TED Talks Live
Danielle Feinberg: The magic ingredient that brings Pixar movies to life
Danijela Fejnberg (Danielle Feinberg): Čarobni sastojak koji udahnjuje život Piksarovim filmovima
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Danijela Fejnberg, Piksarova direktorka fotografije, stvara čarobne priče koje imaju dušu, koristeći matematiku, nauku i kodiranje. Pođite iza kulisa "Potrage za Nemom", "Priče o igračkama", "Hrabre Meride", "Volija" i drugih, i otkrijte kako Piksar prepliće umetnost i nauku da bi stvorili fantastične svetove, gde se ono što zamišljate ostvaruje. Ovaj govor je iz PBS-ovog specijala "TED Talks: Science & Wonder".
Danielle Feinberg - Director of photography, Pixar
At Pixar, Danielle Feinberg delights in bending the rules of light to her every whim. Full bio
At Pixar, Danielle Feinberg delights in bending the rules of light to her every whim. Full bio
Double-click the English transcript below to play the video.
00:12
When I was seven years old,
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Kada mi je bilo sedam godina,
00:14
some well-meaning adult asked me
what I wanted to be when I grew up.
what I wanted to be when I grew up.
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jedna dobronamerna odrasla osoba
me je pitala šta želim biti kad odrastem.
me je pitala šta želim biti kad odrastem.
00:18
Proudly, I said: "An artist."
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Ponosno sam rekla: "Umetnica."
00:20
"No, you don't," he said,
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"Ne, ne želiš", rekao je,
00:22
"You can't make a living being an artist!"
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"Ne možeš da zarađuješ za život
kao umetnica!"
kao umetnica!"
00:24
My little seven-year-old
Picasso dreams were crushed.
Picasso dreams were crushed.
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Srušio je moje
pikasovske snove sedmogodišnjakinje.
pikasovske snove sedmogodišnjakinje.
00:28
But I gathered myself,
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No, sabrala sam se,
00:29
went off in search of a new dream,
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otišla da potražim novi san,
00:31
eventually settling on being a scientist,
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na kraju ću se skrasiti kao naučnica,
00:34
perhaps something like
the next Albert Einstein.
the next Albert Einstein.
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možda nešto
poput budućeg Alberta Ajnštajna.
poput budućeg Alberta Ajnštajna.
00:37
(Laughter)
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(Smeh)
00:40
I have always loved math and science,
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Oduvek sam volela matematiku i nauku,
00:42
later, coding.
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kasnije kodiranje.
00:43
And so I decided to study
computer programming in college.
computer programming in college.
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Pa sam odlučila da studiram
kompjutersko programiranje.
kompjutersko programiranje.
00:47
In my junior year,
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Na prvoj godini,
00:48
my computer graphics professor
showed us these wonderful short films.
showed us these wonderful short films.
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profesor kompjuterske grafike
nam je pokazao ove divne kratke filmove.
nam je pokazao ove divne kratke filmove.
00:52
It was the first computer animation
any of us had ever seen.
any of us had ever seen.
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Bila je to prva kompjuterska animacija
koju je bilo ko od nas video.
koju je bilo ko od nas video.
00:56
I watched these films
in wonder, transfixed,
in wonder, transfixed,
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Posmatrala sam ove filmove
očarana, zapanjena,
očarana, zapanjena,
00:59
fireworks going off in my head,
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u glavi mi je varničilo,
01:01
thinking, "That is what
I want to do with my life."
I want to do with my life."
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misleći: "Ovim bih želela
da se bavim u životu."
da se bavim u životu."
01:05
The idea that all the math, science
and code I had been learning
and code I had been learning
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Zamisao da sva matematika, nauka
i kodovi koje sam učila
i kodovi koje sam učila
01:08
could come together to create
these worlds and characters
these worlds and characters
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mogu da se spoje i tvore
ove svetove i likove
ove svetove i likove
01:11
and stories I connected with,
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i priče u kojima se pronalazim,
01:13
was pure magic for me.
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činilo mi se kao čista čarolija.
