TED Talks Live
Danielle Feinberg: The magic ingredient that brings Pixar movies to life
丹妮爾．范伯格: 一個讓皮克斯電影充滿了生命力的神奇魔法
Filmed:
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丹妮爾．范伯格（Danielle Feinberg），皮克斯電影的攝影導演，運用數學、科學與程式設，讓故事充滿了靈性。在海底總動員、玩具總動員、勇敢傳說、瓦力以及其它場景的背後，她發現了藝術與科學的交織，能創造出你想像就能成真的神奇世界。這場演講是來自TED Talks的公眾傳媒服務：科學與奇觀系列。
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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我7歲的時候，
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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有位好心的大人問我，
我長大後要當甚麼？
我長大後要當甚麼？
00:18
Proudly, I said: "An artist."
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我驕傲地說：
「我要當一位藝術家」。
「我要當一位藝術家」。
00:20
"No, you don't," he said,
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他說：「不，你不可以」，
00:22
"You can't make a living being an artist!"
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「當藝術家賺不了錢的！」
00:24
My little seven-year-old
Picasso dreams were crushed.
Picasso dreams were crushed.
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我7歲的小小畢加索夢想
就這樣被破滅了。
就這樣被破滅了。
00:28
But I gathered myself,
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但我打起精神，
00:29
went off in search of a new dream,
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前往尋找另一個新的夢想，
00:31
eventually settling on being a scientist,
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最後確定想當一位科學家，
00:34
perhaps something like
the next Albert Einstein.
the next Albert Einstein.
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看會不會成為
下一個愛因斯坦。
下一個愛因斯坦。
00:37
(Laughter)
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（笑聲）
00:40
I have always loved math and science,
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我一直很喜歡數學及科學，
00:42
later, coding.
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長大後，喜歡寫程式。
00:43
And so I decided to study
computer programming in college.
computer programming in college.
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所以我決定要在大學裡
研究電腦程式設計。
研究電腦程式設計。
00:47
In my junior year,
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在我大三的時候，
00:48
my computer graphics professor
showed us these wonderful short films.
showed us these wonderful short films.
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我的電腦繪圖教授，展示了一段
很棒的短片給我們看。
很棒的短片給我們看。
00:52
It was the first computer animation
any of us had ever seen.
any of us had ever seen.
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它是第一部電腦動畫，
我們以前都沒見過。
我們以前都沒見過。
00:56
I watched these films
in wonder, transfixed,
in wonder, transfixed,
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我看著這些影片，發呆驚訝，
00:59
fireworks going off in my head,
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我的腦袋裡開始顫放煙火，
01:01
thinking, "That is what
I want to do with my life."
I want to do with my life."
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並想著，「這就是我這一生
一直想做的事啊！」
一直想做的事啊！」
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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所有我學到的數學、
科學、程式語言設計
科學、程式語言設計
01:08
could come together to create
these worlds and characters
these worlds and characters
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終於可以整合在一起
來創造這些世界與人物，
來創造這些世界與人物，
01:11
and stories I connected with,
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以及與我相連結的故事，
01:13
was pure magic for me.
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這對我來說，
簡直是太棒了。
簡直是太棒了。
01:16
Just two years later, I started working
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兩年後，我開始在
01:18
at the place that made those films,
Pixar Animation Studios.
Pixar Animation Studios.
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這些影片的製作公司工作，
「皮克斯動畫工作室」。
「皮克斯動畫工作室」。
01:21
It was here I learned how
we actually execute those films.
we actually execute those films.
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在那裏我學會了如何真正地
執行製作這些影片。
執行製作這些影片。
01:24
To create our movies,
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為了創作出我們的電影，
01:25
we create a three-dimensional
world inside the computer.
world inside the computer.
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我們在電腦裡面，
創造了一個3D世界。
創造了一個3D世界。
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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我們從一個點，連成了線，
把線連成了一個面，
把線連成了一個面，
01:32
that creates characters,
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從角色製作、
01:34
or trees and rocks
that eventually become a forest.
that eventually become a forest.
