TEDGlobal 2012
Rob Legato: The art of creating awe
Rob Legato (Rob Legato): Umeće stvaranja dubokog poštovanja
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Rob Legato pravi filmske efekte tako dobro da su (neki put) bolji od stvarnosti. U ovom toplom i zabavnom govoru, on nam predstavlja svoju viziju otelotvorenja stvarnosti na platnu u filmovima kao što su Apolo 13, Titanik i 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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Radio sam na filmu "Apolo 13"
00:18
and when I worked on this film, I discovered something
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i radeći na njemu otkrio sam nešto o tome
00:20
about how our brains work, and how our brains work
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kako radi naš mozak. A on radi tako da,
00:22
is that, when we're sort of infused with
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kad smo pod nekim uticajem
00:25
either enthusiasm or awe or fondness or whatever,
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bilo entuzijazma, strahopoštovanja,
privrženosti ili bilo čega,
privrženosti ili bilo čega,
00:29
it changes and alters our perception of things.
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to menja i prekraja našu percepciju stvari.
00:31
It changes what we see. It changes what we remember.
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Menja šta vidimo. Menja šta pamtimo.
00:33
And as an experiment, because I dauntingly create
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Radi jednog eksperimenta, jer neumorno kreiram
00:37
a task for myself of recreating a Saturn V launch
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svoj poduhvat, snimiti lansiranje Saturna V
00:41
for this particular movie, because I put it out there,
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posebno za ovaj film, jer to sam stavio u njega,
00:44
I felt a little nervous about it, so I need to do an experiment
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malo sam bio nervozan zbog toga,
pa mi je trebao eksperiment,
pa mi je trebao eksperiment,
00:46
and bring a group of people like this in a projection room
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doveo sam ovakvu grupu ljudi u sobu za projekcije
00:50
and play this stock footage, and when I played this
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i pustio sam ovaj arhivski snimak.
00:53
stock footage, I simply wanted to find out
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Tako sam želeo da otkrijem
00:55
what people remembered, what was memorable about it?
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šta su ljudi zapamtili, šta je bilo nezaboravno?
00:59
What should I actually try to replicate?
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Šta bi u stvari trebalo da ponovim?
01:01
What should I try to emulate to some degree?
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Šta bi donekle trebalo da pokušam da simuliram?
01:05
So this is the footage that I was showing everybody.
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Ovo je snimak koji sam svima pokazivao.
01:08
And what I discovered is, because of the nature
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Ono što sam otkrio je da, zbog prirode
01:10
of the footage and the fact that we're doing this film,
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snimka i činjenice da snimamo taj film,
01:13
there was an emotion that was built into it
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u njega smo gradili emocije
01:15
and our collective memories of what this launch meant to us
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i naše kolektivno pamćenje onoga
šta nam to lansiranje znači
šta nam to lansiranje znači
01:18
and all these various things.
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i sve te razne stvari.
01:19
When I showed it, and I asked, immediately after
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Kada sam to prikazao i neposredno posle ih pitao
01:21
the screening was over, what they thought of it,
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šta misle o tome,
01:24
what was your memorable shots, they changed them.
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šta je vaš nezaboravan snimak, oni su ih promenili.
01:27
They were -- had camera moves on them.
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Bili su -- kamera se kretala po njima.
01:29
They had all kinds of things. Shots were combined,
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Imali su razne stvari. Snimci su bili kombinovani,
01:32
and I was just really curious, I mean, what the hell
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zaista me je zanimalo, šta ste zaboga
01:35
were you looking at just a few minutes ago
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gledali pre par minuta
01:36
and how come, how'd you come up with this sort of description?
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i kako ste došli do takvog objašnjenja?
01:40
And what I discovered is, what I should do is not actually
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Otkrio sam da ono što u stvari treba da napravim,
01:44
replicate what they saw, is replicate what they remembered.
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nije replika toga šta su videli, već šta su zapamtili.
01:47
So this is our footage of the launch, based on, basically,
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Ovo je naš snimak lansiranja, u osnovi baziran na
01:51
taking notes, asking people what they thought, and then
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beleškama, pitanjima šta misle, zatim
01:54
the combination of all the different shots and all
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kombinovanjem svih različitih snimaka i
01:57
the different things put together created their sort of
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svih različitih stvari stavljenih zajedno. To je stvaralo
01:58
collective consciousness of what they remembered
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neku vrstu zajedničke memorije onoga kako su zapamtili
02:01
it looked like, but not what it really looked like.