01:16
Just two years later, I started working
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Samo dve godine potom, zaposlila sam se
tamo gde su pravili te filmove,
u Piksarovom studiju za animaciju.
u Piksarovom studiju za animaciju.
01:18
at the place that made those films,
Pixar Animation Studios.
Pixar Animation Studios.
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01:21
It was here I learned how
we actually execute those films.
we actually execute those films.
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Tu sam naučila
kako zapravo pravimo te filmove.
kako zapravo pravimo te filmove.
01:24
To create our movies,
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Da bismo ih napravili,
01:25
we create a three-dimensional
world inside the computer.
world inside the computer.
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stvaramo trodimenzionalne svetove
unutar kompjutera.
unutar kompjutera.
01:28
We start with a point that makes
a line that makes a face
a line that makes a face
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Počinjemo tačkom, od koje nastaje linija,
od koje nastaje lice
od koje nastaje lice
01:32
that creates characters,
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koje sačinjava likove,
01:34
or trees and rocks
that eventually become a forest.
that eventually become a forest.
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ili drveće i stene
koji vremenom postaju šuma.
koji vremenom postaju šuma.
01:37
And because it's
a three-dimensional world,
a three-dimensional world,
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I zato što je to trodimenzionalan svet,
01:39
we can move a camera
around inside that world.
around inside that world.
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možemo se kretati kamerom
uokolo unutar tog sveta.
uokolo unutar tog sveta.
01:43
I was fascinated by all of it.
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Sve to me je fasciniralo.
01:45
But then I got my first taste of lighting.
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Ali onda sam se okušala u rasveti.
01:48
Lighting in practice is placing lights
inside this three-dimensional world.
inside this three-dimensional world.
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Rasveta je u praksi stavljanje svetla
unutar trodimenzionalnog sveta.
unutar trodimenzionalnog sveta.
01:52
I actually have icons of lights
I move around in there.
I move around in there.
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Zapravo imam ikone svetala
koje unutra pokrećem.
koje unutra pokrećem.
01:54
Here you can see I've added a light,
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Ovde vidite da sam dodala svetlo.
01:56
I'm turning on the rough version
of lighting in our software,
of lighting in our software,
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Prebacujem na grubu verziju rasvete
u našem softveru,
u našem softveru,
01:59
turn on shadows
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uključujem senke
02:00
and placing the light.
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i postavljam svetlo.
02:02
As I place a light,
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Kako postavljam svetlo,
02:03
I think about what it might
look like in real life,
look like in real life,
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razmišljam kako bi moglo
da izgleda u stvarnosti,
da izgleda u stvarnosti,
02:06
but balance that out with what we need
artistically and for the story.
artistically and for the story.
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ali to uravnotežujem sa onim što nam treba
umetnički i za priču.
umetnički i za priču.
02:10
So it might look like this at first,
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Pa, na početku to može da izgleda ovako,
02:14
but as we adjust this and move that
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ali kako podešavam ovo i pomeram to,
02:16
in weeks of work,
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tokom nedelja rada,
02:18
in rough form it might look like this,
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gruba verzija može da izgleda ovako,
02:21
and in final form, like this.
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a konačna verzija - ovako.
02:28
There's this moment in lighting
that made me fall utterly in love with it.
that made me fall utterly in love with it.
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Postoji taj tren u rasveti
zbog koga sam se krajnje zaljubila u nju.
zbog koga sam se krajnje zaljubila u nju.
02:32
It's where we go from this
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To je kad ovo
02:34
to this.
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postane ovo.
02:36
It's the moment where
all the pieces come together,
all the pieces come together,
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To je tren u kom se sve kockice slože,
02:38
and suddenly the world comes to life
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i svet iznenada oživi,
02:41
as if it's an actual place that exists.
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kao da se radi o stvarnom mestu.
02:44
This moment never gets old,
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Ovaj tren nikad ne zastareva,
02:45
especially for that little seven-year-old
girl that wanted to be an artist.
girl that wanted to be an artist.
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naročito za tu sedmogodišnjakinju
koja je želela da bude umetnica.
koja je želela da bude umetnica.
