TED Talks Live
Danielle Feinberg: The magic ingredient that brings Pixar movies to life
丹尼尔·范伯格: 将皮克斯电影带入生活的魔法元素
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丹尼尔·范伯格，皮克斯的摄影导演，用数学，科学和编程创造了有灵魂的奇幻故事。从“海底总动员”，“玩具总动员”，“勇敢”，“机器人瓦力”和更多电影的幕后，探索皮克斯是如何将艺术和科学相融合来创建奇幻的世界，在里面你们想像的事物都能成真。这个演讲来自美国公共广播公司的专辑“TED演讲：科学与奇观”。
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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在我7岁的时候，
有位好心的大人问我
长大后想做什么。
长大后想做什么。
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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我自豪地说：“一名艺术家。”
00:18
Proudly, I said: "An artist."
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“不，你不会，” 他说道，
00:20
"No, you don't," he said,
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“当艺术家你是养不活自己的！”
00:22
"You can't make a living being an artist!"
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00:24
My little seven-year-old
Picasso dreams were crushed.
Picasso dreams were crushed.
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我7岁的小小毕加索梦想破灭了。
但是我重整旗鼓，
00:28
But I gathered myself,
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去寻找新的梦想，
00:29
went off in search of a new dream,
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最终我确定要当一名科学家，
00:31
eventually settling on being a scientist,
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也许会成为下一个爱因斯坦。
00:34
perhaps something like
the next Albert Einstein.
the next Albert Einstein.
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00:37
(Laughter)
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（笑声）
00:40
I have always loved math and science,
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我一直都热爱数学和科学，
后来还爱上了写代码。
00:42
later, coding.
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因此在大学里我决定学习电脑编程。
00:43
And so I decided to study
computer programming in college.
computer programming in college.
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00:47
In my junior year,
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在大学三年级的时候，
我的计算机图形教授向我们
展示了这些神奇的短片。
展示了这些神奇的短片。
00:48
my computer graphics professor
showed us these wonderful short films.
showed us these wonderful short films.
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00:52
It was the first computer animation
any of us had ever seen.
any of us had ever seen.
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我们全班都是第一次见到电脑动画。
00:56
I watched these films
in wonder, transfixed,
in wonder, transfixed,
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我惊奇地看着这些短片，简直惊呆了，
激情的火花在我的脑中迸发，
00:59
fireworks going off in my head,
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我想，"这就是我梦想的工作。"
01:01
thinking, "That is what
I want to do with my life."
I want to do with my life."
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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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所有我学到的数学，科学和编程，
整合在一起可以用来
创造这些世界，角色，
创造这些世界，角色，
01:08
could come together to create
these worlds and characters
these worlds and characters
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以及故事的这种想法，
01:11
and stories I connected with,
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对我来说充满了魔力。
01:13
was pure magic for me.
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01:16
Just two years later, I started working
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就在两年之后，我开始在
创作了这些电影的地方工作，
皮克斯动画工作室。
皮克斯动画工作室。
01:18
at the place that made those films,
Pixar Animation Studios.
Pixar Animation Studios.
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在这里我真正学会了如何制作那些电影。
01:21
It was here I learned how
we actually execute those films.
we actually execute those films.
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01:24
To create our movies,
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为制作电影，
我们在电脑里制作了3D世界。
01:25
we create a three-dimensional
world inside the computer.
world inside the computer.
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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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我们从一个点连成线，线构成面，
这样创造角色，
01:32
that creates characters,
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或者树，或者石头，
逐渐形成了一片森林。
逐渐形成了一片森林。
01:34
or trees and rocks
that eventually become a forest.
that eventually become a forest.
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01:37
And because it's
a three-dimensional world,
a three-dimensional world,
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因为这是一个3D世界，
我们可以在那个世界里移动镜头。
01:39
we can move a camera
around inside that world.
around inside that world.
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01:43
I was fascinated by all of it.
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我被这一切深深吸引住了。
然后我第一次尝试了布光。
01:45
But then I got my first taste of lighting.
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01:48
Lighting in practice is placing lights
inside this three-dimensional world.
inside this three-dimensional world.
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布光实际上就是在
这个3D世界里放置光源。
这个3D世界里放置光源。
我有光源的图标能够在里面移动。
01:52
I actually have icons of lights
I move around in there.
I move around in there.
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这里你们可以看到我加了一个光源，
01:54
Here you can see I've added a light,
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我打开的是软件里的粗略版光源，
01:56
I'm turning on the rough version
of lighting in our software,
of lighting in our software,
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打开阴影，
01:59
turn on shadows
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然后放置光源。
02:00
and placing the light.