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da je izgledalo, ali nije bilo u stvari tako.
02:02
So this is what we created for "Apollo 13."
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Dakle, ovo smo napravili za "Apolo 13".
02:05
(Launch noises)
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(Buka lansiranja)
02:10
So literally what you're seeing now is the confluence
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Ono što doslovno sada vidite je da spoj
02:12
of a bunch of different people, a bunch of different memories,
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gomile različitih ljudi, gomila raznih sećanja,
02:14
including my own, of taking a little bit of liberty
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uključujući i moje, uzimaju malo slobode
02:18
with the subject matter.
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u vezi sa tematikom.
02:19
I basically shot everything with short lenses,
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Uglavnom sam sve snimio sa kratkim sočivima,
02:22
which means that you're very close to the action,
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što znači da ste vrlo blizu akciji,
02:24
but framed it very similarly to the long lens shots
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ali upakovano slično snimku sa dugim sočivima
02:26
which gives you a sense of distance, so I was basically
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što daje osećaj udaljenosti, pa sam u osnovi
02:29
was setting up something that would remind you
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postavljao nešto što će vas podsećati
02:31
of something you haven't really quite seen before. (Music)
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na nešto što niste još zaista videli. (Muzika)
02:34
And then I'm going to show you exactly what it is
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Sada ću vam pokazati šta je tačno to
02:37
that you were reacting to when you were reacting to it.
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na šta ste reagovali kad ste reagovali.
02:41
(Music)
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(Muzika)
02:53
Tom Hanks: Hello, Houston, this is Odyssey.
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Tom Henks: Zdravo, Hjuston, ovde Odisej.
02:56
It's good to see you again. (Cheers) (Music)
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Drago mi je da te ponovo vidim. (Navijanje) (Muzika)
02:58
Rob Legato: I pretend they're clapping for me.
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Rob Legato: Pretvaram se da meni aplaudiraju.
03:01
(Laughter)
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(Smeh)
03:03
So now I'm in a parking lot. Basically it's a tin can,
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Sada sam na parkingu. U osnovi, to je limenka
03:06
and I'm basically recreating the launch with
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i ponavljam lansiranje pomoću
03:08
fire extinguishers, fire, I have wax that I threw
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aparata za gašenje požara, vatre,
imam vosak koji sam bacao
imam vosak koji sam bacao
03:13
in front of the lens to look like ice, and so basically
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ispred sočiva da bi ličilo na led,
03:16
if you believed any of the stuff that I just showed you,
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pa ako ste poverali u nešto od ovog što sam sad pokazao,
03:19
what you were reacting to, what you're emoting to,
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ako ste na nešto reagovali i osećali,
03:22
is something that's a total falsehood, and I found that
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to je totalna laž i otkrio sam da je to
03:24
really kind of fascinating.
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na neki način fascinantno.
03:26
And in this particular case, this is the climax of the movie,
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U ovom posebnom slučaju, to je kulminacija filma,
03:29
and, you know, the weight of achieving it was simply
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a postići je, jednostavno
03:32
take a model, throw it out of a helicopter, and shoot it.
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uzmi model, baci ga iz helikoptera i snimi.
03:35
And that's simply what I did.
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To je prosto ono što sam uradio.
03:37
That's me shooting, and I'm a fairly mediocre operator,
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Ovo sam ja kako snimam, osrednji sam operater,
03:40
so I got that nice sense of verisimilitude, of a kind of,
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imam lep osećaj za verodostojnost, kao
03:43
you know, following the rocket all the way down,
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praćenje rakete celim putem dole,
03:46
and giving that little sort of edge, I was desperately
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tako dajem tu oštrinu, očajnički sam
03:48
trying to keep it in frame. So then I come up to the next thing.
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pokušavao da je zadržim u kadru.
Posle sam otišao na sledeću stvar.
Posle sam otišao na sledeću stvar.
03:52
We had a NASA consultant who was actually an astronaut,
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Imali smo NASA konsultanta koji je u stvari astronaut,
03:54
who was actually on some of the missions, of Apollo 15,
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stvarno je bio u misijama Apola 15,
03:57
and he was there to basically double check my science.
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bio je tu da temeljno proveri moju nauku.
04:01
And, I guess somebody thought they needed to do that.
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Pretpostavljam da je neko mislio da to treba.