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到樹、石頭，最後變成了森林。
01:37
And because it's
a three-dimensional world,
a three-dimensional world,
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因為它是3D的世界，
01:39
we can move a camera
around inside that world.
around inside that world.
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我們可以在裡面任意
移動我們的攝影機。
移動我們的攝影機。
01:43
I was fascinated by all of it.
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我被這一切深深吸引了。
01:45
But then I got my first taste of lighting.
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之後我第一次嘗試到
「打光」的樂趣，
「打光」的樂趣，
01:48
Lighting in practice is placing lights
inside this three-dimensional world.
inside this three-dimensional world.
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「打光」在實務上，就是把燈
設置到這個3D的世界。
設置到這個3D的世界。
01:52
I actually have icons of lights
I move around in there.
I move around in there.
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我實際上在這裡面
到處都有移動的光標。
到處都有移動的光標。
01:54
Here you can see I've added a light,
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你可以在這裡看到，
我已經加了一個燈，
我已經加了一個燈，
01:56
I'm turning on the rough version
of lighting in our software,
of lighting in our software,
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我打開了軟體裡面
粗糙版本的光，
粗糙版本的光，
01:59
turn on shadows
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打開陰影效果，
02:00
and placing the light.
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放置了燈光。
02:02
As I place a light,
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當我打光上去後，
02:03
I think about what it might
look like in real life,
look like in real life,
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我就要想，它在真實
世界裡會如何呈現 ，
世界裡會如何呈現 ，
02:06
but balance that out with what we need
artistically and for the story.
artistically and for the story.
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並同時要兼顧到美學
及故事的需要。
及故事的需要。
02:10
So it might look like this at first,
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所以，它一開始也許是長這樣，
02:14
but as we adjust this and move that
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但當我們這邊調整一下，
那邊移動一下，
那邊移動一下，
02:16
in weeks of work,
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工作幾個禮拜後，
02:18
in rough form it might look like this,
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初步的版本也許就像這樣，
02:21
and in final form, like this.
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最後的版本就會是這樣。
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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就是這種打光的時刻，
讓我深深地愛上了它。
讓我深深地愛上了它。
02:32
It's where we go from this
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我們會從這樣的狀況，
02:34
to this.
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變成這樣的狀況。
02:36
It's the moment where
all the pieces come together,
all the pieces come together,
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當這些瑣碎的片段
結合在一起的時刻，
結合在一起的時刻，
02:38
and suddenly the world comes to life
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整個世界就好像活躍了起來，
02:41
as if it's an actual place that exists.
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彷彿是一個實際存在的地方。
02:44
This moment never gets old,
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這種感動的時刻
永遠不會老去，
永遠不會老去，
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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尤其對一個七歲就想當一位
藝術家的小女生來說。
藝術家的小女生來說。
02:49
As I learned to light,
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在學習燈光照明的歷程，
02:50
I learned about using light
to help tell story,
to help tell story,
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我學會了用光來
協助故事的描述，
協助故事的描述，
02:54
to set the time of day,
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用光來設定一天的時間、
02:57
to create the mood,
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用光創造出情緒、
02:59
to guide the audience's eye,
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用光來引導觀眾的視線、
03:02
how to make a character look appealing
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學會了如何使一個角色
看起來更動人
看起來更動人
03:05
or stand out in a busy set.
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或在一個繁忙的場景裡
凸顯他的存在。
凸顯他的存在。
03:08
Did you see WALL-E?
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各位有看到瓦力嗎？
03:09
(Laughter)
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（笑聲）
03:10
There he is.
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他在這裡。
03:13
As you can see,
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就如各位所看到的，
03:14
we can create any world that we want
inside the computer.
inside the computer.
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我們可以在電腦裡面，
創造出我們想要的世界。
創造出我們想要的世界。
03:17
We can make a world with monsters,
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我們可以創造出怪物的世界、
03:20
with robots that fall in love,
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陷入愛河的機器人，
03:23
we can even make pigs fly.
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我們甚至會讓豬飛起來。
03:25
(Laughter)
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（笑聲）
03:30
While this is an incredible thing,
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這個美崙美奐的東西，
03:32
this untethered artistic freedom,
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這個不受拘束的藝術自由，
03:34
it can create chaos.