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当我放置一个光源时，
02:02
As I place a light,
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我会想在现实生活中
看上去应该是什么样子，
看上去应该是什么样子，
02:03
I think about what it might
look like in real life,
look like in real life,
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但同时也要平衡我们在
艺术和故事上的需要。
艺术和故事上的需要。
02:06
but balance that out with what we need
artistically and for the story.
artistically and for the story.
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02:10
So it might look like this at first,
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所以开始它看起来会像这样，
但是随着我们在接下来的几个星期中
02:14
but as we adjust this and move that
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不断进行各种调整和移动，
02:16
in weeks of work,
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在粗略模式下看起来就变成这样了，
02:18
in rough form it might look like this,
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02:21
and in final form, like this.
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在最终模式中是这样。
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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就在布光完成的这个瞬间，
我完全地爱上了它。
我完全地爱上了它。
这是我们从这样
02:32
It's where we go from this
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02:34
to this.
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变成这样的地方。
这是所有部分整合在一起的时刻，
02:36
It's the moment where
all the pieces come together,
all the pieces come together,
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突然整个世界活了过来，
02:38
and suddenly the world comes to life
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就好像这是一个真实存在的地方。
02:41
as if it's an actual place that exists.
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02:44
This moment never gets old,
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这个时刻永远也不会被淡忘，
尤其对一个想成为
艺术家的7岁的女孩来说。
艺术家的7岁的女孩来说。
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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随着我不断学习布光，
02:49
As I learned to light,
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我学会了用光去辅助故事的叙述，
02:50
I learned about using light
to help tell story,
to help tell story,
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02:54
to set the time of day,
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去设置一天中的时间，
02:57
to create the mood,
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去创造气氛，
02:59
to guide the audience's eye,
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去引导观众的视线，
03:02
how to make a character look appealing
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如何使一个角色有感染力，
或使其在一个凌乱的场景里显得突出。
03:05
or stand out in a busy set.
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03:08
Did you see WALL-E?
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你们看到瓦力了吗？
（笑声）
03:09
(Laughter)
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他在这儿。
03:10
There he is.
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03:13
As you can see,
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就像你们看到的，
我们可以在电脑里
创造任何我们想要的世界。
创造任何我们想要的世界。
03:14
we can create any world that we want
inside the computer.
inside the computer.
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我们可以使世界充满了怪兽，
03:17
We can make a world with monsters,
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03:20
with robots that fall in love,
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充满了陷入爱河的机器人，
03:23
we can even make pigs fly.
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我们甚至可以使猪飞起来。
（笑声）
03:25
(Laughter)
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03:30
While this is an incredible thing,
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这是一件不可思议的事，
同时也是不受束缚的艺术自由，
03:32
this untethered artistic freedom,
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它可以创造混乱。
03:34
it can create chaos.
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它可以创造出难以置信的世界，
03:36
It can create unbelievable worlds,
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难以置信的运动，
03:39
unbelievable movement,
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使观众觉得不舒服的东西。
03:41
things that are jarring to the audience.
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所以，为了对抗这些,
我们用科学约束自己。
我们用科学约束自己。
03:43
So to combat this, we tether
ourselves with science.
ourselves with science.
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03:46
We use science and the world we know
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我们以科学和已知的常识
作为支柱，
03:48
as a backbone,
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把我们与可关联和可识别的事物联系起来。
03:49
to ground ourselves in something
relatable and recognizable.
relatable and recognizable.
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03:53
"Finding Nemo" is an excellent
example of this.
example of this.
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“海底总动员” 就是一个杰出的例子。
电影中很大一部分故事发生在水下。
03:56
A major portion of the movie
takes place underwater.
takes place underwater.
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但是你怎样使它看起来是在水下呢？
03:59
But how do you make it look underwater?
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在早期的研发中，
04:01
In early research and development,
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我们拿出一段水下的影片
在电脑里面重建它。
在电脑里面重建它。
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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然后我们把它进行分解
04:06
Then we broke it back down
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去找出形成水下场景的元素。
04:08
to see which elements make up
that underwater look.
that underwater look.
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04:11
One of the most critical elements
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最关键的元素之一
是光线如何在水中移动。
04:13
was how the light travels
through the water.
through the water.