04:04
(Laughter)
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(Smeh)
04:06
I don't know why, but they thought they did.
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Ne znam zašto, mislili su da treba.
04:08
So we were, he's a hero, he's an astronaut, and
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On je heroj, astronaut i
04:13
we're all sort of excited, and, you know, I gave myself
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svi smo bili nekako uzbuđeni, pa sam bio slobodan da
04:15
the liberty of saying, you know, some of the shots I did
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kažem, da neki od mojih snimaka i
04:18
didn't really suck that bad.
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nisu bili zaista tako loši.
04:20
And so maybe, you know, we were feeling kind of a little
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Zbog toga smo se osećali na neki način pomalo
04:24
good about it, so I brought him in here, and he needed
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dobro u vezi toga. Doveo sam ga ovde, morao je
04:26
to really check and see what we were doing,
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da zaista proveri šta radimo
04:29
and basically give us our A plus report card,
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i dao nam je najbolju ocenu,
04:32
and so I showed him some shots we were working on,
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pa sam mu pokazao neke snimke na kojima smo radili
04:33
and waiting for the reaction that you hope for,
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i čekao reakciju kojoj se nadate,
04:37
which is what I got. (Music) (Launch noises)
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a to sam i dobio. (Muzika) (Buka lansiranja)
04:40
So I showed him these two shots,
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Pokazao sam mu ova dva snimka,
04:42
and then he basically told me what he thought.
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onda mi je rekao šta o tome misli:
04:45
("That's wrong") (Laughter)
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"To je pogrešno." (Smeh)
04:48
Okay. (Laughter)
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OK. (Smeh)
04:51
It's what you dream about.
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To je ono o čemu sanjate.
04:53
(Laughter)
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(Smeh)
04:56
So what I got from him is, he turned to me and said,
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Okrenuo se prema meni i rekao:
04:59
"You would never, ever design a rocket like that.
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"Nikada, nikada ne bi tako dizajnirao raketu.
05:03
You would never have a rocket go up
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Nema rakete koja ide gore
05:04
while the gantry arms are going out. Can you imagine
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dok se izvlače nogare postolja. Možete li zamisliti
05:06
the tragedy that could possibly happen with that?
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do koje tragedije može doći tako?
05:08
You would never, ever design a rocket like that."
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Nikad, nikad ne biste dizajnirali raketu tako."
05:11
And he was looking at me. It's like, Yeah, I don't know
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Gledao me je. To je kao, ne znam,
05:13
if you noticed, but I'm the guy out in the parking lot
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ako ste primetili, ali ja sam momak sa parkinga
05:15
recreating one of America's finest moments with
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koji ponovo stvara jedan od najboljih momenata Amerike
05:17
fire extinguishers.
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sa aparatima za gašenje požara.
05:18
(Laughter)
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(Smeh)
05:21
And I'm not going to argue with you. You're an astronaut,
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Neću se svađati sa vama. Vi ste astronaut,
05:24
a hero, and I'm from New Jersey, so --
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heroj, ja sam iz Nju Džersija, pa --
05:26
(Laughter)
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(Smeh)
05:28
I'm just going to show you some footage.
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Pokazaću vam neki snimak.
05:30
I'm just going to show you some footage, and tell me what you think.
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Recite mi šta mislite.
05:32
And then I did kind of get the reaction I was hoping for.
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Posle sam dobio reakciju kakvoj sam se nadao.
05:35
So I showed him this, and this is actual footage
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Tako sam mu pokazao ovo, što je stvarni snimak
05:37
that he was on. This is Apollo 15. This was his mission.
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na kom je on. Ovo je Apolo 15. Ovo je njegova misija.
05:40
So I showed him this, and the reaction I got was interesting.
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Pokazao sam mu ovo i rekacija koju sam dobio
je bila zanimljiva:
je bila zanimljiva:
05:46
("That's wrong too.") (Laughter)
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"To je takođe pogrešno." (Smeh)
05:48
So, and what happened was, I mean, what I sort of intuned
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Ono što se desilo, zaključio sam,
05:52
in that is that he remembered it differently.
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on je drugačije zapamtio.
05:54
He remembered that was a perfectly safe sort of gantry
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Zapamtio je da je sistem postolja savršeno siguran,
05:57
system, perfectly safe rocket launch, because he's sitting
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savršeno sigurno lansiranje rakete, jer on je sedeo
05:59
in a rocket that has, like, a hundred thousand pounds
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u raketi čiji je pogon 50 t,
06:01
of thrust, built by the lowest bidder.