02:49
As I learned to light,
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Dok sam učila o rasveti,
02:50
I learned about using light
to help tell story,
to help tell story,
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naučila sam kako svetlo
pomaže u pričanju priče,
pomaže u pričanju priče,
02:54
to set the time of day,
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kako podešava vreme radnje,
02:57
to create the mood,
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kako stvara raspoloženje,
02:59
to guide the audience's eye,
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kako vodi pogled gledalaca,
03:02
how to make a character look appealing
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kako čini likove privlačnijim
03:05
or stand out in a busy set.
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ili ih ističe unutar natrpanog kadra.
03:08
Did you see WALL-E?
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Da li ste gledali Volija?
03:09
(Laughter)
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(Smeh)
03:10
There he is.
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Ovo je on.
03:13
As you can see,
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Kao što vidite,
03:14
we can create any world that we want
inside the computer.
inside the computer.
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možemo da stvorimo svet koji poželimo
unutar kompjutera.
unutar kompjutera.
03:17
We can make a world with monsters,
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Možemo da napravimo svet s čudovištima,
03:20
with robots that fall in love,
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robotima koji se zaljubljuju,
03:23
we can even make pigs fly.
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možemo čak da napravimo leteću prasad.
03:25
(Laughter)
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(Smeh)
03:30
While this is an incredible thing,
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Iako je ovo nešto neverovatno,
03:32
this untethered artistic freedom,
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ova neobuzdana umetnička sloboda
03:34
it can create chaos.
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može da stvori haos.
03:36
It can create unbelievable worlds,
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Može da svori neuverljive svetove,
03:39
unbelievable movement,
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neuverljive pokrete,
03:41
things that are jarring to the audience.
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nešto što publici bode oči.
03:43
So to combat this, we tether
ourselves with science.
ourselves with science.
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Kako bismo se izborili s tim,
obuzdavamo se naukom.
obuzdavamo se naukom.
03:46
We use science and the world we know
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Koristimo nauku i svet koji znamo
03:48
as a backbone,
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kao kičmu,
03:49
to ground ourselves in something
relatable and recognizable.
relatable and recognizable.
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da bismo imali uporište
u nečem s čim se poistovećujemo
u nečem s čim se poistovećujemo
i što prepoznajemo.
03:53
"Finding Nemo" is an excellent
example of this.
example of this.
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"Potraga za Nemom"
je odličan primer ovoga.
je odličan primer ovoga.
03:56
A major portion of the movie
takes place underwater.
takes place underwater.
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Veći deo filma se dešava pod vodom.
03:59
But how do you make it look underwater?
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Ali kako da postignete podvodni izgled?
04:01
In early research and development,
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Rano tokom istraživanja i razvoja,
04:02
we took a clip of underwater footage
and recreated it in the computer.
and recreated it in the computer.
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uzeli smo isečak podvodnog snimka
i nanovo ga stvorili u kompjuteru.
i nanovo ga stvorili u kompjuteru.
04:06
Then we broke it back down
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Onda smo ga razložili,
04:08
to see which elements make up
that underwater look.
that underwater look.
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kako bi videli koji elementi čine
taj podvodni izgled.
taj podvodni izgled.
04:11
One of the most critical elements
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Jedan od ključnih elemenata
04:13
was how the light travels
through the water.
through the water.
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je bilo to kako svetlost putuje kroz vodu.
04:15
So we coded up a light
that mimics this physics --
that mimics this physics --
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Pa smo kodirali svetlost
koja podražava fiziku -
koja podražava fiziku -
04:18
first, the visibility of the water,
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pre svega vidljivost vode,
04:19
and then what happens with the color.
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a potom šta se dešava s bojom.
04:22
Objects close to the eye
have their full, rich colors.
have their full, rich colors.
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Objekti bliži oku,
imaju punu, bogatu boju.
imaju punu, bogatu boju.
04:26
As light travels deeper into the water,
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Kako svetlost putuje dublje kroz vodu,
04:28
we lose the red wavelengths,
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gubimo crvene talasne dužine,
04:30
then the green wavelengths,
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potom zelene talasne dužine,
04:31
leaving us with blue at the far depths.
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ostavljajući nas s plavom
u velikim dubinama.
u velikim dubinama.