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所以我们编码了一种光源
模拟这种物理现象——
模拟这种物理现象——
04:15
So we coded up a light
that mimics this physics --
that mimics this physics --
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首先，是水的能见度，
04:18
first, the visibility of the water,
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然后是颜色的变化。
04:19
and then what happens with the color.
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04:22
Objects close to the eye
have their full, rich colors.
have their full, rich colors.
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距离近的物体有完整的，丰富的色彩。
随着水深增加，
04:26
As light travels deeper into the water,
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我们失去了红色波段的光，
04:28
we lose the red wavelengths,
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然后是绿色波段，
04:30
then the green wavelengths,
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在很深的地方只剩下蓝色。
04:31
leaving us with blue at the far depths.
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04:34
In this clip you can see
two other important elements.
two other important elements.
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在这个片段里你们可以看到
两个其它重要元素。
两个其它重要元素。
第一个是涌动，
04:37
The first is the surge and swell,
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或者说是不可见的暗流，
04:39
or the invisible underwater current
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这推动了周围水中的少量微粒。
04:41
that pushes the bits of particulate
around in the water.
around in the water.
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第二个是光的散射。
04:44
The second is the caustics.
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这些是光线照射的条纹，
04:46
These are the ribbons of light,
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就像你可以在池底看到的一样，
04:48
like you might see
on the bottom of a pool,
on the bottom of a pool,
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这些是光线在海面上穿过涟漪和波浪的
04:50
that are created when the sun
bends through the crests
bends through the crests
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波峰时发生了弯曲。
04:52
of the ripples and waves
on the ocean's surface.
on the ocean's surface.
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04:57
Here we have the fog beams.
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这里我们有雾化光束。
这些给了我们不同色彩的深度暗示，
04:58
These give us color depth cues,
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并且在看不到水面的地方
05:00
but also tells which direction is up
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告诉我们哪个方向是上方。
05:02
in shots where we don't
see the water surface.
see the water surface.
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05:04
The other really cool thing
you can see here
you can see here
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在此你们能看到的另一件很酷的事是，
我们只有光的散射来照亮微粒，
05:06
is that we lit that particulate
only with the caustics,
only with the caustics,
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因此随着它进入和离开光的散射带，
05:10
so that as it goes in and out
of those ribbons of light,
of those ribbons of light,
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它出会出现然后消失，
05:12
it appears and disappears,
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产生了一个微妙的，魔幻的，
生气勃勃的水下世界。
生气勃勃的水下世界。
05:14
lending a subtle, magical
sparkle to the underwater.
sparkle to the underwater.
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05:18
You can see how we're using the science --
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你们可以看到我们是如何使用科学——
水、光线和移动的物理特性——
05:21
the physics of water,
light and movement --
light and movement --
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来与艺术的自由相联系。
05:23
to tether that artistic freedom.
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05:26
But we are not beholden to it.
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但是我们不会被它禁锢。
我们会仔细考虑每一个元素，
05:28
We considered each of these elements
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然后决定哪些必须要达到科学准确度，
05:30
and which ones had to be
scientifically accurate
scientifically accurate
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哪些为了故事情节和气氛可以妥协。
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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我们在早期就意识到色彩
就是一项有发挥空间的元素。
就是一项有发挥空间的元素。
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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这是一个用传统色彩渲染方式
制作的水下场景。
制作的水下场景。
05:41
So here's a traditionally colored
underwater scene.
underwater scene.
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但是这儿，我们可以将悉尼港调整得非常绿
05:44
But here, we can take Sydney Harbor
and push it fairly green
and push it fairly green
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来配合正在发生的悲伤的气氛。
05:47
to suit the sad mood of what's happening.
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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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在这个场景里，到深水下面去看真的非常重要，
这样我们就能理解东澳大利亚的洋流，
05:53
so we understand what
the East Australian Current is,
the East Australian Current is,
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那些海龟正在潜入洋流，
搭乘这个“过山车”。
搭乘这个“过山车”。
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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所以我们将水的能见度
05:59
So we pushed the visibility of the water
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推到一个你们在现实生活中
从没见过的程度。
从没见过的程度。
06:01
well past anything you would
ever see in real life.
ever see in real life.
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06:04
Because in the end,
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因为最终，
我们并没有打算重建达到
科学精准度的现实世界，
科学精准度的现实世界，
06:06
we are not trying to recreate
the scientifically correct real world,
the scientifically correct real world,
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我们在尝试创造一个逼真的世界，
06:10
we're trying to create a believable world,
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一个可以让观众融入到这个故事中的世界。
06:12
one the audience can immerse
themselves in to experience the story.
themselves in to experience the story.