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koju je napravio najjeftiniji ponuđač.
06:04
He was hoping it was going to work out okay.
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Nadao se da će to dobro raditi.
06:06
(Laughter) (Applause)
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(Smeh) (Aplauz)
06:09
So he twisted his memory around.
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Tako da je on drugačije zapamtio.
06:11
Now, Ron Howard ran into Buzz Aldrin, who was not
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Ron Hauard je naleteo na Baza Oldrina, koji nije bio
06:14
on the movie, so he had no idea that we were faking
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u filmu, tako da on nije imao pojma da lažiramo
06:16
any of this footage, and he just responded
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bilo šta na snimku, pa je jednostavno odgovorio
06:19
as he would respond, and I'll run this.
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kao što ćete videti.
06:21
Ron Howard: Buzz Aldrin came up to me
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Ron Houard: Baz Oldrin mi je prišao i
06:24
and said, "Hey, that launch footage, I saw some shots
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rekao: "Hej, to lansiranje, video sam neke snimke
06:28
I'd never seen before. Did you guys, what vault did you find
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koje nisam pre video. U kom sefu ste
06:33
that stuff in?" And I said, "Well, no vault, Buzz,
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našli te snimke?" Rekao sam: "Ne u sefu, Baze,
06:36
we generated all that from scratch."
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sve smo to napravili ni iz čega."
06:39
And he said, "Huh, that's pretty good. Can we use it?"
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Rekao je: "Uh, to je prilično dobro.
Možemo li da ga koristimo?"
Možemo li da ga koristimo?"
06:43
(Explosion) ("Sure") (Laughter)
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(Prasak) ("Svakako") (Smeh)
06:46
RL: I think he's a great American.
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RL: Mislim da je on veliki Amerikanac.
06:48
(Laughter)
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(Smeh)
06:52
So, "Titanic" was, if you don't know the story,
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"Titanik" se, ako ne znate priču,
06:55
doesn't end well.
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ne završava dobro.
06:57
(Laughter)
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(Smeh)
07:00
Jim Cameron actually photographed the real Titanic.
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Džim Kameron je u stvari fotografisao stvarni Titanik.
07:03
So he basically set up, or basically shattered
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U osnovi je postavio ili razbio
07:05
the suspension of disbelief, because what he photographed
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odgađanje neverice, jer ono što je fotografisao
07:08
was the real thing, a Mir sub going down, or actually
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bilo je stvarno. Podmornica Mir plovi dole, u stvari
07:11
two Mir subs going down to the real wreck,
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dva Mira idu dole do olupine
07:14
and he created this very haunting footage.
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i on je kreirao ovaj avetinjski snimak.
07:16
It's really beautiful, and it conjures up all these
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Zaista je prekrasan, izaziva sve vrste
07:18
various different emotions, but he couldn't photograph
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različitih emocija, ali nije mogao sve da fotografiše,
07:21
everything, and to tell the story,
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a da bih ispričao priču,
07:23
I had to fill in the gaps, which is now rather daunting,
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trebalo je da popunim praznine,
sada prilično zastrašujuće
sada prilično zastrašujuće
07:25
because now I have to recreate back to back
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jer moram da rekreiram sve unazad
07:28
what really happened and I had, I'm the only one
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šta se desilo i samo ja zaista mogu
07:31
who could really blow it at that point.
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sve upropastiti na tom mestu.
07:35
So this is the footage he photographed,
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Ovo je snimak koji je on napravio,
07:37
and it was pretty moving and pretty awe-inspiring.
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prilično je dirljiv i izaziva strahopoštovanje.
07:42
So I'm going to just let it run, so you kind of absorb
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Pustiću ga da ide, da možete da upijete
07:44
this sort of thing, and I'll describe my sort of reactions
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ovo i objasniću vam svoje reakcije
07:48
when I was looking at it for the very first time.
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koje sam imao kad sam to gledao prvi put.
07:50
I got the feeling that my brain wanted to basically
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Osećao sam da je moj mozak želeo njegov
07:55
see it come back to life.
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povratak u život.
07:56
I automatically wanted to see this ship,
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Automatski sam želeo da vidim taj brod,
07:59
this magnificent ship, basically in all its glory,
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taj prekrasan brod, uglavnom u svoj svojoj lepoti
08:02
and conversely, I wanted to see it not in all its glory,
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i obrnuto,
08:05
basically go back to what it looks like.