04:34
In this clip you can see
two other important elements.
two other important elements.
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U ovom isečku možete da vidite
još dva značajna elementa.
još dva značajna elementa.
04:37
The first is the surge and swell,
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Prvo imamo uzburkanost i talasanje,
04:39
or the invisible underwater current
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iliti nevidljive podvodne struje,
04:41
that pushes the bits of particulate
around in the water.
around in the water.
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koje pokreću sitne čestice po vodi.
04:44
The second is the caustics.
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Potom imamo kaustičnost.
04:46
These are the ribbons of light,
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Ovo su svetlosne trake,
04:48
like you might see
on the bottom of a pool,
on the bottom of a pool,
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koje možete da vidite na dnu bazena,
04:50
that are created when the sun
bends through the crests
bends through the crests
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a nastaju kad se sunčeva svetlost
prelama kroz nabore
prelama kroz nabore
04:52
of the ripples and waves
on the ocean's surface.
on the ocean's surface.
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mreškanja i talasa na površini okeana.
04:57
Here we have the fog beams.
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Ovde imamo snopove magle.
04:58
These give us color depth cues,
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Oni nam daju dublje nijanse boja,
05:00
but also tells which direction is up
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ali nam takođe saopštavaju šta je gore,
05:02
in shots where we don't
see the water surface.
see the water surface.
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na snimcima gde ne vidimo površinu vode.
05:04
The other really cool thing
you can see here
you can see here
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Druga zaista sjajna stvar koju ovde vidite
05:06
is that we lit that particulate
only with the caustics,
only with the caustics,
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je da smo jedino kaustično,
osvetlili te čestice,
osvetlili te čestice,
05:10
so that as it goes in and out
of those ribbons of light,
of those ribbons of light,
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pa kako ulaze i izlaze
iz tih snopova svetlosti,
iz tih snopova svetlosti,
05:12
it appears and disappears,
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one se pojavljuju i nestaju,
05:14
lending a subtle, magical
sparkle to the underwater.
sparkle to the underwater.
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dajući suptilan,
čaroban sjaj podvodnom svetu.
čaroban sjaj podvodnom svetu.
05:18
You can see how we're using the science --
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Možete da vidite kako koristimo nauku -
05:21
the physics of water,
light and movement --
light and movement --
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fiziku vode, svetla i pokreta -
05:23
to tether that artistic freedom.
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kako bi obuzdali umetničku slobodu.
05:26
But we are not beholden to it.
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Ali nismo obavezani time.
05:28
We considered each of these elements
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Razmatrali smo sve te elemente,
05:30
and which ones had to be
scientifically accurate
scientifically accurate
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kao i to koji od njih moraju
da budu naučno tačni,
da budu naučno tačni,
05:33
and which ones we could push and pull
to suit the story and the mood.
to suit the story and the mood.
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a koje možemo da prekrajamo
kako bi se uklopili u ton priče.
kako bi se uklopili u ton priče.
05:37
We realized early on that color
was one we had some leeway with.
was one we had some leeway with.
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Rano smo shvatili da je boja
ta koja nam daje određenu slobodu.
ta koja nam daje određenu slobodu.
05:41
So here's a traditionally colored
underwater scene.
underwater scene.
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Pa, ovde imamo tradicionalno obojenu
podvodnu scenu.
podvodnu scenu.
05:44
But here, we can take Sydney Harbor
and push it fairly green
and push it fairly green
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Ali možemo da uzmemo Sidnejsku luku
i da je obojimo u zeleno
i da je obojimo u zeleno
05:47
to suit the sad mood of what's happening.
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kako bi išla uz tužni ton
onoga što se zbiva.
onoga što se zbiva.
05:50
In this scene, it's really important
we see deep into the underwater,
we see deep into the underwater,
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U ovoj sceni, veoma je važno
da vidimo duboko pod vodom,
da vidimo duboko pod vodom,
05:53
so we understand what
the East Australian Current is,
the East Australian Current is,
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kako bismo razumeli
šta je Istočnoaustralijska struja,
šta je Istočnoaustralijska struja,
05:56
that the turtles are diving into
and going on this roller coaster ride.
and going on this roller coaster ride.
