this film, I discovered something
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şi atunci am descoperit ceva
00:20
about how our brains work, and how our brains work
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legat de cum funcţionează creierul nostru.
00:22
is that, when we're sort of infused with
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Funcţionează astfel: când suntem
00:25
either enthusiasm or awe or fondness or whatever,
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plini de entuziasm, groază sau afecţiune,
00:29
it changes and alters our perception of things.
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asta ne schimbă percepţia asupra lucrurilor.
00:31
It changes what we see. It changes what we remember.
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Se schimbă ce vedem şi ce ne amintim.
00:33
And as an experiment, because I dauntingly create
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Ca un experiment, pentru că mi-am dat sarcina descurajatoare
00:37
a task for myself of recreating a Saturn V launch
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de a recrea lansarea rachetei Saturn V
00:41
for this particular movie, because I put it out there,
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pentru acest film, pentru că am îndrăznit,
00:44
I felt a little nervous about it, so I need to do an experiment
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am avut emoţii, aşa că aveam nevoie de un experiment,
00:46
and bring a group of people like this in a projection room
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să aduc un grup de oameni într-o cameră de proiecţii
00:50
and play this stock footage, and when I played this
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şi să rulez acest material de arhivă.
00:53
stock footage, I simply wanted to find out
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Am vrut pur şi simplu să aflu
00:55
what people remembered, what was memorable about it?
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ce îşi amintesc oamenii, ce a fost memorabil pentru ei?
00:59
What should I actually try to replicate?
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Ce ar trebui să reproduc?
01:01
What should I try to emulate to some degree?
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Ce ar trebui să emulez?
01:05
So this is the footage that I was showing everybody.
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Acesta este materialul pe care l-am arătat.
01:08
And what I discovered is, because of the nature
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Am descoperit că, din cauza naturii
01:10
of the footage and the fact that we're doing this film,
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materialului şi a faptului că făceam acest film,
01:13
there was an emotion that was built into it
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totul era emoţionant,
01:15
and our collective memories of what this launch meant to us
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amintirile noastre legate de semnificaţia lansării pentru noi
01:18
and all these various things.
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şi toate aceste lucruri.
01:19
When I showed it, and I asked, immediately after
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Când am arătat materialul şi i-am întrebat
01:21
the screening was over, what they thought of it,
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imediat după proiecţie ce credeau despre el,
01:24
what was your memorable shots, they changed them.
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care au fost scenele memorabile, au numit altele.
01:27
They were -- had camera moves on them.
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Se gândeau la mişcările camerei.
01:29
They had all kinds of things. Shots were combined,
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Au spus diferite lucruri. Cadrele erau combinate
01:32
and I was just really curious, I mean, what the hell
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iar eu eram curios.
La ce naiba v-aţi uitat
La ce naiba v-aţi uitat
01:35
were you looking at just a few minutes ago
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acum câteva minute
01:36
and how come, how'd you come up with this sort of description?
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şi de unde aţi scos descrierea asta?
01:40
And what I discovered is, what I should do is not actually
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Am descoperit că nu ar trebui
01:44
replicate what they saw, is replicate what they remembered.
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să copiez ce au văzut ei, ci ce îşi amintesc.
01:47
So this is our footage of the launch, based on, basically,
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Ăsta e materialul cu lansarea, bazat pe notiţe,
01:51
taking notes, asking people what they thought, and then
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întrebând oamenii ce cred.
01:54
the combination of all the different shots and all
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Combinaţia de cadre diferite
01:57
the different things put together created their sort of
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şi toate acestea puse laolaltă au creat
01:58
collective consciousness of what they remembered
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conştientul lor colectiv, cum îşi amintesc
02:01
it looked like, but not what it really looked like.
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că arăta, nu cum arăta de fapt.
02:02
So this is what we created for "Apollo 13."
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Asta am creat pentru „Apollo 13”.
02:05
(Launch noises)
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(Zgomote de lansare)
02:10
So literally what you're seeing now is the confluence
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Ce vedeţi acum este întâlnirea
02:12
of a bunch of different people, a bunch of different memories,
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diferitor oameni, a diferitor amintiri,
02:14
including my own, of taking a little bit of liberty
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inclusiv a mea, şi o tratare
02:18
with the subject matter.
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mai liberă a subiectului.