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它會創造出混亂、
03:36
It can create unbelievable worlds,
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它會創造出難以置信的世界、
03:39
unbelievable movement,
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難以置信的變化、
03:41
things that are jarring to the audience.
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一些會讓觀眾不安的東西。
03:43
So to combat this, we tether
ourselves with science.
ourselves with science.
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所以為了解決這些事情，
我們用科學約束我們自己。
我們用科學約束我們自己。
03:46
We use science and the world we know
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我們利用所知的科學
03:48
as a backbone,
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及世界作為我們的骨幹，
03:49
to ground ourselves in something
relatable and recognizable.
relatable and recognizable.
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來為我們自己的作品打下
深入人心及具有辨識性的基礎。
深入人心及具有辨識性的基礎。
03:53
"Finding Nemo" is an excellent
example of this.
example of this.
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「海底總動員」
就是一個很好的例子。
就是一個很好的例子。
03:56
A major portion of the movie
takes place underwater.
takes place underwater.
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電影大部分的場景都在水底下。
03:59
But how do you make it look underwater?
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但你要如何讓它
看起來是在水底下？
看起來是在水底下？
04:01
In early research and development,
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在早期的研究與發展中，
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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我們會拿出一段水底下的連續鏡頭影片，
並把該場景從電腦裡面重製出來。
並把該場景從電腦裡面重製出來。
04:06
Then we broke it back down
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我們會把它拆解開來，
04:08
to see which elements make up
that underwater look.
that underwater look.
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看看水底下的場景
是由那些元素所構成。
是由那些元素所構成。
04:11
One of the most critical elements
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其中一個最關鍵的元素就是：
04:13
was how the light travels
through the water.
through the water.
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「光線」是如何在水中運行穿越的。
04:15
So we coded up a light
that mimics this physics --
that mimics this physics --
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所以，我們程式設計出一個
可以模擬這種物理現象的光源——
可以模擬這種物理現象的光源——
04:18
first, the visibility of the water,
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首先是水的能見度，
04:19
and then what happens with the color.
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再來是顏色發生了甚麼變化。
04:22
Objects close to the eye
have their full, rich colors.
have their full, rich colors.
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靠近我們眼睛的物體
較具有完整豐富的色彩。
較具有完整豐富的色彩。
04:26
As light travels deeper into the water,
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隨著光線穿越到水裡深處時，
04:28
we lose the red wavelengths,
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紅色波長的光會逐漸消失，
04:30
then the green wavelengths,
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然後是綠色波長的光，
04:31
leaving us with blue at the far depths.
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最後最深處的地方，
只剩下藍色波長的光。
只剩下藍色波長的光。
04:34
In this clip you can see
two other important elements.
two other important elements.
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在這段影片中，你可以看到
另外兩個重要的元素。
另外兩個重要的元素。
04:37
The first is the surge and swell,
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第一個是水波紋的呈現，
04:39
or the invisible underwater current
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或者是水底下看不到的暗流，
04:41
that pushes the bits of particulate
around in the water.
around in the water.
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這些暗流會推動
附近水域的微粒子。
附近水域的微粒子。
04:44
The second is the caustics.
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第二個是「焦散面」。
04:46
These are the ribbons of light,
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由這些光線散焦後
所形成的帶子，
所形成的帶子，
04:48
like you might see
on the bottom of a pool,
on the bottom of a pool,
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像是各位在水池底下
所看到的「光帶」，
所看到的「光帶」，
04:50
that are created when the sun
bends through the crests
bends through the crests
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也就是陽光穿過海面上的
漣漪和波浪時所產生的折射現象。
漣漪和波浪時所產生的折射現象。
04:52
of the ripples and waves
on the ocean's surface.
on the ocean's surface.
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這個是「霧的光束」，
04:57
Here we have the fog beams.
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04:58
These give us color depth cues,
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這些線索不僅讓我們了解
顏色與深度的關係，
顏色與深度的關係，
05:00
but also tells which direction is up
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也告訴了我們哪個方向是上方，
05:02
in shots where we don't
see the water surface.
see the water surface.