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06:17
We use science to create
something wonderful.
something wonderful.
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我们用科学去创造一些很棒的东西。
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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通过故事和艺术修饰
将我们带到一个神奇的地方。
将我们带到一个神奇的地方。
06:25
This guy, WALL-E, is a great
example of that.
example of that.
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这个瓦力，就是一个很好的例子。
他从最简单的事物中就能发现美。
06:28
He finds beauty in the simplest things.
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但到了给他布光的时候，
我们发现了一个大问题。
我们发现了一个大问题。
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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06:33
We got so geeked-out on making
WALL-E this convincing robot,
WALL-E this convincing robot,
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我们在制作瓦力这个逼真的
机器人时进行了过于精准的处理，
机器人时进行了过于精准的处理，
我们把他的双筒眼睛做得
近乎达到了光学上的完美。
近乎达到了光学上的完美。
06:37
that we made his binoculars
practically optically perfect.
practically optically perfect.
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（笑声）
06:40
(Laughter)
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06:43
His binoculars are one of the most
critical acting devices he has.
critical acting devices he has.
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他的双筒眼睛是它拥有的
最关键的行动部件之一。
最关键的行动部件之一。
他没有脸，
甚至没有传统的对话。
甚至没有传统的对话。
06:47
He doesn't have a face or even
traditional dialogue, for that matter.
traditional dialogue, for that matter.
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因此动画制作者严重地依赖他的双筒眼睛
06:50
So the animators were heavily
dependent on the binoculars
dependent on the binoculars
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去展现他的行为和情感。
06:53
to sell his acting and emotions.
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06:56
We started lighting and we realized
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我们开始布光，然后我们意识到
他的双筒眼睛中的
三层镜片导致光的反射十分混乱。
三层镜片导致光的反射十分混乱。
06:58
the triple lenses inside his binoculars
were a mess of reflections.
were a mess of reflections.
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07:02
He was starting to look glassy-eyed.
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他开始看起来眼神呆滞。
（笑声）
07:05
(Laughter)
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现在问题来了，当你尝试说服一个观众
07:06
Now, glassy-eyed
is a fundamentally awful thing
is a fundamentally awful thing
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一个机器人是有个性的，
而且他可以陷入爱河，
而且他可以陷入爱河，
07:10
when you are trying
to convince an audience
to convince an audience
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那么眼神呆滞就是一个致命的问题。
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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07:16
So we went to work on these optically
perfect binoculars,
perfect binoculars,
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所以我们在这些光学上完美的
双筒眼睛上进行研究，
双筒眼睛上进行研究，
努力寻找一个可以维持他真实的
机器人身份的材质，
机器人身份的材质，
07:20
trying to find a solution that would
maintain his true robot materials
maintain his true robot materials
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同时又能解决反射问题的方案。
07:23
but solve this reflection problem.
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07:26
So we started with the lenses.
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所以我们从镜片上着手。
这是前面的平面镜，
07:27
Here's the flat-front lens,
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后面有一个凹透镜，
07:28
we have a concave lens
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最后是一个凸透镜。
07:30
and a convex lens.
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这里你们可以同时看到这三个，
07:31
And here you see all three together,
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向我们展示了所有的反射。
07:33
showing us all these reflections.
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07:36
We tried turning them down,
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我们试着关闭它们，
挡住它们，
07:37
we tried blocking them,
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但是没什么效果。
07:39
nothing was working.
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07:41
You can see here,
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你们可以看到，
有时我们需要在他的眼睛里
反射一些具体的东西——
反射一些具体的东西——
07:42
sometimes we needed something specific
reflected in his eyes --
reflected in his eyes --
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常常是伊娃。
07:46
usually Eve.
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所以我们不能只是在镜片上
用一些虚假抽象的图像。
用一些虚假抽象的图像。
07:47
So we couldn't just use some faked
abstract image on the lenses.
abstract image on the lenses.
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那么在这儿我们将伊娃
投影在第一个镜片上，
投影在第一个镜片上，
07:50
So here we have Eve on the first lens,
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还试着把它放到第二个镜片上，
07:53
we put Eve on the second lens,
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都不起作用。
07:55
it's not working.
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我们将它关掉，
07:56
We turn it down,
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还是没用。
07:57
it's still not working.
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然后我们有了灵光一现的时刻。
07:59
And then we have our eureka moment.
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我们为瓦力添加了一个光源，
光线无意中泄漏到了他的眼睛里。
光线无意中泄漏到了他的眼睛里。
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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08:06
You can see it light up
these gray aperture blades.
these gray aperture blades.