02:19
I basically shot everything with short lenses,
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Am filmat tot cu obiective scurte,
02:22
which means that you're very close to the action,
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ca să pară că eşti aproape de acţiune,
02:24
but framed it very similarly to the long lens shots
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dar cadrele erau similare celor filmate cu obiective lungi,
02:26
which gives you a sense of distance, so I was basically
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care îţi dau ideea de distanţă, aşa că practic
02:29
was setting up something that would remind you
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făceam ceva care să-ţi amintească
02:31
of something you haven't really quite seen before. (Music)
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de ceva ce nu mai văzuseși înainte.
(Muzică)
(Muzică)
02:34
And then I'm going to show you exactly what it is
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Vă voi arăta apoi la ce anume
02:37
that you were reacting to when you were reacting to it.
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aţi reacţionat de fapt.
02:41
(Music)
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(Muzică)
02:53
Tom Hanks: Hello, Houston, this is Odyssey.
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Tom Hanks: Salut, Houston, aici Odyssey.
02:56
It's good to see you again. (Cheers) (Music)
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Ne bucurăm să vă vedem din nou. (Aclamaţii) (Muzică)
02:58
Rob Legato: I pretend they're clapping for me.
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Rob Legato: Îmi imaginez că mă aplaudă pe mine.
03:01
(Laughter)
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(Râsete)
03:03
So now I'm in a parking lot. Basically it's a tin can,
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Acum sunt într-o parcare. E un spaţiu mic,
03:06
and I'm basically recreating the launch with
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iar eu recreez lansarea
03:08
fire extinguishers, fire, I have wax that I threw
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cu extinctoare, foc, am ceară pe care o arunc
03:13
in front of the lens to look like ice, and so basically
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în faţa obiectivului pentru a arăta ca gheaţa,
03:16
if you believed any of the stuff that I just showed you,
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deci dacă ai crezut chestiile pe care ţi le-am arătat,
03:19
what you were reacting to, what you're emoting to,
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toate la care ai reacţionat, care te-au emoţionat
03:22
is something that's a total falsehood, and I found that
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sunt complet false.
03:24
really kind of fascinating.
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Găsesc asta fascinant.
03:26
And in this particular case, this is the climax of the movie,
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În cazul ăsta, aici e punctul culminant al filmului.
03:29
and, you know, the weight of achieving it was simply
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şi greutatea a constat în luarea modelului
03:32
take a model, throw it out of a helicopter, and shoot it.
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aruncarea lui din elicopter şi filmarea lui.
03:35
And that's simply what I did.
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Asta-i tot ce am făcut.
03:37
That's me shooting, and I'm a fairly mediocre operator,
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Aici sunt eu filmând, sunt un operator mediocru,
03:40
so I got that nice sense of verisimilitude, of a kind of,
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am obţinut impresia de verosimil
03:43
you know, following the rocket all the way down,
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urmărind racheta până jos
03:46
and giving that little sort of edge, I was desperately
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şi dând impresia de limită, încercam cu disperare
03:48
trying to keep it in frame. So then I come up to the next thing.
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să ţin totul în cadru.
Apoi am ajuns la următorul lucru.
Apoi am ajuns la următorul lucru.
03:52
We had a NASA consultant who was actually an astronaut,
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Am avut un consultant NASA care era astronaut,
03:54
who was actually on some of the missions, of Apollo 15,
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fusese în câteva misiuni Apollo 15.
03:57
and he was there to basically double check my science.
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Era acolo pentru a verifica aspectele tehnice.
04:01
And, I guess somebody thought they needed to do that.
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Cineva s-a gândit că e nevoie de asta.
04:04
(Laughter)
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(Râsete)
04:06
I don't know why, but they thought they did.
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Nu ştiu de ce, dar s-au gândit.
04:08
So we were, he's a hero, he's an astronaut, and
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El, erou, astronaut,
04:13
we're all sort of excited, and, you know, I gave myself
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noi toţi entuziasmaţi, iar eu mi-am permis
04:15
the liberty of saying, you know, some of the shots I did
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să spun că unele dintre cadre
04:18
didn't really suck that bad.
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nu sunt chiar atât de proaste.
04:20
And so maybe, you know, we were feeling kind of a little
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Ne simţeam destul de bine
04:24
good about it, so I brought him in here, and he needed
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în legătură cu asta, aşa că l-am adus acolo,
04:26
to really check and see what we were doing,
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el trebuia să verifice ce facem
04:29
and basically give us our A plus report card,
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şi să ne dea nota zece.