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尤其是當你看不到水面時。
05:04
The other really cool thing
you can see here
you can see here
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另一件很酷的事情就是，
05:06
is that we lit that particulate
only with the caustics,
only with the caustics,
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我們會把在
「散焦面的微粒子」點亮，
「散焦面的微粒子」點亮，
05:10
so that as it goes in and out
of those ribbons of light,
of those ribbons of light,
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讓它在「光帶」中進進出出，
05:12
it appears and disappears,
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它就會呈現
忽隱忽現的現象，
忽隱忽現的現象，
05:14
lending a subtle, magical
sparkle to the underwater.
sparkle to the underwater.
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增添了水底下那種
微妙神奇的晶瑩剔透感。
微妙神奇的晶瑩剔透感。
05:18
You can see how we're using the science --
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你可以看到我們如何使用科學——
05:21
the physics of water,
light and movement --
light and movement --
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水的物理現象、照明、波動——
05:23
to tether that artistic freedom.
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緊密地與藝術的自由相連結。
05:26
But we are not beholden to it.
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但我們不因此而感到開心。
05:28
We considered each of these elements
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我們考慮到這些元素彼此間
05:30
and which ones had to be
scientifically accurate
scientifically accurate
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在科學上的準確度，
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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及哪些我們可以移動，
以符合故事情節與角色情緒的需要。
以符合故事情節與角色情緒的需要。
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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我們在早期就意識到，
顏色是一個我們可以發揮的地方。
顏色是一個我們可以發揮的地方。
05:41
So here's a traditionally colored
underwater scene.
underwater scene.
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這裡是一個用原始方式
上色的水下場景。
上色的水下場景。
05:44
But here, we can take Sydney Harbor
and push it fairly green
and push it fairly green
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但這裡，我們可以用
雪梨港底下的綠色水景，
雪梨港底下的綠色水景，
05:47
to suit the sad mood of what's happening.
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來呈現悲傷事情發生的情境。
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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在這個場景裡，我們了解到
深入水底去看是非常重要的，
深入水底去看是非常重要的，
05:53
so we understand what
the East Australian Current is,
the East Australian Current is,
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這讓我們了解到了
澳洲東部的洋流是長甚麼樣子，
澳洲東部的洋流是長甚麼樣子，
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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這些海龜潛到洋流後，
像是在搭雲霄飛車一樣。
像是在搭雲霄飛車一樣。
05:59
So we pushed the visibility of the water
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所以我們把水的能見度，
06:01
well past anything you would
ever see in real life.
ever see in real life.
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推進到一個你在真實世界裡
從未見過的極致狀態。
從未見過的極致狀態。
06:04
Because in the end,
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因為最後，
06:06
we are not trying to recreate
the scientifically correct real world,
the scientifically correct real world,
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我們並不是要嘗試重現
科學正確的真實世界，
科學正確的真實世界，
06:10
we're trying to create a believable world,
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我們是要嘗試創造出
一種令人信服的世界，
一種令人信服的世界，
06:12
one the audience can immerse
themselves in to experience the story.
themselves in to experience the story.
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一個可以讓觀眾將他們自己
融入到體驗故事的世界。
融入到體驗故事的世界。
06:17
We use science to create
something wonderful.
something wonderful.
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我們用科學讓一些東西變得完美。
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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我們利用故事和對藝術的感動
將我們帶到一個美麗的世界。
將我們帶到一個美麗的世界。
06:25
This guy, WALL-E, is a great
example of that.
example of that.
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這傢伙，瓦力，就是一個很好的例子。
06:28
He finds beauty in the simplest things.
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他在最簡單的事物裡，發現了「美」。
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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但是當他要開始照明的時候，
我們發現了一個大問題。
我們發現了一個大問題。
06:33
We got so geeked-out on making
WALL-E this convincing robot,
WALL-E this convincing robot,
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我們發瘋似地在製作
這部很有說服力的瓦力機器人，
這部很有說服力的瓦力機器人，
06:37
that we made his binoculars
practically optically perfect.
practically optically perfect.
