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【2016谷歌IO】VR与影视 – 译学馆
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【2016谷歌IO】VR与影视

VR & Cinema - Google I/O 2016

嗨 大家好啊
JESSICA BRILLHART: Hey, how’s it going?

Good.
欢迎来到第二天的会议
Welcome to day two.
看看我这件帅气的T恤
Check out my cool shirt.

Woo!
感觉超棒
Feeling pretty good about this.
我应该在说衣服之前介绍一下我自己
I should introduce myself before I talk about my clothes
我觉得
I guess.
我是杰西卡·布瑞哈特
I’m Jessica Brillhart, the principal filmmaker
谷歌VR的首席视频制作师
for Google VR.
那么 为什么我来这儿?
And so why am I here?
我不是一名工程师
I’m not an engineer.
我是影视制作师
I’m a filmmaker.
我在谷歌做这行已经6年半了
I’ve been a filmmaker at Google for 6 and 1/2 years now.
在过去的6年里 工程师们
And for the past six years or so, the engineers
与影视制作师 我们作为不同的团队独立工作着
and the filmmakers, we kind of work in different groups.
但是大概在一年前 一组工程师给了我这个
But about a year ago, a group of engineers gave me this.
这是Jump设备的第一代原型
And this is one of the first prototypes of the Jump rig.
给不了解它的人介绍下Jump
Jump, for those of you who don’t know,
这是一个我们针对用来制作360度全景内容
is an ecosystem we’ve been working on
而建立的一个生态系统
for 360 degree stereoscopic content creation.
它包含三部分
It consists of three parts.
第一部分是大家在这里能看到的
The first is what you see here.
由16个GoPro相机组成一个环形阵列
It’s a rig of 16 GoPros in an array.
第二部分是利用机器视觉和
The second is the assembler that uses computer vision and cloud
云计算算法将视频拼接到一起
computing algorithmically to stitch the stuff together.
这是我们最早基于Jump生态系统
This is one of the earliest stitches
完成的一部拼接影片
to come out of the Jump ecosystem.
工程师们在西雅图的办公室里拍摄了他们自己
It’s the engineers filming themselves in Seattle.
这个视频一直都是我最喜欢的
And it remains one of my favorite things
VR视频之一
I’ve seen in VR.
对于VR视频来说 拼接总是
And stitching has always been a really annoying time
一件很挠头的事 对吗?
suck for VR creators, right?
因此专注于拍摄而不用
And being able to film and not have
担心这一过程 这就变得尤为重要
to worry about that process is a really big deal.
最后就是播放了 也就是让观众看到视频
And the last is playback, making it available to an audience.
今天我将会给大家展示一些视频片段
So I’m going to show you a lot of footage today.
介于当前的状况
And because of the nature of the stuff,
你们只能坐在那儿
you’re going to have to see it on a screen
看着屏幕了
by sitting out there.
但是相信我 这些镜头在VR里
But you have to trust me that in VR this stuff is actually
其实非常棒
pretty great.
也许在这看上去也会很棒
It might still be great.
我不知道
I don’t know.
然而 谢天谢地 我们可以利用一个非常
But thankfully, we’ve got this really great new platform
新的平台 今天我要宣布
that I’m happy to announce today.
我们将它称作YouTube
And we’re calling it YouTube.
YouTube可以播放VR 这很疯狂
And YouTube plays VR, which is crazy.
那么 不是在这个演讲之后
So not immediately after this, because I’ve
因为今天我都要到处跑今天晚些时候吧
been kind of running around, but end of the day today,
我会准备一个播放列表
I’m going have a playlist that’s going
里面会有所有的你们这里看到的
to have all of the stitches that you see here
合成后的影片
during the presentation.
你们可以在自己的安卓设备上观看
You can watch it on your Android device.
另外最近我们也支持在iPhone上使用
And then recently we have now Cardboard support on YouTube
Cardboard来观看YouTube了
for the iPhone.
大家都会看到这些视频
So you guys will all be able to see it.
我在一年时间里使用这个设备以及合成器
So I’ve used the rig and the assembler
拍摄了超过750次
to film over 750 shots over the course of a year.