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你们可以看到它照亮了
这些灰色的光圈叶片。
这些灰色的光圈叶片。
08:10
Suddenly, those aperture blades
are poking through that reflection
are poking through that reflection
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突然，这些光圈叶片
透过那个反射突显出来，
透过那个反射突显出来，
其他任何方式都达不到这种效果。
08:13
the way nothing else has.
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08:15
Now we recognize WALL-E as having an eye.
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现在我们可以看出瓦力有眼睛。
像我们人类有眼白部分，
08:19
As humans we have the white of our eye,
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有带色彩的虹膜
08:22
the colored iris
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以及黑色的瞳孔。
08:23
and the black pupil.
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08:24
Now WALL-E has the black of an eye,
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现在，瓦力有眼睛的黑色，
灰色的光圈叶片
08:28
the gray aperture blades
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和黑色的瞳孔。
08:29
and the black pupil.
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08:31
Suddenly, WALL-E feels like he has a soul,
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突然间，瓦力感觉他是有灵魂的，
就像这是一个有内心情感的角色。
08:35
like there's a character
with emotion inside.
with emotion inside.
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08:40
Later in the movie towards the end,
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在电影快结束的时候，
瓦力失去了他的个性，
08:41
WALL-E loses his personality,
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基本上说是快要死去了。
08:43
essentially going dead.
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08:45
This is the perfect time to bring back
that glassy-eyed look.
that glassy-eyed look.
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这是将他呆滞的眼神带回来的完美时刻。
08:49
In the next scene,
WALL-E comes back to life.
WALL-E comes back to life.
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在下一个场景中，
瓦力又活了过来。
瓦力又活了过来。
我们将那个光源弄回来重新照亮光圈叶片，
08:52
We bring that light back to bring
the aperture blades back,
the aperture blades back,
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然后他变回了那个我们喜爱的
甜美的，有灵魂的机器人。
甜美的，有灵魂的机器人。
08:55
and he returns to that sweet,
soulful robot we've come to love.
soulful robot we've come to love.
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09:02
(Video) WALL-E: Eva?
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（视频）瓦力：伊娃？
09:06
Danielle Feinberg: There's a beauty
in these unexpected moments --
in these unexpected moments --
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丹尼尔·范伯格：在这些无法预料的
时刻中蕴含着一种美——
时刻中蕴含着一种美——
当你发现如何解锁一个机器人的灵魂时，
09:09
when you find the key
to unlocking a robot's soul,
to unlocking a robot's soul,
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当你知道了你的人生中要做什么时。
09:13
the moment when you discover
what you want to do with your life.
what you want to do with your life.
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09:17
The jellyfish in "Finding Nemo"
was one of those moments for me.
was one of those moments for me.
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“海底总动员”中的水母
对我来说也是这些时刻之一。
对我来说也是这些时刻之一。
09:20
There are scenes in every movie
that struggle to come together.
that struggle to come together.
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在每部电影里都有一些需要
纠结一番才能完成的场景。
纠结一番才能完成的场景。
这就是那些场景之一。
09:24
This was one of those scenes.
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导演对这个场景有一种期待，
09:26
The director had a vision for this scene
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他看过关于南太平洋中的
水母的一些很棒的片段。
水母的一些很棒的片段。
09:28
based on some wonderful footage
of jellyfish in the South Pacific.
of jellyfish in the South Pacific.
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09:33
As we went along,
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随着工作的深入,
我们开始变得焦头烂额。
09:35
we were floundering.
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导演的评审
09:36
The reviews with the director
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从普通的观后感过渡到了
09:38
turned from the normal
look-and-feel conversation
look-and-feel conversation
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越来越多关于
数字和百分比的问题。
数字和百分比的问题。
09:41
into more and more questions
about numbers and percentages.
about numbers and percentages.
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09:46
Maybe because unlike normal,
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也许因为和正常情况不同，
我们是基于一些真实生活来创作它，
09:47
we were basing it on
something in real life,
something in real life,
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或者也许只是因为我们失去了方向。
09:50
or maybe just because we had lost our way.
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但这只是在使用我们的大脑而不是眼睛，
09:52
But it had become about using
our brain without our eyes,
our brain without our eyes,
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是使用了没有艺术性的科学。
09:55
the science without the art.
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09:58
That scientific tether
was strangling the scene.
was strangling the scene.