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我們把他的雙筒望遠鏡
做的堪稱是光學上的完美作品。
做的堪稱是光學上的完美作品。
06:40
(Laughter)
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（笑聲）
06:43
His binoculars are one of the most
critical acting devices he has.
critical acting devices he has.
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他的雙筒望遠鏡是他所擁有
最重要的行為裝置之一。
最重要的行為裝置之一。
06:47
He doesn't have a face or even
traditional dialogue, for that matter.
traditional dialogue, for that matter.
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他沒有臉，甚至沒有傳統上的
對話模式來呈現他的情緒，
對話模式來呈現他的情緒，
06:50
So the animators were heavily
dependent on the binoculars
dependent on the binoculars
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所以動畫家們相當
依賴這個望遠鏡
依賴這個望遠鏡
06:53
to sell his acting and emotions.
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來展現瓦力的行為和情緒。
06:56
We started lighting and we realized
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我們開始照明後，
然後我們意識到，
然後我們意識到，
06:58
the triple lenses inside his binoculars
were a mess of reflections.
were a mess of reflections.
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在他望遠鏡裡面的3個鏡片
造成了反射上的混亂。
造成了反射上的混亂。
07:02
He was starting to look glassy-eyed.
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他看起來有點眼神呆滯。
07:05
(Laughter)
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（笑聲）
07:06
Now, glassy-eyed
is a fundamentally awful thing
is a fundamentally awful thing
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呆滯的眼神基本上
沒甚麼說服力，
沒甚麼說服力，
07:10
when you are trying
to convince an audience
to convince an audience
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尤其是，當你嘗試要
說服觀眾相信
說服觀眾相信
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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那個機器人有自己的個性且
有能力可以陷入愛河時。
有能力可以陷入愛河時。
07:16
So we went to work on these optically
perfect binoculars,
perfect binoculars,
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所以我們在望遠鏡上
下了很多光學上的功夫。
下了很多光學上的功夫。
07:20
trying to find a solution that would
maintain his true robot materials
maintain his true robot materials
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試著去找到一個可以維持
他真實機器人的性質
他真實機器人的性質
07:23
but solve this reflection problem.
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但同時又可以解決
反射問題的方法。
反射問題的方法。
07:26
So we started with the lenses.
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所以我們從鏡片上下手。
07:27
Here's the flat-front lens,
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這是一個平面鏡，
07:28
we have a concave lens
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我們有一個凹面鏡
07:30
and a convex lens.
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和一個凸面鏡。
07:31
And here you see all three together,
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你們可以看到當它們三個放在一起時，
07:33
showing us all these reflections.
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向我們展示了所有的反射狀況。
07:36
We tried turning them down,
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我們試著關掉它們，
07:37
we tried blocking them,
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我們試著鎖住它們，
07:39
nothing was working.
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但都起不了作用。
07:41
You can see here,
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在這裡各位可以看到，
07:42
sometimes we needed something specific
reflected in his eyes --
reflected in his eyes --
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有時候我們需要一些具體的
東西反射在他的眼睛裡——
東西反射在他的眼睛裡——
07:46
usually Eve.
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特別是「伊芙」。
07:47
So we couldn't just use some faked
abstract image on the lenses.
abstract image on the lenses.
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所以我們不能在鏡片裡用一些
虛假的抽象圖象。
虛假的抽象圖象。
07:50
So here we have Eve on the first lens,
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這裡「伊芙」出現在第一個鏡片上，
07:53
we put Eve on the second lens,
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我們把「伊芙」放在第二個鏡片上，
07:55
it's not working.
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都沒有用。
07:56
We turn it down,
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我們把它關掉，
07:57
it's still not working.
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還是沒有用。
07:59
And then we have our eureka moment.
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然後我們有了驚喜的發現。
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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我們把燈光打到瓦力身上時，
燈光意外地從他的眼睛滲透了進去。
燈光意外地從他的眼睛滲透了進去。
08:06
You can see it light up
these gray aperture blades.
these gray aperture blades.