我的工程师告诉我说 这一共有3176020帧
Or, as my engineers like to say, 3,176,020 frames.
据我所知 没有人在这个时间段里拍摄的
And no one has film this much live action VR in the time
VR视频数量超过我
that I have, as far as we know.
那么如果你们知道的有所不同 别告诉我
And if you know differently, don’t tell me.
我喜欢生活在幻想中
I like to live in my delusion.
我为什么要来这里?
So why am I here?
基本上这就是我去年在做的事
Basically this sums up the past year for me.
有人给了我一个新技术
I was handed a new piece of technology,
于是我开始拿它来创作
and then I used it to make stuff.
那我们来看看现在的进展
And here’s where we are right now.
因为我能够参与很多的影片拍摄中
Because I was able to film so much
而且可以非常快速的看到效果
and be able to see the results so quickly,
因此我建立了一种能力
I’ve been able to establish for myself mostly, but also
并且这种能力我想也是大家所感兴趣的
for other folks who are interested,
有关虚拟现实内容的一种语言
a kind of language for making virtual reality content,
可以明白什么是有效的什么是无效的
so seeing what works and what doesn’t, what
作为影片制作人我需要重新分析场景
ways as a filmmaker I need to rewire myself
来达到拍摄的效果
in order to make this stuff work.
因为这对技术和艺术都很重要
And because it’s important for technology and art,
我想 在这次会议里
I think, to be in constant conversation,
与各位分享
I think it’s important that I share with you guys
去年我在拍摄过程中学到的经验很重要
some of the stuff I’ve learned over the past year.
那么 我将给大家介绍四件事
So I’m going to talk about these four things.
第一件是每个传统的电影制作人
The first is what every traditional film
所需要面对的 都是一部可以产生大量帧图像的设备
person faces, which is a loss of a frame as a device.
第二是这(VR)对剪辑到底意味着什么
The second is what that means for editing
以及有什么能像剪辑那样能够
and how something like editing can
通过修减 来符合我们想在VR里所希望达到的目标
be reworked to suit what we want to accomplish in VR.
第三是 即便我们通过摄像机来表达现实
The third is the realization that even though it’s a camera,
而摄像机实际上整个所代表的是人的眼光
the camera actually represents a human the entire way through.
第四是每个人都在思考的问题
And the fourth is the question on everyone’s mind,
如何用VR来讲故事
storytelling, and how to do story in VR.
那么 我们先来谈一谈帧吧
So let’s talk about the frame.
帧对电影制作者来说是十分宝贵的
The frame is a precious thing for a filmmaker.
它是我们的媒介
It’s our medium.
如同一扇窗 我们渴望精熟于
So we aspire to be masters at crafting this kind of window
能够将人们带入另一世界的工艺
into another world.
但是 当某人能这样做时
But a frame doesn’t mean jack when
帧似乎就没什么意义了 对吗?
someone can do this, right?
对于传统电影来说 你的观众则
And the whole point of film is that your audience never
无法这样做
does this.
但在VR中 这是不可避免的
But in VR you do this, because if you don’t do this,
如果你不让观众这样做 就不是VR了 对吗?
you’re doing it wrong, right?
在传统电影制作中 我们用帧的概念
So in traditional cinema, we use the concept
来确保人们关注
of the frame to make sure people pay attention to what we
我们希望他们关注到的
want them to pay attention to.
我们认为如果失去了帧 便失去了掌控
We think if we lose the frame, we lose complete control.
这一点使得电影制作者们
And this makes filmmakers– a lot of them
在他们尝试过一段时间的制作后
are credible ones that have been around for a while– makes
这让他们觉得担心 危险
them freak out, like this is horrible, this is dangerous,
等等
and so on.
但是 先做个深呼吸
But let’s just breathe for a second.
我们真的丢掉了所有的控制权吗?
Have we lost complete control?
还是说 也许它仍在某处
Or maybe it just lives somewhere else in this.
作为人类 我们天生的愿意去遵循
Us humans have a knack for following
所谓的注意力 无论它在哪里
what calls attention to itself, no matter where
以及无论它要去哪里
it is, no matter where it goes.