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u koju kornjače zaranjaju
i upuštaju se u vožnju rolerkosterom.
i upuštaju se u vožnju rolerkosterom.
05:59
So we pushed the visibility of the water
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Pa smo pojačali vidljivost pod vodom,
06:01
well past anything you would
ever see in real life.
ever see in real life.
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daleko mimo bilo čega
što biste videli u stvarnosti.
što biste videli u stvarnosti.
06:04
Because in the end,
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Jer naposletku,
06:06
we are not trying to recreate
the scientifically correct real world,
the scientifically correct real world,
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ne pokušavamo da nanovo stvorimo
naučno tačan stvaran svet,
naučno tačan stvaran svet,
06:10
we're trying to create a believable world,
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pokušavamo da stvorimo uverljiv svet,
06:12
one the audience can immerse
themselves in to experience the story.
themselves in to experience the story.
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koji dozvoljava publici
da se udubi u iskustvo priče.
da se udubi u iskustvo priče.
06:17
We use science to create
something wonderful.
something wonderful.
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Koristimo nauku
da bi stvorili nešto čarobno.
da bi stvorili nešto čarobno.
06:20
We use story and artistic touch
to get us to a place of wonder.
to get us to a place of wonder.
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Koristimo priču i umetnički dodir
da bi stigli do mesta čarolije.
da bi stigli do mesta čarolije.
06:25
This guy, WALL-E, is a great
example of that.
example of that.
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Ovaj momak, Voli, sjajan je primer za to.
06:28
He finds beauty in the simplest things.
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On otkriva lepotu
u najjednostavnijim stvarima.
u najjednostavnijim stvarima.
06:30
But when he came in to lighting,
we knew we had a big problem.
we knew we had a big problem.
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No kad je stigao do rasvete,
znali smo da imamo veliki problem.
znali smo da imamo veliki problem.
06:33
We got so geeked-out on making
WALL-E this convincing robot,
WALL-E this convincing robot,
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Toliko smo štrebali da bi stvorili
Volija kao uverljivog robota,
Volija kao uverljivog robota,
06:37
that we made his binoculars
practically optically perfect.
practically optically perfect.
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da smo mu napravili
optički praktično savršen dvogled.
optički praktično savršen dvogled.
06:40
(Laughter)
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(Smeh)
06:43
His binoculars are one of the most
critical acting devices he has.
critical acting devices he has.
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Njegov dvogled je najkrucijalnije
glumačko sredstvo koje poseduje.
glumačko sredstvo koje poseduje.
06:47
He doesn't have a face or even
traditional dialogue, for that matter.
traditional dialogue, for that matter.
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Nema lice, pa čak
ni tradicionalni dijalog, ako hoćete.
ni tradicionalni dijalog, ako hoćete.
06:50
So the animators were heavily
dependent on the binoculars
dependent on the binoculars
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Pa su animatori uveliko zavisili
od dvogleda,
od dvogleda,
06:53
to sell his acting and emotions.
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kako bi prikazali glumu i emocije.
06:56
We started lighting and we realized
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Počeli smo sa rasvetom i shvatili
06:58
the triple lenses inside his binoculars
were a mess of reflections.
were a mess of reflections.
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da trostruka sočiva u njegovom dvogledu
uzrokuju haotične odraze.
uzrokuju haotične odraze.
07:02
He was starting to look glassy-eyed.
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Pogled mu je počeo da izgleda staklasto.
07:05
(Laughter)
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(Smeh)
07:06
Now, glassy-eyed
is a fundamentally awful thing
is a fundamentally awful thing
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Sad, staklasti pogled
je u osnovi nešto grozno
je u osnovi nešto grozno
07:10
when you are trying
to convince an audience
to convince an audience
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kad pokušavate da ubedite publiku
07:12
that a robot has a personality
and he's capable of falling in love.
and he's capable of falling in love.
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da robot ima ličnost
i da je u stanju da se zaljubi.
i da je u stanju da se zaljubi.