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你可以看到它照亮了
這些灰色的光圈片。
這些灰色的光圈片。
08:10
Suddenly, those aperture blades
are poking through that reflection
are poking through that reflection
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突然間，這些光圈片把
反射給透視出來了，
反射給透視出來了，
08:13
the way nothing else has.
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這是從來沒有的現象。
08:15
Now we recognize WALL-E as having an eye.
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現在我們認定瓦力有了眼睛。
08:19
As humans we have the white of our eye,
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就如同我們人類的白眼球、
08:22
the colored iris
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彩色的虹膜、
08:23
and the black pupil.
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以及黑色的瞳孔。
08:24
Now WALL-E has the black of an eye,
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現在瓦力有黑色的眼睛、
08:28
the gray aperture blades
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灰色的光圈片
08:29
and the black pupil.
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和黑色的瞳孔
08:31
Suddenly, WALL-E feels like he has a soul,
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突然間，瓦力感覺
有了他自己的靈魂，
有了他自己的靈魂，
08:35
like there's a character
with emotion inside.
with emotion inside.
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像是在他身體裡面有了一個
充滿了情緒的角色。
充滿了情緒的角色。
08:40
Later in the movie towards the end,
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之後在電影結束之前，
08:41
WALL-E loses his personality,
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瓦力失去了他的個性，
08:43
essentially going dead.
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基本上已經算是死去了。
08:45
This is the perfect time to bring back
that glassy-eyed look.
that glassy-eyed look.
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接下來就是把呆滯眼神
帶回這個場景的最佳時刻。
帶回這個場景的最佳時刻。
08:49
In the next scene,
WALL-E comes back to life.
WALL-E comes back to life.
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在下一個場景裡，
瓦力重新活了過來。
瓦力重新活了過來。
08:52
We bring that light back to bring
the aperture blades back,
the aperture blades back,
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我們把光線重新帶回到光圈片裡，
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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他就變回了那個我們既喜愛又
甜美、有靈魂的機器人了。
甜美、有靈魂的機器人了。
09:02
(Video) WALL-E: Eva?
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（影片）瓦力：依芙？
09:06
Danielle Feinberg: There's a beauty
in these unexpected moments --
in these unexpected moments --
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丹妮爾范伯格：這些令人
意想不到的感動時刻有一種美——
意想不到的感動時刻有一種美——
09:09
when you find the key
to unlocking a robot's soul,
to unlocking a robot's soul,
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當你找到那把
釋放機器人靈魂的鎖、
釋放機器人靈魂的鎖、
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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當你發掘在你生命中
想要做什麼的時刻。
想要做什麼的時刻。
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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在「海底總動員裡」的水母，
也是其中一個令我感動的時刻。
也是其中一個令我感動的時刻。
09:20
There are scenes in every movie
that struggle to come together.
that struggle to come together.
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每部電影裡，多少都有一些
場景是很難產出的。
場景是很難產出的。
09:24
This was one of those scenes.
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其中一個場景就是這個。
09:26
The director had a vision for this scene
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導演對這個場景有一個憧憬，
09:28
based on some wonderful footage
of jellyfish in the South Pacific.
of jellyfish in the South Pacific.
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這個場景是以一些美麗的南太平洋水母
的連續鏡頭影片為基礎的。
的連續鏡頭影片為基礎的。
09:33
As we went along,
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隨著我們工作開展開來，
09:35
we were floundering.
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我們開始慌張了。
09:36
The reviews with the director
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導演的評論
09:38
turned from the normal
look-and-feel conversation
look-and-feel conversation
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從平常「觀看-感覺」的對話
09:41
into more and more questions
about numbers and percentages.
about numbers and percentages.
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轉變到對我們數字及比例上
越來越多的質疑。
越來越多的質疑。
也許因為這些場景
不是正常的場景，
不是正常的場景，
09:46
Maybe because unlike normal,
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09:47
we were basing it on
something in real life,
something in real life,
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我們當時是以真實生活中的
一些東西來做場景的架構的，
一些東西來做場景的架構的，
09:50
or maybe just because we had lost our way.