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科学的束缚扼杀了场景。
10:02
But even through all the frustrations,
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但即使经历了所有的挫折，
我仍然相信它将是美丽的。
10:04
I still believed it could be beautiful.
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因此当到了布光的时候，
10:06
So when it came in to lighting,
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我投入了全部的心血。
10:08
I dug in.
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10:10
As I worked to balance
the blues and the pinks,
the blues and the pinks,
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随着我专注于蓝色和粉色的平衡，
散射的光线在钟形的水母上舞动，
10:13
the caustics dancing
on the jellyfish bells,
on the jellyfish bells,
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起伏的雾化光束，
10:16
the undulating fog beams,
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我开始看到了一些曙光。
10:18
something promising began to appear.
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10:21
I came in one morning and checked
the previous night's work.
the previous night's work.
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一天早上我进来检查头一天晚上的成果。
然后我变得兴奋起来。
10:24
And I got excited.
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接着我给灯光导演展示，
10:26
And then I showed it
to the lighting director
to the lighting director
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她也变得兴奋起来。
10:28
and she got excited.
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很快，我在一个坐满50个人的
黑房间里给导演展示。
黑房间里给导演展示。
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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10:34
In director review,
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在导演的评审中，
你会希望可以得到一些积极评价，
10:35
you hope you might get some nice words,
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10:38
then you get some notes
and fixes, generally.
and fixes, generally.
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然后通常你会得到一些解决问题的建议。
10:41
And then, hopefully, you get a final,
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然后，可能你还会得到一个最后的
进入到下一个阶段的信号。
10:43
signaling to move on to the next stage.
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10:46
I gave my intro, and I played
the jellyfish scene.
the jellyfish scene.
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我做了介绍，播放了水母场景。
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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然而导演沉默好长一段时间，让我十分忐忑。
10:55
Just long enough for me to think,
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长得让我不得不想，
“噢，不，看来没戏了。”
10:57
"Oh no, this is doomed."
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11:00
And then he started clapping.
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然而他开始鼓掌了。
11:03
And then the production
designer started clapping.
designer started clapping.
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然后制片设计师开始鼓掌。
11:06
And then the whole room was clapping.
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接着整个房间的人都在鼓掌。
11:14
This is the moment
that I live for in lighting.
that I live for in lighting.
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这就是我为布光倾注心血所期待的时刻。
在所有部分都完成时，
11:17
The moment where it all comes together
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就会得到一个逼真的世界。
11:19
and we get a world that we can believe in.
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11:22
We use math, science and code
to create these amazing worlds.
to create these amazing worlds.
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我们用数学，科学，和编程
来创作这些美轮美奂的世界。
来创作这些美轮美奂的世界。
11:27
We use storytelling and art
to bring them to life.
to bring them to life.
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我们用讲故事和艺术
来赋予他们生命。
来赋予他们生命。
11:30
It's this interweaving of art and science
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艺术和科学的交织
将世界提升到了一个神奇的地点，
11:34
that elevates the world
to a place of wonder,
to a place of wonder,
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一个有灵魂的地方，
11:38
a place with soul,
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一个我们可以相信的地方，
11:39
a place we can believe in,
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11:42
a place where the things
you imagine can become real --
you imagine can become real --
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一个让你美梦成真的地方——
11:47
and a world where a girl suddenly realizes
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在这个世界中，一个女孩突然意识到
她不但是一名科学家，
11:50
not only is she a scientist,
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还是一名艺术家。
11:52
but also an artist.
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11:54
Thank you.
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谢谢。
（鼓掌）
11:55
(Applause)
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ABOUT THE SPEAKER
Danielle Feinberg - Director of photography, PixarAt Pixar, Danielle Feinberg delights in bending the rules of light to her every whim.
Why you should listen
Danielle Feinberg began her career at Pixar Animation Studios in 1997 on the feature film A Bug's Life. She quickly discovered her love for lighting and went on to light on many of Pixar's feature films including Toy Story 2, Monsters, Inc., the Academy Award®-winning Finding Nemo, The Incredibles and Ratatouille. Feinberg was the director of photography for lighting on Pixar’s Academy Award®-winning films WALL-E and Brave and is now working on Pixar's upcoming film, Coco.
Feinberg's love of combining computers and art began when she was eight years old and first programmed a Logo turtle to create images. This eventually led her to a Bachelor of Arts in Computer Science from Harvard University. Now, in addition to her Pixar work, she mentors teenage girls, encouraging them to pursue code, math and science.
Danielle Feinberg | Speaker | TED.com