在VR中 我们称这些元素为
And in VR, we’ve been calling these elements
兴趣点(Points Of Interest)即POI
points of interest or POIs.
并且重要的是 它不仅仅指的是视觉
And it’s important to note, this does not just mean visuals.
我们倾向于在看到事物前先听到它的声音
We tend to hear things before we see them.
因此全景音(spatial audio)在这里将扮演一个重要角色
So spatial audio plays a big role in this as well.
那么 我们来看下这个冰川攀岩的视频
So let’s take this glacier climber.
这是一个兴趣点
That’s one point of interest.
他是唯一的人
He’s the only human.
唯一在制造声音的事物
He’s the only one making a sound.
尽管我们不能百分百确定 因为
And although we can’t be 100% sure, because we never
我们没有身在其中 但我们可以坚信
can in VR, we can make a pretty solid bet
观众会关注他的行为
that someone will focus on him.
这就是所谓的POI(兴趣点)的概念
That’s one POI.
接下来这很快变得非常复杂
It can become very complex rather quickly,
因为生活本身就是复杂的
because life is very complex, too.
看这幅缆车的场景 兴趣点就不止一个
So if you take this tram scene, it doesn’t present just one.
包括了四个或可能更多的兴趣点
But it presents four or more possible POIs.
或者这个岩石的场景 简直就是彻底的混乱
Or something like rocks, which is utter chaos.
但实际上这也许表明
But to be honest, that just means
观众对这里的一切都有兴趣
that potentially everything is interesting to someone.
我无法对此进行猜测
I just can’t take any bets or place any bets on them.
那么 作为创作者 我们的控制力则来源于
So our control as creators is in this understanding
理解场景里包含的潜在体验
of the potential experiences a world contains so that we can
为之准备 也就是为
prepare for this, prepare for how someone
观众与空间的连接做好了准备
might engage with the space.
作为创作者 我们的技能
And our craft is really more about, as creators,
体现在如何对观众的潜在体验
how do we respond to the potential experiences
做出响应 对吗?
that someone has, if at all?
然后我们来看这条
Which brings me to this.
当制作人谈到剪辑
So when filmmakers talk about editing,
我们会将帧和镜头放到一个线性的结构里
we talk about putting frames or shots in a linear construct,
对吗?
right?
技巧上会有细微不同
There’s nuance and there’s craft,
但基本上就是这些事
but generally that’s where we’re going.
我们说剪辑说的就是这回事
And that’s what we talk about when we talk about editing.
基于镜头的 基于帧的剪辑
It’s shot to shot and frame to frame.
现在当我们在VR中做这个时 结果变得感觉古怪
Now when we try this in VR, the cuts felt jarring and weird,
于是我们会立刻明白这样不对
and we pretty quickly knew that it did not work.
那么发生了什么?
So what happened?
额 当我们思考VR中剪辑的表示形式时
Well, for one, when we think about representation of editing
我们会认为帧与帧之间在视觉上
in VR, we think about a predetermined frame
是有前后顺序的
to frame visual.
但是这也许是错误的形式
And that’s probably the wrong approach,
因为下一帧可能是在场景中的任意位置
especially when the potential of the frame could be anywhere.
因此VR中我们需要一种不同的
And so VR needs a different visual
视觉表达方式来描绘这种潜在体验
for understanding this potential.
为了分析这种视觉可能是什么样
And in trying to figure out what that visual could be,
我开始画出很多圆圈 很多很多圆圈
I started drawing lots of circles, and lots more circles.
每个圆圈代表着
And each of these circles was an attempt
某个镜头所拍摄出的完整世界(world)
at mapping out the world of a given shot,
这样一种镜头 分析这种镜头
basically taking this and thinking of this.
那么每个镜头都是一个可体验世界
So each shot is an experiential world, the fundamentals
观众的观赏基础 能力范围 整个世界
being the visitor, the visitor’s abilities, and the world.
现在我使用这种图形来
Now I’ve actually been using this graph
描绘我的所有疯狂的思考
as a way of kind of getting through all my crazy thinking.
我的同事称它们是“我的疯蓝圈”
And my colleagues now call them my crazy blue damn circles.
我接受了
And I accept that.