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也有可能是因為我們找不到方法。
09:52
But it had become about using
our brain without our eyes,
our brain without our eyes,
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但這已經變成是用腦而不是用眼睛，
09:55
the science without the art.
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用科學而不是用藝術來看這件事了。
09:58
That scientific tether
was strangling the scene.
was strangling the scene.
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科學限制了場景的呈現方式。
10:02
But even through all the frustrations,
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但即使碰到了這麼多的挫折，
10:04
I still believed it could be beautiful.
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我仍相信一定有辦法把它變漂亮。
10:06
So when it came in to lighting,
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所以當提及燈光照明的時候，
10:08
I dug in.
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我就全力以赴了。
10:10
As I worked to balance
the blues and the pinks,
the blues and the pinks,
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在我做藍色與粉色的平衡時，
10:13
the caustics dancing
on the jellyfish bells,
on the jellyfish bells,
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那些在水母頭上跳舞的「焦散面」、
10:16
the undulating fog beams,
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波浪狀的霧狀光束，
10:18
something promising began to appear.
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好像有甚麼好東西
開始要呈現出來了。
開始要呈現出來了。
10:21
I came in one morning and checked
the previous night's work.
the previous night's work.
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有一天早上，我進來
檢查前一晚的工作。
檢查前一晚的工作。
10:24
And I got excited.
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我相當興奮。
10:26
And then I showed it
to the lighting director
to the lighting director
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然後我把它拿給燈光導演看，
10:28
and she got excited.
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她也很興奮。
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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很快的，我在一個有50個人的暗房，
把它展示給導演看。
把它展示給導演看。
10:34
In director review,
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在等待導演評論的這段時間，
10:35
you hope you might get some nice words,
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你會很希望可以得到一些好的字詞，
10:38
then you get some notes
and fixes, generally.
and fixes, generally.
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通常你會把它註記下來，
然後再做些修正。
然後再做些修正。
10:41
And then, hopefully, you get a final,
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之後，希望可以得到最後的指示，
10:43
signaling to move on to the next stage.
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來進入到下一個階段。
10:46
I gave my intro, and I played
the jellyfish scene.
the jellyfish scene.
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我簡短做了介紹，
然後開始播放水母的場景。
然後開始播放水母的場景。
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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導演沉默了一段很長
令人快要窒息的時間。
令人快要窒息的時間。
10:55
Just long enough for me to think,
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長到讓我開始想．．．
10:57
"Oh no, this is doomed."
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「喔，不！完蛋了！」
11:00
And then he started clapping.
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然後他開始鼓掌。
11:03
And then the production
designer started clapping.
designer started clapping.
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產品設計師也開始鼓掌。
11:06
And then the whole room was clapping.
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然後整間的同事開始鼓掌。
11:14
This is the moment
that I live for in lighting.
that I live for in lighting.
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這就是我以燈光照明
為生的重要時刻。
為生的重要時刻。
11:17
The moment where it all comes together
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在這個時候所有的東西聚合在一起，
11:19
and we get a world that we can believe in.
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我們擁有了一個
我們相信的世界。
我們相信的世界。
11:22
We use math, science and code
to create these amazing worlds.
to create these amazing worlds.
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我們用數學、科學、程式設計，
來創造這些驚奇的世界。
來創造這些驚奇的世界。
11:27
We use storytelling and art
to bring them to life.
to bring them to life.
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我們用說故事和藝術的方式，
使它們活了起來。
使它們活了起來。
11:30
It's this interweaving of art and science
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這個藝術與科學交織的時刻，
11:34
that elevates the world
to a place of wonder,
to a place of wonder,
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把世界引領到一個美麗的地方、
11:38
a place with soul,
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一個充滿靈魂的地方，
11:39
a place we can believe in,
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一個我們信仰的地方，
11:42
a place where the things
you imagine can become real --
you imagine can become real --
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一個你想像就能成真的地方——
11:47
and a world where a girl suddenly realizes
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一個讓那個小女孩突然意識到，
11:50
not only is she a scientist,
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她不僅是個科學家，
11:52
but also an artist.
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也是一位藝術家的世界。
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Thank you.
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謝謝各位！
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(Applause)
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（掌聲）
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