04:32
and so I showed him some shots we were working on,
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I-am arătat câteva cadre la care lucram
04:33
and waiting for the reaction that you hope for,
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şi am aşteptat reacţia la care speram.
04:37
which is what I got. (Music) (Launch noises)
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Asta am primit. (Muzică) (Zgomote de lansare)
04:40
So I showed him these two shots,
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I-am arătat aceste două cadre,
04:42
and then he basically told me what he thought.
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apoi el mi-a spus cum i s-a părut.
04:45
("That's wrong") (Laughter)
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(„E greşit.”) (Râsete)
04:48
Okay. (Laughter)
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OK. (Râsete)
04:51
It's what you dream about.
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La asta visezi.
04:53
(Laughter)
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(Râsete)
04:56
So what I got from him is, he turned to me and said,
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S-a întors spre mine şi mi-a zis
04:59
"You would never, ever design a rocket like that.
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„O rachetă nu ar fi concepută niciodată aşa.
05:03
You would never have a rocket go up
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Nu ar putea sa urce
05:04
while the gantry arms are going out. Can you imagine
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în timp ce braţele de susţinere cad.
Îţi imaginezi
Îţi imaginezi
05:06
the tragedy that could possibly happen with that?
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ce tragedie s-ar putea întâmpla?
05:08
You would never, ever design a rocket like that."
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Nu se proiectează o racheta aşa.”
05:11
And he was looking at me. It's like, Yeah, I don't know
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Se uita la mine. Nu ştiu dacă ai observat,
05:13
if you noticed, but I'm the guy out in the parking lot
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dar eu sunt tipul din parcare
05:15
recreating one of America's finest moments with
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ce recreează unul dintre cele mai impresionante momente
05:17
fire extinguishers.
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cu extinctoare.
05:18
(Laughter)
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(Râsete)
05:21
And I'm not going to argue with you. You're an astronaut,
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Nu o să mă cert cu tine. Eşti astronaut,
05:24
a hero, and I'm from New Jersey, so --
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un erou, iar eu sunt din New Jersey, aşa că...
05:26
(Laughter)
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(Râsete)
05:28
I'm just going to show you some footage.
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O să-ţi arăt o filmare.
05:30
I'm just going to show you some footage, and tell me what you think.
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O să-ţi arăt o filmare iar tu să-mi spui ce crezi.
05:32
And then I did kind of get the reaction I was hoping for.
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Atunci am obţinut reacţia pe care o doream.
05:35
So I showed him this, and this is actual footage
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I-am arătat asta. Este materialul original
05:37
that he was on. This is Apollo 15. This was his mission.
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în care apărea el. Acesta e Apollo 15. Asta era misiunea lui.
05:40
So I showed him this, and the reaction I got was interesting.
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I-am arătat asta şi reacţia lui a fost interesantă.
05:46
("That's wrong too.") (Laughter)
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(„Şi asta e greşită.”) (Râsete)
05:48
So, and what happened was, I mean, what I sort of intuned
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Ceea ce am intuit din asta
05:52
in that is that he remembered it differently.
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e că el îşi amintea totul diferit.
05:54
He remembered that was a perfectly safe sort of gantry
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Îşi amintea de un sistem de schele perfect sigur,
05:57
system, perfectly safe rocket launch, because he's sitting
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de o lansare în perfectă siguranţă, deoarece el stătea
05:59
in a rocket that has, like, a hundred thousand pounds
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într-o rachetă care avea o tracţiune de 45.000 de kg,
06:01
of thrust, built by the lowest bidder.
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construită de cel care a oferit cel mai puţin.
06:04
He was hoping it was going to work out okay.
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Spera să funcţioneze.
06:06
(Laughter) (Applause)
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(Râsete) (Aplauze)
06:09
So he twisted his memory around.
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Îşi amintea pe dos.
06:11
Now, Ron Howard ran into Buzz Aldrin, who was not
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Ron Howard s-a întâlnit cu Buzz Aldrin, care nu era
06:14
on the movie, so he had no idea that we were faking
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la filmări, aşa că nu ştia că noi trucaserăm
06:16
any of this footage, and he just responded
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materialul filmat, aşa că a răspuns
06:19
as he would respond, and I'll run this.
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cum mă aşteptam.