这是我的
It’s mine.
我就用这个名字
I’ll take it.
然而这也同样意味着在VR中 不能做帧剪辑
But that also means that editing in VR can’t be frame to frame,
对吗?
right?
替代帧剪辑的 我们称之为基于世界(world to world)的剪辑
So instead of frame to frame, we think of it as world to world.
现在我就能看到所有的潜在体验了
And now I can see the potential for everything,
帧无处不在
where the frame is everywhere.
这意味着 作为创作者
Which is to say our jobs as creators is not
我们费心力做出的场景 因为没有引导观众
to preciously craft something that someone may never
使得观众没有看到这一场景
look at and then forget the rest of it,
于是忽视掉了后面剩下的场景
but instead to guide visitors through a crafted universe.
那么 站在每种新媒体的前沿
And at the forefront of every new medium,
我们获得了定义术语的优先权
we get the benefit of coming up with terms.
其中的一个术语就是
And this is one of those terms, probabilistic experiential
可能性体验剪辑(probabilistic experiential editing)
editing.
但是它有一个很不幸的缩写
It has a really unfortunate acronym.
[笑声](缩写PEE意思是尿尿)
[LAUGHTER]
我也很无可奈何
I mean, I can’t do anything about that.
那么我来解释一下它的含义吧
So let me explain what I mean by this.
可能性体验剪辑 核心概念是
Probabilistic experiential editing, at its core,
理解观众在设定的世界中的
is about understanding a visitor’s likely interaction
可能交互方式
with the world around them.
那么首先 我们回到 注意力 这一概念上
So first, let’s get back to this idea of attention.
如果我下注赌观众会看到某个特殊的兴趣点
If I make a solid bet on a particular POI,
比如这个冰川攀岩者
like this glacier climber, then I
那么我就可以制作某种
can make something or do something
叫做匹配(matching)的设计 – 我称之为注意力匹配
much like matching– I call it matching on attention.
我们还在剪辑时基于动作做匹配
We do match on action in editing, too.
主体在移动时
Something’s moving.
其它的移动物就应被剪掉
We cut to something else that’s moving.
这种方式就是面向注意力的
With this, it’s about attention, cutting
将某观众的注意力从一个点引导向
from someone’s attention point to another thing
我们希望他看到的另一个点
that I may want them to see.
比如 举个例子 现在是这样一个状态
So taking something like this where
我可以测量出此人在什么位置
I can gauge where someone might be, determine where
来确定该将观众的注意力落在何处
our visitor’s attention will most likely land,
然后就可以将接下来的世界对齐到
and then align the following world so that attention
观众的注意力
point matches with something else
所在的位置上
I’d want a visitor to pay attention to.
还可以将观众的注意力从一个点
It could go from an attention point to something else
引导至另一点 差不多是这样
that I want a visitor to see, much like this.
或者这仅仅是个无中心的场景
Or it could just be a spatial thing.
我要做的就是让观众感到舒适
I just want you to feel specially comfortable.
让身边的事物有一定的相似性可以强化
So keep things spatially similar to reinforce an engagement
一种方向感
in a particular direction.
还有 通常很少情况下在影片开始和结束观众都停在同一位置
And the visitor rarely starts and ends at the same place.
如果你做对了 他们会四周张望
If you do your job right, they’re looking around.
因此如果他们的注意力移动了
So as their attention shifts, our attention
我们的注意力也应该随之移动
needs to shift with it.
接下来你需要使用这种有点怪的
And then you start to get this kind of weird editing
剪辑流程 其实就是
flow, kind of a bit like how we’ve
思考世界的出入点
thought about it in outpoints.
现在不是我安排观众从哪开始和在哪结束
Except now it’s not where I think you should start and end.
而是我们去理解观众可能会在哪里开始在哪里结束
It’s me understanding where you would like to start and end,
然后对其做出响应
and then responding to it.
这样做的话 我们就要开始站在宏观的角度
And by doing this we start to lay the foundation of a pathway
来排列这条路径层叠
through the overall experience, like creating
如同是在给观众编舞
a conversation or a dance of sorts
安排观众在我们创建的场景里的实际体验和潜在体验
with experiences of a visitor and the potential experiences
就有点像解锁
of the worlds we create, kind of like unlocking
某个密码似的
an intricate cipher.