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da ga vidim kakav je u stvari.
08:07
So I conjured up an effect that I'm later going to show you
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Tako da sam napravio jedan efekat,
pokazaću vam kasnije
pokazaću vam kasnije
08:11
what I tried to do, which is kind of the heart of the movie,
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šta sam pokušao da uradim,
to je na neki način srce filma
to je na neki način srce filma
08:13
for me, and so that's why I wanted to do the movie,
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za mene. Zbog toga sam želeo da radim taj film
08:17
that's why I wanted to create the sort of things I created.
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i da napravim stvari koje sam napravio.
08:20
And I'll show you, you know, another thing that I found
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Pokazaću vam još jednu stvar koja je
08:22
interesting is what we really were emoting to
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zanimljiva, na nju zaista emotivno reagujemo
08:24
when you take a look at it.
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kada je gledamo.
08:26
So here's the behind the scenes, a couple of little shots here.
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Evo iza scene, par kratkih snimaka ovde.
08:29
So, when you saw my footage,
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Kada ste videli moj snimak,
08:31
you were seeing this: basically, a bunch of guys
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videli ste ovo: gomilu momaka koji prevrću
08:33
flipping a ship upside down, and the little Mir subs
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brod i malu podmornicu Mir,
08:36
are actually about the size of small footballs,
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u stvari veličine malih fudbalskih kopti,
08:39
and shot in smoke.
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i snimljeno je u dimu.
08:41
Jim went three miles went down, and I went about
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Džim je otišao 5,5 km dole, a ja sam otišao oko
08:43
three miles away from the studio
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5,5 km dalje od studija
08:45
and photographed this in a garage.
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i snimio ovo u garaži.
08:47
And so, but what you're emoting to, or what you're looking
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Ono na šta reagujete ili to u šta gledate
08:50
at, had the same feeling, the same haunting quality,
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izaziva isto osećanje, isto strahopoštovanje
08:53
that Jim's footage had, so I found it so fascinating
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koje je imao Džimov snimak, za mene je fascinirajuće
08:56
that our brains sort of, once you believe something's real,
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da naši umovi, kad poveruju da je nešto stvarno,
09:00
you transfer everything that you feel about it,
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prenose osećanja koja prema tome imate,
09:03
this quality you have, and it's totally artificial.
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taj kvalitet koji imate i to je potpuno veštačko.
09:06
It's totally make-believe, yet it's not to you,
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To je potpuno pretvaranje, ali ne i za vas,
09:09
and I found that that was a very interesting thing
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ovo mi je bilo zanimljivo da
09:11
to explore and use, and it caused me to create the next
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istražim i iskoristim, zbog toga sam napravio
09:14
effect that I'll show you, which is
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efekat koji ću vam pokazati, koji je
09:16
this sort of magic transition, and all I was really attempting
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neka vrsta magične tranzicije, pokušao sam
09:19
to do is basically have the audience cue the effect,
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da ostavim publici da oseti početak efekta
09:23
so it became a seamless experience for them,
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i da za njih to bude neosetno iskustvo,
09:26
that I wasn't showing you my sort of interpretation,
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da ne pokazujem svoju interpretaciju,
09:28
I was showing you what you wanted to see.
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već ono što želite da vidite.
09:31
And the very next shot, right after this --
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Sledeći snimak, odmah posle ovog --
09:38
So you can see what I was doing.
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Možete da vidite šta sam uradio.
09:39
So basically, if there's two subs in the same shot,
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Ako postoje dve podmornice u istom snimku,
09:41
I shot it, because where's the camera coming from?
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onda sam ja snimao, jer odakle kamera dolazi?
09:44
And when Jim shot it, it was only one sub,
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Kad je Džim to snimio, bila je samo jedna podmornica,
09:46
because he was photographing from the other,
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jer je on snimao iz druge,
09:47
and I don't remember if I did this or Jim did this.
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ne sećam se da li je ovo uradio Džim ili ja.
09:49
I'll give it to Jim, because he could use the pat on the back.
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Pripisaću Džimu, jer bi mu dobro došla pohvala.
09:52
(Laughter)
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(Smeh)
09:58
Okay. So now the Titanic transition.
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OK. A sada o tranziciji Titanika.