O să pun materialul.
O să pun materialul.
06:21
Ron Howard: Buzz Aldrin came up to me
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Ron Howard: Buzz Aldrin a venit la mine
06:24
and said, "Hey, that launch footage, I saw some shots
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şi mi-a zis: „Hei, am văzut nişte cadre din filmarea lansării
06:28
I'd never seen before. Did you guys, what vault did you find
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pentru prima dată. În ce pivniţă le-aţi găsit?
06:33
that stuff in?" And I said, "Well, no vault, Buzz,
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I-am zis: Nicio pivniţă, Buzz,
06:36
we generated all that from scratch."
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am generat totul din nimic.
06:39
And he said, "Huh, that's pretty good. Can we use it?"
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A zis: E bun. Îl putem folosi?
06:43
(Explosion) ("Sure") (Laughter)
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(Explozie) (Sigur!) (Râsete)
06:46
RL: I think he's a great American.
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RL: Cred că e un mare american.
06:48
(Laughter)
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(Râsete)
06:52
So, "Titanic" was, if you don't know the story,
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„Titanicul”, dacă nu ştiaţi povestea,
06:55
doesn't end well.
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nu se sfârşeşte bine.
06:57
(Laughter)
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(Râsete)
07:00
Jim Cameron actually photographed the real Titanic.
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Jim Cameron a fotografiat adevăratul Titanic.
07:03
So he basically set up, or basically shattered
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Practic a anulat suspendarea
07:05
the suspension of disbelief, because what he photographed
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neîncrederii, deoarece a fotografiat
07:08
was the real thing, a Mir sub going down, or actually
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obiectul real cu un submersibil Mir,
07:11
two Mir subs going down to the real wreck,
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de fapt, două, care s-au scufundat pînă la epava reală,
07:14
and he created this very haunting footage.
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iar el a creat acest material filmat foarte tulburător.
07:16
It's really beautiful, and it conjures up all these
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Este frumos şi stârneşte
07:18
various different emotions, but he couldn't photograph
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atâtea emoţii, însă n-a putut fotografia tot.
07:21
everything, and to tell the story,
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Pentru a spune povestea,
07:23
I had to fill in the gaps, which is now rather daunting,
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a trebuit să umplu golurile, ceea ce e cam înfricoşător,
07:25
because now I have to recreate back to back
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pentru că trebuia să recreez unul după altul
07:28
what really happened and I had, I'm the only one
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evenimentele de atunci şi eram singurul
07:31
who could really blow it at that point.
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care putea să rateze totul în acel moment.
07:35
So this is the footage he photographed,
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Ăsta e materialul fotografiat de Cameron,
07:37
and it was pretty moving and pretty awe-inspiring.
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emoţionant şi uluitor.
07:42
So I'm going to just let it run, so you kind of absorb
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O să-l las să ruleze ca să puteţi absorbi
07:44
this sort of thing, and I'll describe my sort of reactions
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detaliile şi vă voi descrie reacţiile mele
07:48
when I was looking at it for the very first time.
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când l-am văzut prima dată.
07:50
I got the feeling that my brain wanted to basically
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Am simţit cum creierul meu vroia
07:55
see it come back to life.
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să vadă totul revenit la viaţă.
07:56
I automatically wanted to see this ship,
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Am vrut automat să văd
07:59
this magnificent ship, basically in all its glory,
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acest vas magnific în culmea gloriei
08:02
and conversely, I wanted to see it not in all its glory,
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şi invers am vrut să nu-l văd în culmea gloriei,
08:05
basically go back to what it looks like.
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adică să mă întorc la cum arată.
08:07
So I conjured up an effect that I'm later going to show you
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Am inventat un efect pe care o să vi-l arăt,
08:11
what I tried to do, which is kind of the heart of the movie,
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pe care l-am încercat şi care-i inima filmului pentru mine.
08:13
for me, and so that's why I wanted to do the movie,
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De asta am vrut să fac filmul,
08:17
that's why I wanted to create the sort of things I created.
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să creez lucrurile pe care le-am creat.
08:20
And I'll show you, you know, another thing that I found
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O să vă arăt. Un alt lucru interesant
08:22
interesting is what we really were emoting to
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este ce emoţii exprimă
08:24
when you take a look at it.
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când te uiţi la el.
08:26
So here's the behind the scenes, a couple of little shots here.