因此 我们曾经
And I’ve been calling it, and consequently we’ve
称之为 英雄之旅
been calling it, the hero’s journey.
这的确是我们可以为观众打磨出来的一条潜在观看路径
And this is a potential journey we can craft for a visitor.
虽然没法确保观众一定会这样做
There is no guarantee a visitor is going to do this.
事实上 很有趣的是
In fact, what’s been really fun is
当观众开始时会遵循路径
when the visitor starts doing that,
然后又会迁移注意力 随后又会回来
and then goes away, and then comes back.
我可以通过观众转动方向
And I can see that based upon their orientation
来观察到他们在整个过程中的体验
of how they’re turning during an experience, which
这很酷
is pretty cool.
这能够确保一种统一的连贯性
And it gives the universe coherence.
就好像所有的部分都是一体的
It feels like it’s all part of the same thing.
即便某人没有按照路径走下去
Even if someone’s not going down that path,
这也是能让他感受到在这段体验中的
there is this vibe that people feel like it’s actually
统一氛围
one long experience.
关于这个还有很多内容 时间有限
And there’s more to this, but I can’t go through it
我就不一一叙述了
because it would take forever.
那么 就把这个当作一种入门吧
So consider this a primer.
作为电影制作者 我们会认为摄像机就是一部工具
So we as filmmakers consider the camera to be this tool.
我们会经常移动这部工具
And we move a tool around a lot, and kind
甚至有点过头了
of frantically sometimes.
我们还会将它放到危险场景下拍摄
And we put in precarious situations.
但是在VR里 任何会在摄像机身上
But in VR, whatever happens to that rig
发生的事都会发生在人身上
happens to a human being.
因此 你不能单纯的移动摄像机
So you can’t just move the rig.
这就像 我的意思是
That’s like OK, I’m like, I mean–
这会导致其它情况发生
that goes into a whole other thing.
就像是我站在那儿 看着面前的
But if I’m standing and I’m looking out
一件美丽的事物时
at a really beautiful thing, and then
突然被拎了起来 然后被放到了某处
suddenly I get picked up and then put somewhere else,
那我一定会很懊恼
I would hate that.
大部分人应该都会
Most people would hate that.
因此我们的确要想想
So we have to actually think about what
在对摄像机动手时 观众会有什么反应
a human being will feel like if we do anything to that rig.
如果感觉是OK的 再移动摄像机
Like OK, I’m going to do this to this rig.
想想如果移动发生在自己身上会作何感受?
How would I feel like if I had that happen to me?
观众不是在带上头设时现身
So a visitor doesn’t show up when she puts on her headset.
而是在你按下录像键后
She shows up as soon as you press the Record button.
我们必须要接受这一特点
I think that’s a really huge thing that we
因为这很重要
need to accept as part of this.
去年我们从某部快节奏的影片拍摄归来
So last year when we came back from a pretty intense film
绘制了一张非常高科技的图表
shoot, we drew up a very high tech chart
来分析所有拍摄场景的影响
to analyze the impact of everything
因为我们需要得到一种剪辑这些镜头的方法
we captured because we need some way to call down these shots.
因为要在会场上播放
I had to make it a little bit more PG rated because
我得将它处理的更加PG(家长指导内容)一些
of the conference.
你们可以看到 这里有“看上去很棒” “看上去不好”
But you can see “looks awesome,” “looks not so awesome” there.
“听起来很棒” “听起来不好”
“Sounds awesome,” “sounds not so awesome” there.
这里是没人知道好坏的
What we called the “vortex of confusion” where
所谓“困惑漩涡”
no one knows what’s going on.
然后 这里是“感觉不错”或者叫冲击力
And then the “I feel awesome” or the impact.
看上去似乎没什么特别的
And it turns out that horses is the experience to beat.
那么 什么是“感觉不错”
So what is “I feel awesome”?
如果我们追求的是每一帧的力量
If the power of the frame is what we’re after,
并且由观众来决定看到的帧
and a frame is determined by where the visitor looks,
那我们就应该让观众说话
then we need to champion the visitor.