10:01
So this is what I was referring to where I wanted to basically
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Ovo je ono na šta sam mislio kada sam hteo da
10:04
magically transplant from one state of the Titanic
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magično pređem sa jednog stanja Titanika
10:07
to the other. So I'll just play the shot once. (Music)
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na drugo. Pustiću snimak jednom. (Muzika)
10:11
(Music)
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(Muzika)
10:14
And what I was hoping for is that it just melts in front of you.
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Ono čemu se nadam je da to samo iščezne ispred vas.
10:25
Gloria Stuart: That was the last time Titanic ever saw daylight.
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Glorija Stjuart: To je poslednji put da je Titanik video dan.
10:30
RL: So, what I did is basically I had another
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RL: U stvari imao sam drugu
10:32
screening room experience where I was basically tracking
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sobu za snimanje, gde sam pratio
10:35
where I was looking, or where we were looking,
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u šta gledam ili gde smo gledali
10:38
and of course you're looking at the two people on the bow
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i naravno, gledali ste dvoje na pramcu broda
10:40
of the ship, and then at some point,
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i u jednom momentu
10:42
I'm changing the periphery of the shot,
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menjam okolinu snimka,
10:44
I'm changing, it's becoming the rusted wreck,
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menjam, postaje zarđala olupina,
10:47
and then I would run it every day, and then I would find
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zatim bih je puštao svaki dan i potom bih pronašao
10:50
exactly the moment that I stopped looking at them
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tačan momenat kada prestajem da gledam u njih
10:53
and start noticing the rest of it, and the moment
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i kad počinjem da opažam ostalo. Taj momenat
10:55
my eye shifted, we just marked it to the frame.
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kad su moje oči skrenule, samo smo obeležili na frejmu.
10:57
The moment my eye shifted, I immediately started
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Momenat kad su moje oči skrenule, momentalno sam počeo
11:00
to change them, so now somehow you missed
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da ih menjam, tako da ste nekako ispustili
11:02
where it started and where it stopped.
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gde je počelo, a gde se završilo.
11:04
And so I'll just show it one more time.
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Sad ću vam samo još jednom pustiti.
11:07
(Music) And it's literally done by using what our brains
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(Muzika) To je bukvalno urađeno koristeći ono što naš um
11:10
naturally do for us, which is, as soon as you shift
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prirodno radi, a to je, čim skrenete
11:14
your attention, something changes, and then I left
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svoju pažnju, nešto se promeni. Tad sam ostavio
11:15
the little scarf going, because it really wanted to be
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mali šal da leti, jer zaista je htelo da bude
11:18
a ghostly shot, really wanted to feel like they were still
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snimak duhova, zaista je htelo da se oseti da su oni još uvek
11:21
on the wreck, essentially. That's where they were buried forever.
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na olupini. To je mesto gde su zauvek sahranjeni.
11:25
Or something like that. I just made that up.
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2009
Ili tako nešto. Upravo sam to smislio.
11:27
(Laughter)
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(Smeh)
11:29
It was, incidentally, the last time I ever saw daylight.
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Slučajno sam tada i ja poslednji put video dnevno svetlo.
11:31
It was a long film to work on. (Laughter)
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Dugo smo radili na filmu. (Smeh)
11:35
Now, "Hugo" was another interesting movie, because
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"Hugo" je još jedan zanimljiv film, jer
11:37
the movie itself is about film illusions.
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to je film o iluzijama.
11:39
It's about how our brain is tricked into seeing a persistence
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Radi se o tome kako se mozak zavarava da vidi trajanje
11:42
of vision that creates a motion picture,
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vizije koja stvara pokretne slike,
11:45
and one of the things I had to do is, we —
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jedna od stvari koju je trebalo da uradim je --
11:48
Sasha Baron Cohen is a very clever, very smart guy,
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Saša Baron Koen je vrlo pametan momak,
11:52
comedian, wanted to basically do an homage to the kind of
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komičar, hteo je da napravi omaž lažnim udarcima
11:54
the Buster Keaton sort of slapstick things, and he wanted
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Bastera Kitona. Hteo je da
11:56
his leg brace to get caught on a moving train.
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mu nogu zarobi voz u pokretu.
11:59
Very dangerous, very impossible to do, and particularly
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Veoma opasno i nemoguće za izvesti, posebno na
12:02
on our stage, because there literally is no way to actually
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našoj sceni, jer bukvalno nije bilo načina
12:05
move this train, because it fits so snugly into our set.
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da se pomeri ovaj voz, jer se dobro uklapa u naš set.