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Iată scene neprelucrate, câteva cadre.
08:29
So, when you saw my footage,
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Când aţi văzut materialul,
08:31
you were seeing this: basically, a bunch of guys
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aşi văzut de fapt asta: nişte tipi
08:33
flipping a ship upside down, and the little Mir subs
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care răsturnau un vas şi micuţele submersibile Mir
08:36
are actually about the size of small footballs,
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care sunt de mărimea unor mingi de fotbal
08:39
and shot in smoke.
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erau filmate în semi-obscuritate.
08:41
Jim went three miles went down, and I went about
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Jim a coborât trei mile, iar eu m-am depărtat
08:43
three miles away from the studio
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cu vreo trei mile de studioul de filmare
08:45
and photographed this in a garage.
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şi am fotografiat asta într-un garaj.
08:47
And so, but what you're emoting to, or what you're looking
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Emoţiile pe care le exprimi şi lucrurile la care te uiţi
08:50
at, had the same feeling, the same haunting quality,
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aveau aceeaşi încărcătură, aceeaşi esenţă obsedantă
08:53
that Jim's footage had, so I found it so fascinating
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pe care o are materialul filmat de Jim şi mi s-a părut atât de fascinant
08:56
that our brains sort of, once you believe something's real,
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cum creierele noastre, odată ce credem că ceva e real,
09:00
you transfer everything that you feel about it,
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transferă tot ce simţim despre asta,
09:03
this quality you have, and it's totally artificial.
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această însuşire, şi este total artificial.
09:06
It's totally make-believe, yet it's not to you,
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Este un truc, deşi pentru tine nu pare.
09:09
and I found that that was a very interesting thing
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Am descoperit că asta e un lucru interesant
09:11
to explore and use, and it caused me to create the next
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de explorat şi folosit şi m-a dus la următorul
09:14
effect that I'll show you, which is
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efect pe care o să vi-l arăt,
09:16
this sort of magic transition, and all I was really attempting
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un fel de tranziţie magică, încercam practic
09:19
to do is basically have the audience cue the effect,
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să fac audienţa să lege efectul,
09:23
so it became a seamless experience for them,
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aşa că pentru ei a devenit o experienţă fluidă,
09:26
that I wasn't showing you my sort of interpretation,
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nu arătam interpretarea mea,
09:28
I was showing you what you wanted to see.
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ci vă arătam ce vroiaţi să vedeţi.
09:31
And the very next shot, right after this --
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Următorul cadru, după ăsta -
09:38
So you can see what I was doing.
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Vedeţi ce am făcut.
09:39
So basically, if there's two subs in the same shot,
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Dacă sunt două submersibile în acelaşi cadru,
09:41
I shot it, because where's the camera coming from?
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le-am filmat, căci altfel de unde ar veni camera?
09:44
And when Jim shot it, it was only one sub,
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Când a filmat Jim, era doar un submarin,
09:46
because he was photographing from the other,
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deoarece el fotografia din celălalt.
09:47
and I don't remember if I did this or Jim did this.
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Nu-mi mai amintesc dacă eu sau Jim am făcut asta.
09:49
I'll give it to Jim, because he could use the pat on the back.
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O să zic că Jim, pentru că are nevoie de încurajări.
09:52
(Laughter)
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(Râsete)
09:58
Okay. So now the Titanic transition.
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OK. Acum tranziţia pentru Titanic.
10:01
So this is what I was referring to where I wanted to basically
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La asta mă refeream când am vrut
10:04
magically transplant from one state of the Titanic
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să trec Titanicul, ca prin magie, dintr-o stare
10:07
to the other. So I'll just play the shot once. (Music)
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în alta. O să rulez scena o dată.
10:11
(Music)
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(Muzică)
10:14
And what I was hoping for is that it just melts in front of you.
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Am vrut să se topească practic în faţa voastră.
10:25
Gloria Stuart: That was the last time Titanic ever saw daylight.
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Gloria Stuart: A fost ultima dată când Titanicul a văzut lumina zilei.
10:30
RL: So, what I did is basically I had another
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RL: Am avut, de fapt,
10:32
screening room experience where I was basically tracking
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un test în sala de proiecţii unde am urmărit
10:35
where I was looking, or where we were looking,
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locul unde mă uitam sau unde ne uitam
10:38
and of course you're looking at the two people on the bow
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şi bineînţeles privim cei doi oameni de pe etravă
10:40
of the ship, and then at some point,
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şi la un moment dat
10:42
I'm changing the periphery of the shot,
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schimb periferia cadrului
10:44
I'm changing, it's becoming the rusted wreck,
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şi devine o navă ruginită.