07:16
So we went to work on these optically
perfect binoculars,
perfect binoculars,
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Pa smo se bacili na rad
na ovom optički savršenom dvogledu,
na ovom optički savršenom dvogledu,
07:20
trying to find a solution that would
maintain his true robot materials
maintain his true robot materials
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pokušavajući da nađemo rešenje koje bi
očuvalo autentične robotske materijale,
očuvalo autentične robotske materijale,
07:23
but solve this reflection problem.
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ali bi rešilo ovaj problem s odrazima.
07:26
So we started with the lenses.
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Pa smo krenuli od sočiva.
07:27
Here's the flat-front lens,
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Ovo je ravno prednje sočivo,
07:28
we have a concave lens
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imamo konkavno sočivo
07:30
and a convex lens.
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i konveksno sočivo.
07:31
And here you see all three together,
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A ovde vidite sva tri zajedno,
07:33
showing us all these reflections.
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kako nam pokazuju sve te odraze.
07:36
We tried turning them down,
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Pokušali smo da ih isključimo,
07:37
we tried blocking them,
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pokušali smo da ih blokiramo,
07:39
nothing was working.
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ništa nije odgovaralo.
07:41
You can see here,
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Možete ovde da vidite
07:42
sometimes we needed something specific
reflected in his eyes --
reflected in his eyes --
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da nam je bio potreban odraz
nečeg posebnog u njegovim očima -
nečeg posebnog u njegovim očima -
07:46
usually Eve.
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obično Eve.
07:47
So we couldn't just use some faked
abstract image on the lenses.
abstract image on the lenses.
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Pa nismo mogli da koristimo nekakvu lažnu
apstraktnu sliku na sočivima.
apstraktnu sliku na sočivima.
07:50
So here we have Eve on the first lens,
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Ovde imamo Evu na prvom sočivu,
07:53
we put Eve on the second lens,
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stavljamo Evu na drugo sočivo,
07:55
it's not working.
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ne odgovara.
07:56
We turn it down,
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Isključimo ga,
07:57
it's still not working.
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i dalje ne odgovara.
07:59
And then we have our eureka moment.
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I tad smo imali eureka momenat.
08:01
We add a light to WALL-E
that accidentally leaks into his eyes.
that accidentally leaks into his eyes.
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Dodali smo svetlo
koje nehotično curi u Volijeve oči.
koje nehotično curi u Volijeve oči.
08:06
You can see it light up
these gray aperture blades.
these gray aperture blades.
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Vidite kako osvetljava
ove sive obode blende.
ove sive obode blende.
08:10
Suddenly, those aperture blades
are poking through that reflection
are poking through that reflection
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Iznenada ti obodi blende
štrče kroz taj odraz
štrče kroz taj odraz
08:13
the way nothing else has.
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više od bilo čega drugog.
08:15
Now we recognize WALL-E as having an eye.
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Sad prepoznajemo oko kod Volija.
08:19
As humans we have the white of our eye,
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Ljudi imaju beonjače,
08:22
the colored iris
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obojenu dužicu
08:23
and the black pupil.
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i crnu zenicu.
08:24
Now WALL-E has the black of an eye,
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Sad Voli ima crnu beonjaču,
08:28
the gray aperture blades
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sive obode blende
08:29
and the black pupil.
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i crne zenice.
08:31
Suddenly, WALL-E feels like he has a soul,
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Iznenada se čini da Voli ima dušu,
08:35
like there's a character
with emotion inside.
with emotion inside.
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kao da imamo lik
sa unutrašnjim osećanjima.
sa unutrašnjim osećanjima.
08:40
Later in the movie towards the end,
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Kasnije u filmu, pred kraj,
08:41
WALL-E loses his personality,
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Voli gubi ličnost,
08:43
essentially going dead.
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u suštini umire.
08:45
This is the perfect time to bring back
that glassy-eyed look.
that glassy-eyed look.
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Ovo je savršen momenat
da vratim taj staklasti pogled.
da vratim taj staklasti pogled.
08:49
In the next scene,
WALL-E comes back to life.
WALL-E comes back to life.
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U sledećoj sceni Voli oživljava.
08:52
We bring that light back to bring
the aperture blades back,
the aperture blades back,
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Vraćamo tu svetlost
kako bi vratili obode blende
kako bi vratili obode blende
08:55
and he returns to that sweet,
soulful robot we've come to love.
soulful robot we've come to love.