12:10
So let me show you the scene, and then I basically
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Pokazaću vam scenu, tu sam u osnovi
12:12
used the trick that was identified by Sergei Eisenstein,
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koristio trik koji je otkrio Sergej Ajzenštajn, a to je
12:16
which is, if you have a camera that's moving with a moving
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kad imate kameru koja se pomera sa objektom
12:19
object, what is not moving appears to be moving,
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koji se pomera, ono što se ne pomera,
deluje kao da se pomera,
deluje kao da se pomera,
12:22
and what is moving appears to be stopped,
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a ono što se pomera deluje da je zaustavljeno,
12:24
so what you're actually seeing now is the train is not
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tako da ono što u stvari vidite je voz koji se uopšte
12:27
moving at all, and what is actually moving is the floor.
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ne pomera, u stvari pod se pomera.
12:32
So this is the shot. That's a little video of
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Ovo je snimak. To je mali video,
12:35
what you're looking at there, which is our little test,
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vidite naš mali test,
12:39
so that's actually what you're seeing, and I thought it was
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to u stvari vidite, mislio sam da je to
12:41
sort of an interesting thing, because it was, part
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nekako zanimljivo, jer i jeste, deo
12:43
of the homage of the movie itself is coming up with this
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omaža samom filmu je smišljanje
12:47
sort of genius trick which I can't take credit for.
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ovog genijalnog trika, koji nije moj.
12:49
I'd love to but I can't, because it was invented
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Voleo bih da jeste, ali nije, jer je izmišljen
12:52
like in 1910 or something like that, is I told Marty,
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1910. ili slično, rekao sam Martiju,
12:57
and it's kind of one of those mind things that it's
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to je ona vrsta stvari koje naš um radi i koje
12:58
really hard to really get until you actually see it work,
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je teško shvatiti, dok ih u stvari ne vidiš na delu.
13:01
and I said, you know, what I was going to do, and he said,
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Rekao sam da ću to da uradim, a on je rekao:
13:04
"So, let me see if I can get this straight. The thing with the wheels?
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"Da li sam te dobro razumeo. Stvar sa točkovima?
13:06
That doesn't move."
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Koja se ne pomera."
13:08
(Laughter) (Applause)
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(Smeh) (Aplauz)
13:11
"And the thing without the wheels, that moves."
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"I stvar bez točkova, koja se pomera."
13:15
Precisely. (Laughter)
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Upravo. (Smeh)
13:18
Brings me to the next, and final --
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Dolazimo do sledećeg i konačnog --
13:20
Marty's not going to see this, is he? (Laughter)
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Marti ovo neće videti, zar ne? (Smeh)
13:24
This isn't viewed outside of -- (Laughter)
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Ovo se ne gleda van -- (Smeh)
13:28
The next illustration is something that, there's like
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Sledeća ilustracija je nešto kao, teorija
13:33
all one shot theory. It's a very elegant way of telling a story,
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jednog snimka. To je vrlo elegantan način pričanja priče,
13:36
especially if you're following somebody on a journey,
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posebno ako pratite nečije putovanje,
13:38
and that journey basically tells something about
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a putovanje vam u osnovi kaže nešto o
13:40
their personality in a very concise way,
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njihovoj ličnosti na vrlo precizan način,
13:42
and what we wanted to do based on the shot in "Goodfellas,"
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ono što smo hteli, kao u snimku u "Dobrim momcima",
13:45
which is one of the great shots ever,
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a to je jedan od najbolje napravljenih snimaka,
13:47
a Martin Scorsese film, of basically following Henry Hill
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film Martina Skorsezea. U njemu prati Henrija Hila
13:50
through what it feels like to be a gangster walk
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kroz nešto što deluje kao gangsterski hod
13:52
going through the Copacabana and being treated in a special way.
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kroz Kopakabanu i to je posebno urađeno.
13:55
He was the master of his universe, and we wanted Hugo
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Bio je gospodar svog sveta, hteli smo da Hugo
13:58
to feel the same way, so we created this shot.
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isto tako deluje, pa smo napravili ovaj snimak.