10:47
and then I would run it every day, and then I would find
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Am rulat asta în fiecare zi şi am descoperit
10:50
exactly the moment that I stopped looking at them
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momentul precis în care încetez să-i privesc
10:53
and start noticing the rest of it, and the moment
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şi încep să observ restul şi momentul
10:55
my eye shifted, we just marked it to the frame.
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în care privirea s-a mutat a fost marcat în cadru.
10:57
The moment my eye shifted, I immediately started
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În momentul mutării privirii, am început imediat
11:00
to change them, so now somehow you missed
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să-i modific, aşa că acum nu-ţi dai seama
11:02
where it started and where it stopped.
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când începe şi când se termină.
11:04
And so I'll just show it one more time.
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Vă mai arăt o dată.
11:07
(Music) And it's literally done by using what our brains
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(Muzică) Practic asta se face cu ajutorul a ceea ce creierul
11:10
naturally do for us, which is, as soon as you shift
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face pentru noi în mod natural, imediat ce muţi
11:14
your attention, something changes, and then I left
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centrul atenţiei, ceva se schimbă.
11:15
the little scarf going, because it really wanted to be
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Am lăsat eşarfa, pentru că trebuia să fie
11:18
a ghostly shot, really wanted to feel like they were still
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un cadru fantomatic, de parcă erau încă pe epavă.
11:21
on the wreck, essentially. That's where they were buried forever.
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Acolo au fost îngropaţi pentru totdeauna.
11:25
Or something like that. I just made that up.
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Sau ceva de genul ăsta. Am inventat asta.
11:27
(Laughter)
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(Râsete)
11:29
It was, incidentally, the last time I ever saw daylight.
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Întâmplător, a fost ultima dată când am văzut lumina zilei.
11:31
It was a long film to work on. (Laughter)
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A fost mult de lucru la film. (Râsete)
11:35
Now, "Hugo" was another interesting movie, because
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„Hugo” e un alt film interesant,
11:37
the movie itself is about film illusions.
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2110
deoarece filmul în sine e despre iluzii.
11:39
It's about how our brain is tricked into seeing a persistence
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E modul în care creierul e păcălit să vadă o persistenţă
11:42
of vision that creates a motion picture,
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de imagine care creează un film.
11:45
and one of the things I had to do is, we —
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Ceea ce am făcut --
11:48
Sasha Baron Cohen is a very clever, very smart guy,
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Sasha Baron Cohen este un actor comic foarte inteligent.
11:52
comedian, wanted to basically do an homage to the kind of
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El a vrut să aducă un omagiu
11:54
the Buster Keaton sort of slapstick things, and he wanted
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farselor de tipul Buster Keaton şi a vrut
11:56
his leg brace to get caught on a moving train.
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ca proteza piciorului să-i rămână prinsă de un tren în mişcare.
11:59
Very dangerous, very impossible to do, and particularly
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Foarte periculos, imposibil de făcut,
12:02
on our stage, because there literally is no way to actually
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mai ales în studio, pentru că nu aveam
12:05
move this train, because it fits so snugly into our set.
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cum să mişcăm trenul care abia încăpea pe platou.
12:10
So let me show you the scene, and then I basically
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Să vă arăt scena.
12:12
used the trick that was identified by Sergei Eisenstein,
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Am folosit trucul lui Serghei Eisenstein.
12:16
which is, if you have a camera that's moving with a moving
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Dacă ai o cameră ce se mişcă odată cu un obiect în mişcare,
12:19
object, what is not moving appears to be moving,
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ce nu se mişcă apare ca şi cum s-ar mişca
12:22
and what is moving appears to be stopped,
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şi ceea ce se mişcă apare ca stând pe loc,
12:24
so what you're actually seeing now is the train is not
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aşa că acum vedeţi trenul
12:27
moving at all, and what is actually moving is the floor.
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care nu se mişcă deloc, doar podeaua se mişcă.
12:32
So this is the shot. That's a little video of
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Ăsta e cadrul. Şi un mic clip
12:35
what you're looking at there, which is our little test,
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cu ce vedeţi aici, e testul nostru,
12:39
so that's actually what you're seeing, and I thought it was
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deci asta se vede de fapt.