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i on postaje opet taj dragi,
osetljivi robot koga smo zavoleli.
osetljivi robot koga smo zavoleli.
09:02
(Video) WALL-E: Eva?
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(Snimak) Voli: Eva?
09:06
Danielle Feinberg: There's a beauty
in these unexpected moments --
in these unexpected moments --
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Danijela Fejnberg: Lepota je u ovim
neočekivanim trenucima -
neočekivanim trenucima -
09:09
when you find the key
to unlocking a robot's soul,
to unlocking a robot's soul,
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kad pronađete ključ
da oslobodite dušu robota,
da oslobodite dušu robota,
09:13
the moment when you discover
what you want to do with your life.
what you want to do with your life.
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momenat kad otkrijete
čime želite da se bavite u životu.
čime želite da se bavite u životu.
09:17
The jellyfish in "Finding Nemo"
was one of those moments for me.
was one of those moments for me.
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Meduze iz "Potrage za Nemom"
su bile jedan od tih momenata za mene.
su bile jedan od tih momenata za mene.
09:20
There are scenes in every movie
that struggle to come together.
that struggle to come together.
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Svaki film ima scene
koje se teško uklapaju.
koje se teško uklapaju.
09:24
This was one of those scenes.
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Ovo je bila jedna od tih scena.
09:26
The director had a vision for this scene
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Reditelj je imao zamisao ove scene,
09:28
based on some wonderful footage
of jellyfish in the South Pacific.
of jellyfish in the South Pacific.
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zasnovanu na divnom snimku
meduza u Južnom Pacifiku.
meduza u Južnom Pacifiku.
09:33
As we went along,
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Kako smo se vodili time,
09:35
we were floundering.
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zapinjali smo.
09:36
The reviews with the director
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Recenzije s rediteljem
09:38
turned from the normal
look-and-feel conversation
look-and-feel conversation
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su prešle iz normalnih
razgovora o izgledu i osećaju
razgovora o izgledu i osećaju
09:41
into more and more questions
about numbers and percentages.
about numbers and percentages.
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u sve više i više pitanja
o brojkama i procentima.
o brojkama i procentima.
09:46
Maybe because unlike normal,
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Možda jer smo nasuprot uobičajenom,
09:47
we were basing it on
something in real life,
something in real life,
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zasnivali to na nečemu stvarnom
09:50
or maybe just because we had lost our way.
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ili smo prosto zalutali.
09:52
But it had become about using
our brain without our eyes,
our brain without our eyes,
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Ali svelo se na to
da smo koristili mozgove bez očiju,
da smo koristili mozgove bez očiju,
09:55
the science without the art.
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nauku bez umetnosti.
09:58
That scientific tether
was strangling the scene.
was strangling the scene.
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Ta naučna spona je davila scenu.
10:02
But even through all the frustrations,
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No čak i kroz sve to nerviranje,
10:04
I still believed it could be beautiful.
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i dalje sam verovala
da može da bude lepo.
da može da bude lepo.
10:06
So when it came in to lighting,
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Pa kad smo stigli do rasvete.
10:08
I dug in.
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Bacila sam se na to.
10:10
As I worked to balance
the blues and the pinks,
the blues and the pinks,
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Dok sam ujednačavala plavu i rozu boju,
10:13
the caustics dancing
on the jellyfish bells,
on the jellyfish bells,
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kaustični ples na stomacima meduza,
10:16
the undulating fog beams,
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talasaste snopove magle,
10:18
something promising began to appear.
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nešto obećavajuće je počelo da izranja.
10:21
I came in one morning and checked
the previous night's work.
the previous night's work.
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Došla sam jednog jutra
da proverim rad od prošle noći.
da proverim rad od prošle noći.
10:24
And I got excited.
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I bila sam uzbuđena.
10:26
And then I showed it
to the lighting director
to the lighting director
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A potom sam to pokazala direktorki rasvete
10:28
and she got excited.
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i ona je bila uzbuđena.
10:29
Soon, I was showing to the director
in a dark room full of 50 people.
in a dark room full of 50 people.