14:01
(Music)
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(Muzika)
14:04
That's Hugo. (Music)
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To je Hugo. (Muzika)
14:09
And we felt that if we could basically move the camera
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Osetili smo da kad bismo mogli pomerati kameru
14:12
with him, we would feel what it feels like to be this boy
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zajedno sa njim, osetili bi kako je biti taj dečak
14:15
who is basically the master of his universe,
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koji je gospodar svog sveta,
14:18
and his universe is, you know, behind the scenes
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a njegov svet je iza scene
14:20
in the bowels of this particular train station
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u utrobi ove posebne železničke stanice
14:23
that only he can actually navigate through
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kroz koju se samo on može kretati
14:25
and do it this way, and we had to make it feel that
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i to ovako, morali smo to napraviti da se oseti
14:27
this is his normal, everyday sort of life,
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da je ovo njegova normalna svakodnevica.
14:30
so the idea of doing it as one shot was very important,
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Ideja da se to napravi sa samo jednim snimkom je
14:32
and of course, in shooting in 3D, which is basically
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vrlo važna i snimanje sa 3D, što je u osnovi
14:35
it's a huge camera that's hanging off of a giant stick,
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ogromna kamera koja visi sa ogromnog štapa
14:39
so to recreate a steadycam shot was the task,
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pa je stvaranje mirnog snimka bio zadatak,
14:42
and make it feel kind of like what the reaction you got
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postići da izazove sličnu reakciju kao kad gledate
14:46
when you saw the "Goodfellas" shot.
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snimak iz "Dobrih momaka".
14:47
So what you're now going to see is how we actually did it.
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Ono što ćete sada videti je ono što smo u stvari uradili.
14:51
It's actually five separate sets shot at five different times
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To je pet odvojenih setova snimaka sa pet različitih vremena
14:54
with two different boys.
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i dva različita dečaka.
14:55
The one on the left is where the shot ends,
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Ovaj levo je onaj gde je snimak gotov,
14:58
and the shot on the right is where it takes over,
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a snimak desno je mesto gde preuzima
15:03
and now we switch boys, so it went from Asa Butterfield,
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i sada zamenjujemo dečake, tako da je
snimak išao od Ase Baterfilda,
snimak išao od Ase Baterfilda,
15:07
who's the star of the show, to his stand-in. (Music)
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zvezde filma, do njegove zamene. (Muzika)
15:10
I wouldn't say his stunt double. There's a crazy rig
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Ne bih rekao kaskadera. Evo ga ludi tobogan
15:12
that we built for this. (Music)
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koji smo napravili za ovo. (Muzika)
15:15
And so this is, and now this is set number three
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Ovo sad je set broj tri,
15:18
we're into, and then we're going to go into, basically
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i zatim idemo u
15:23
the very last moment of the shot is actually
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poslednji momenat snimka, to je u stvari
15:25
the steadycam shot. Everything else was shot on cranes
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snimak mirnom kamerom. Sve ostalo je
snimljeno na kranovima
snimljeno na kranovima
15:28
and various things like that, and it literally was done
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i raznim stvarima kao to, bukvalno je urađeno
15:30
over five different sets, two different boys, different times,
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kroz pet raznih setova, dva dečaka, u različitim vremenima,
15:33
and it all had to feel like it was all one shot, and what was
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a sve to na kraju deluje kao jedan snimak. Za mene
15:36
sort of great for me was it was probably
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je sjajno to što je taj snimak verovatno
15:40
the best-reviewed shot I've ever worked on,
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2517
dobio najbolje kritike od kako snimam.
15:43
and, you know, I was kind of proud of it when I was done,
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2588
Bio sam ponosan kad je bio gotov i
15:46
which is, you should never really be proud of stuff, I guess.
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nikad ne bi trebalo da ste ponosni na stvari.
15:50
So I was kind of proud of it, and I went to a friend of mine,
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2810
Dakle, bio sam nekako ponosan na njega,
otišao sam do prijatelja
otišao sam do prijatelja
15:53
and said, "You know, this is, you know, kind of
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1924
i rekao: "Znaš, ovo je snimak
15:55
the best-reviewed shot I've ever worked on.
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1872
za koji sam dobio najbolje kritike.
15:57
What do you think was the reason?"
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2911
Šta misliš da je razlog?"
16:00
And he said, "Because no one knows
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1410
On je rekao: "Jer niko ne zna
16:01
you had anything to do with it."
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da ti imaš bilo šta sa tim."
16:03
(Laughter)
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(Smeh)
16:06
So, all I can say is, thank you,
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Sve što mogu reći je hvala vam,
16:10
and that's my presentation for you. (Applause)
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ovo je moja prezentacija za vas. (Aplauz)
16:15
(Applause)
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(Aplauz)
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