M-am gândit
M-am gândit
12:41
sort of an interesting thing, because it was, part
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că e interesant, pentru că parţial
12:43
of the homage of the movie itself is coming up with this
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omagiul adus de film este inventarea
12:47
sort of genius trick which I can't take credit for.
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acestui truc genial care nu îmi aparţine.
12:49
I'd love to but I can't, because it was invented
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Mi-ar plăcea, însă el a fost inventat
12:52
like in 1910 or something like that, is I told Marty,
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în 1910 sau aşa ceva.
I-am spus lui Marty -
I-am spus lui Marty -
12:57
and it's kind of one of those mind things that it's
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e unul dintre lucrurile
12:58
really hard to really get until you actually see it work,
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greu de înţeles până nu le vezi funcţionând -
13:01
and I said, you know, what I was going to do, and he said,
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i-am spus ce vroiam să fac şi el a zis
13:04
"So, let me see if I can get this straight. The thing with the wheels?
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„Să văd dacă am înţeles. Chestia cu roţi?
13:06
That doesn't move."
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Aia nu se mişcă.”
13:08
(Laughter) (Applause)
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(Râsete) (Aplauze)
13:11
"And the thing without the wheels, that moves."
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„Şi chestia fără roţi, aia se mişcă.”
13:15
Precisely. (Laughter)
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Exact. (Râsete)
13:18
Brings me to the next, and final --
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Ceea ce mă aduce la următoarea şi ultima--
13:20
Marty's not going to see this, is he? (Laughter)
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Marty nu o să vadă asta, nu? (Râsete)
13:24
This isn't viewed outside of -- (Laughter)
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Nu se transmite în afară -- (Râsete)
13:28
The next illustration is something that, there's like
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Următorul exemplu e ceva care exemplifică
13:33
all one shot theory. It's a very elegant way of telling a story,
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teoria cadrului unic.
Este un mod elegant de a povesti,
Este un mod elegant de a povesti,
13:36
especially if you're following somebody on a journey,
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mai ales dacă urmezi pe cineva într-o călătorie
13:38
and that journey basically tells something about
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şi călătoria spune ceva
13:40
their personality in a very concise way,
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despre personalitatea sa într-un mod concis.
13:42
and what we wanted to do based on the shot in "Goodfellas,"
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Am vrut să facem ceva bazat pe cadrul din „Goodfellas”,
13:45
which is one of the great shots ever,
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care e unul dintre cele mai bune,
13:47
a Martin Scorsese film, of basically following Henry Hill
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un film de Martin Scorsese, când camera îl urmăreşte pe Henry Hill
13:50
through what it feels like to be a gangster walk
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pe parcursul unei plimbări de gangster
13:52
going through the Copacabana and being treated in a special way.
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prin Copacabana, având parte de un tratament special.
13:55
He was the master of his universe, and we wanted Hugo
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Era stăpânul universului şi am vrut să-l facem pe Hugo
13:58
to feel the same way, so we created this shot.
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să se simtă la fel, aşa că am creat acest cadru.
14:01
(Music)
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(Muzică)
14:04
That's Hugo. (Music)
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Acesta e Hugo.
14:09
And we felt that if we could basically move the camera
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Ne-am gândit că dacă mişcăm camera
14:12
with him, we would feel what it feels like to be this boy
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odată cu el, am simţi ce înseamnă să fii acest băiat
14:15
who is basically the master of his universe,
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care e stăpânul universului său
14:18
and his universe is, you know, behind the scenes
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şi universul lui e în culise,
14:20
in the bowels of this particular train station
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2641
în măruntaiele acestei gări
14:23
that only he can actually navigate through
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2304
prin care doar el se poate deplasa
14:25
and do it this way, and we had to make it feel that
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şi a trebuit să transmitem sentimentul
14:27
this is his normal, everyday sort of life,
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2307
că ăsta e firescul lui, viaţa lui de zi cu zi,
14:30
so the idea of doing it as one shot was very important,
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aşa că ideea de a trage totul într-o singură scenă a fost foarte importantă.