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Uskoro sam to prikazivala reditelju
u mračnoj prostoriji s 50 ljudi.
u mračnoj prostoriji s 50 ljudi.
10:34
In director review,
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U rediteljevoj recenziji
10:35
you hope you might get some nice words,
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se nadate da ćete videti lepe reči,
10:38
then you get some notes
and fixes, generally.
and fixes, generally.
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a potom uopšteno dobijete
neke beleške i ispravke.
neke beleške i ispravke.
10:41
And then, hopefully, you get a final,
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A potom se nadate
da ćete dobiti konačno znak
da ćete dobiti konačno znak
10:43
signaling to move on to the next stage.
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da pređete na sledeću fazu.
10:46
I gave my intro, and I played
the jellyfish scene.
the jellyfish scene.
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Izložila sam uvodni govor
i pustila scenu s meduzama.
i pustila scenu s meduzama.
10:50
And the director was silent
for an uncomfortably long amount of time.
for an uncomfortably long amount of time.
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A reditelj je ćutao
neprijatno dugo vremena.
neprijatno dugo vremena.
10:55
Just long enough for me to think,
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Taman toliko da pomislim:
10:57
"Oh no, this is doomed."
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"O ne, ovo je propast."
11:00
And then he started clapping.
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A onda je počeo da aplaudira.
11:03
And then the production
designer started clapping.
designer started clapping.
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Potom je dizajner produkcije
počeo da aplaudira.
počeo da aplaudira.
11:06
And then the whole room was clapping.
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I zatim su svi u prostoriji aplaudirali.
11:14
This is the moment
that I live for in lighting.
that I live for in lighting.
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Za ovaj trenutak u rasveti živim.
11:17
The moment where it all comes together
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Trenutak kad se sve uklopi
11:19
and we get a world that we can believe in.
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i kad dobijemo svet
u koji možemo da poverujemo.
u koji možemo da poverujemo.
11:22
We use math, science and code
to create these amazing worlds.
to create these amazing worlds.
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Koristimo matematiku, nauku i kôd
da bismo stvorili ove čudesne svetove.
da bismo stvorili ove čudesne svetove.
11:27
We use storytelling and art
to bring them to life.
to bring them to life.
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Koristimo pripovedanje i umetnost
da ih oživimo.
da ih oživimo.
11:30
It's this interweaving of art and science
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Ovo preplitanje umetnosti i nauke,
11:34
that elevates the world
to a place of wonder,
to a place of wonder,
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uzvisuje svet do čarobnog mesta,
11:38
a place with soul,
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do mesta sa dušom,
11:39
a place we can believe in,
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mesta u koje možemo da poverujemo,
11:42
a place where the things
you imagine can become real --
you imagine can become real --
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mesta gde stvari koje zamišljate
mogu da se ostvare -
mogu da se ostvare -
11:47
and a world where a girl suddenly realizes
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i do sveta u kom devojka iznenada shvati,
11:50
not only is she a scientist,
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da nije samo naučnica,
11:52
but also an artist.
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već je i umetnica.
11:54
Thank you.
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Hvala vam.
11:55
(Applause)
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(Aplauz)
ABOUT THE SPEAKER
Danielle Feinberg - Director of photography, PixarAt Pixar, Danielle Feinberg delights in bending the rules of light to her every whim.
Why you should listen
Danielle Feinberg began her career at Pixar Animation Studios in 1997 on the feature film A Bug's Life. She quickly discovered her love for lighting and went on to light on many of Pixar's feature films including Toy Story 2, Monsters, Inc., the Academy Award®-winning Finding Nemo, The Incredibles and Ratatouille. Feinberg was the director of photography for lighting on Pixar’s Academy Award®-winning films WALL-E and Brave and is now working on Pixar's upcoming film, Coco.
Feinberg's love of combining computers and art began when she was eight years old and first programmed a Logo turtle to create images. This eventually led her to a Bachelor of Arts in Computer Science from Harvard University. Now, in addition to her Pixar work, she mentors teenage girls, encouraging them to pursue code, math and science.
Danielle Feinberg | Speaker | TED.com