Name: 【TED】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 (The magic ingredient that brings Pixar movies to life | Danielle Feinberg)
Uploaded: 2016-08-31T10:55:58.000Z
Duration: 12 min 5 s
Description: Danielle Feinberg, Pixar's director of photography, creates stories with soul and wonder using math, science and code. Go behind the scenes of Finding Nemo, Toy...

some well-meaning adult asked me what I wanted to be when I grew up.

有位好心的大人問我，我長大後要當甚麼？

情態副詞

我驕傲地說：「我要當一位藝術家」。

"You can't make a living being an artist!"

My little seven-year-old Picasso dreams were crushed.

我 7 歲的小小畢加索夢想就這樣被破滅了。

eventually settling on being a scientist,

perhaps something like the next Albert Einstein.

看會不會成為下一個愛因斯坦。

And so I decided to study computer programming in college.

所以我決定要在大學裡研究電腦程式設計

my computer graphics professor showed us these wonderful short films.

我的電腦繪圖教授，展示了一段很棒的短片給我們看

It was the first computer animation any of us had ever seen.

它是第一部電腦動畫，我們以前都沒見過

I watched these films in wonder, transfixed,

thinking, "That is what I want to do with my life."

並想著，「這就是我這一生一直想做的事啊！」

The idea that all the math, science and code I had been learning

所有我學到的數學、科學、程式語言設計

could come together to create these worlds and characters

終於可以整合在一起來創造這些世界與人物，

at the place that made those films, Pixar Animation Studios.

這些影片的製作公司工作，「皮克斯動畫工作室」。

It was here I learned how we actually execute those films.

在那裏我學會了如何真正地執行製作這些影片。

we create a three-dimensional world inside the computer.

我們在電腦裡面，創造了一個 3D 世界。

We start with a point that makes a line that makes a face

我們從一個點，連成了線，把線連成了一個面，

or trees and rocks that eventually become a forest.

到樹、石頭，最後變成了森林。

And because it's a three-dimensional world,

we can move a camera around inside that world.

我們可以在裡面任意移動我們的攝影機

But then I got my first taste of lighting.

之後我第一次嘗試到「打光」的樂趣，

Lighting in practice is placing lights inside this three-dimensional world.

「打光」在實務上，就是把燈設置到這個3D的世界

I actually have icons of lights I move around in there.

我實際上在這裡面到處都有移動的光標

你可以在這裡看到，我已經加了一個燈，

I'm turning on the rough version of lighting in our software,

我打開了軟體裡面粗糙版本的光，

I think about what it might look like in real life,

我就要想，它在真實世界裡會如何呈現 ，

but balance that out with what we need artistically and for the story.

並同時要兼顧到美學及故事的需要

所以，它一開始也許是長這樣，

但當我們這邊調整一下，那邊移動一下，

There's this moment in lighting that made me fall utterly in love with it.

就是這種打光的時刻，讓我深深地愛上了它

It's the moment where all the pieces come together,

當這些瑣碎的片段結合在一起的時刻，

這種感動的時刻永遠不會老去，

especially for that little seven-year-old girl that wanted to be an artist.

尤其對一個七歲就想當一位藝術家的小女生來說

I learned about using light to help tell story,

我學會了用光來協助故事的描述，

學會了如何使一個角色看起來更動人

或在一個繁忙的場景裡凸顯他的存在。

we can create any world that we want inside the computer.

我們可以在電腦裡面，創造出我們想要的世界

So to combat this, we tether ourselves with science.

所以為了解決這些事情，我們用科學約束我們自己

to ground ourselves in something relatable and recognizable.

來為我們自己的作品打下深入人心及具有辨識性的基礎

"Finding Nemo" is an excellent example of this.

「海底總動員」就是一個很好的例子

A major portion of the movie takes place underwater.

但你要如何讓它看起來是在水底下？

we took a clip of underwater footage and recreated it in the computer.

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

to see which elements make up that underwater look.

看看水底下的場景是由那些元素所構成

was how the light travels through the water.

「光線」是如何在水中運行穿越的

So we coded up a light that mimics this physics --

所以，我們程式設計出一個可以模擬這種物理現象的光源——

Objects close to the eye have their full, rich colors.

靠近我們眼睛的物體較具有完整豐富的色彩

最後最深處的地方，只剩下藍色波長的光

In this clip you can see two other important elements.

在這段影片中，你可以看到另外兩個重要的元素