14:32
and of course, in shooting in 3D, which is basically
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Am filmat în 3D,
14:35
it's a huge camera that's hanging off of a giant stick,
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o cameră imensă care atârnă de un stâlp imens,
14:39
so to recreate a steadycam shot was the task,
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aşa că scopul era recrearea unui cadru filmat cu amortizarea şocurilor
14:42
and make it feel kind of like what the reaction you got
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şi să obţinem reacţia pe care o avem
14:46
when you saw the "Goodfellas" shot.
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când privim cadrul din „Goodfellas”.
14:47
So what you're now going to see is how we actually did it.
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Acum veţi vedea cum am obţinut asta.
14:51
It's actually five separate sets shot at five different times
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Sunt cinci decoruri separate filmate la cinci intervale diferite
14:54
with two different boys.
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cu doi băieţi diferiţi.
14:55
The one on the left is where the shot ends,
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Cel din stânga e unde se termină cadrul,
14:58
and the shot on the right is where it takes over,
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cel din dreapta arată de unde se preia.
15:03
and now we switch boys, so it went from Asa Butterfield,
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Am schimbat băieţii. Am trecut de la Asa Butterfield,
15:07
who's the star of the show, to his stand-in. (Music)
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care e starul filmului, la dublura sa. (Muzică)
15:10
I wouldn't say his stunt double. There's a crazy rig
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N-aş spune cascador. Iată o instalaţie nebunească
15:12
that we built for this. (Music)
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construită pentru asta. (Muzică)
15:15
And so this is, and now this is set number three
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Acesta este al treilea decor
15:18
we're into, and then we're going to go into, basically
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şi apoi întrăm în altul.
15:23
the very last moment of the shot is actually
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Ultimul moment al scenei e filmat cu amortizor.
15:25
the steadycam shot. Everything else was shot on cranes
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Restul a fost filmat de pe macarale
15:28
and various things like that, and it literally was done
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şi chestii asemănătoare, pe parcursul
15:30
over five different sets, two different boys, different times,
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a cinci decoruri diferite, cu doi băieţi diferiţi, temporizări diferite
15:33
and it all had to feel like it was all one shot, and what was
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şi totul trebuia să pară ca făcând parte dintr-un singur cadru.
15:36
sort of great for me was it was probably
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Pentru mine a fost minunat,
15:40
the best-reviewed shot I've ever worked on,
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2517
fiind cel mai apreciat cadru la care am lucrat.
15:43
and, you know, I was kind of proud of it when I was done,
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Am fost mândru când am terminat.
15:46
which is, you should never really be proud of stuff, I guess.
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Presupun că n-ar trebui să ne mândrim cu lucruri.
15:50
So I was kind of proud of it, and I went to a friend of mine,
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2810
Am fost destul de mândru. M-am dus la un prieten
15:53
and said, "You know, this is, you know, kind of
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1924
şi i-am spus: Ştii, ăsta e cadrul
15:55
the best-reviewed shot I've ever worked on.
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cel mai apreciat dintre toate.
15:57
What do you think was the reason?"
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Care crezi că a fost motivul?
16:00
And he said, "Because no one knows
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El a zis: Pentru că nimeni nu ştie
16:01
you had anything to do with it."
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1966
că ai avut vreo legătură cu el.
16:03
(Laughter)
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(Râsete)
16:06
So, all I can say is, thank you,
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Tot ce pot spune e că vă mulţumesc
16:10
and that's my presentation for you. (Applause)
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şi asta a fost prezentarea mea pentru voi. (Aplauze)
16:15
(Applause)
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(Aplauze)
ABOUT THE SPEAKER
Rob Legato - Visual Effects GuruRob Legato creates surprising and creative visual illusions for movies.
Why you should listen
Did we really see what we thought we saw? Rob Legato creates visual illusions for movies -- thinking deeply both about vfx's expanding tech power and the truly new creative processes that can result. Legato won his first Oscar in 1998 for his work on James Cameron's Titanic, after several years in television supervising effects on two Star Trek series. His 2012 Oscar win for Hugo, the 3D film about a boy who lives alone in a Paris train station, underscores his fascinating partnership with Martin Scorsese -- doing digital effects on documentaries and new classics like The Departed.
He's worked with the big effects houses like Sony Imageworks and Digital Domain, but is now fascinated with the nimble new workflows made possible with digital tools. He designed the "virtual cinematography pipeline" that let James Cameron shoot Avatar like a feature film, not a software project. We know that fx can create new worlds -- but how can these tools unlock new creativity?
Rob Legato | Speaker | TED.com