关注这些体验让观众作何感受
We need to care about how this experience makes people feel.
事情又变复杂了
So again, it gets complex.
这有很多种方法可以做到
And there’s many ways to do it.
但考虑到时间因素 我举三个例子
But for the sake of time, here are three examples.
第一点 要赐予身份
The first is having an identity.
空间中的摄像机只是个物件
A rig in a space is always regarded as something.
但是当某人带上头设
But when a person puts on a headset
进入到虚拟空间后
and they’re in the space, they expect
他们会希望被认为是一个人而不是物件
to be regarded as someone.
那么 该如何做到呢?
So how do we do that?
摄像机所在的高度 这里我们看不到
So the height of the rig, which we cannot see here,
想象一下你就是这个摄像机 你和我一样高
but imagine if you were a rig and you were my height,
这会让你感觉舒适
that would feel fine.
这是你和我相似的情况
You relate to me.
哦 这很有趣
Oh, this is fun.
但是如果你是个小朋友 或者我打算
But if we were a young kid– but if I wanted to actually
现在和你们坐在一起 作为观众
sit with you guys in the audience right now,
我坐下后 就成了你们中的一员 看着我自己
and I sat down, I would be one of you versus me.
这都是无法解决的问题
So I think none of these work.
OK 我们现在来思考一下空间
OK, let’s just think about this space right now.
如果我就是摄像机 打算让
If I was a rig and I wanted someone
佩戴头设的人成为讲演者 也许有人会害怕演讲
to be the presenter, which would be terrifying because you can
因为作为讲演者是件让人害怕的事情
imagine being a presenter is pretty terrifying,
那么这里应该有一个和我身高一样的摄像机
I would actually have a rig here at a level of mine.
这会形成权威的感觉
And it’s authoritative.
我俯视着你们 感觉自己是讲演者
I look down on you guys and I’m like I’m the presenter.
但是如果我希望用户感受一种
But if I wanted the person that is in the experience
和你们一样的观众的感觉 那就应该
to feel like you, I would actually have the rig
把摄像机放到和你们的高度一样
at your height, below.
这样就能让用户与你们产生关联
And that actually makes me relate
而不是我
to the audience instead of me.
但是现在 最后结果是
Now granted, what people end up doing is
拍摄者会把摄像机放在这
they’ll put the rig here.
然后讲演者会在这边
And the presenter will be here.
观众在这边
And the people will be here.
那到底戴头设的人是谁?
And then who the heck are you?
我是谁?
Who am I?
好像我不是讲演者 因为这里有个讲演者
Like, I’m not the presenter because there’s a presenter.
我也不是你们观众 因为我比你们高
And I’m not you because I’m taller than you.
那么 我是谁?
So what am I?
这的确是个你必须问自己的问题
So that’s a question you really have to ask yourself.
我们会一直认为摄像机只是捕获镜头的
We think of cameras as just capturing.
但是我们现在在捕获的是一种身份
But if we’re capturing an identity,
我们必须要思考
we really need to think about what
这个身份是什么 它的位置在哪里
that identity is, what the positioning is,
高度是多少
what the height is.
甚至是眼神接触
And eye contact.
这是来自于蒙特利尔
So this is actually a scene from something
加拿大人冰球队的影片里的一幕
that released recently for the Montreal Canadiens
影片叫《加油哈布斯!》注:Habs是蒙特利尔加拿大人队的昵称
called “Go Habs Go,” which we’re really excited about.
这是一部使用Jump拍摄的新影片
It’s a new Jump film.
这里面有个场景 当我看到时
And there was a moment that I saw on this.
我想 OK 观众会注视着
And I’m like OK, I know that people are probably
这位举着火炬庆祝的家伙
going to be looking at the torch ceremony folks,
我得将这个加进去
so I got to put this in.
于是我接下来就提到了眼神接触的重要性
So I’m going to talk about eye contact for a second.
通过眼神接触你可以与观众
You can connect with someone in a very profound way
产生一种深入连接
through eye contact.
当然不该总这样做
You probably shouldn’t do it all the time,
因为这会让人感觉有点怪
because that makes you feel kind of weird.
就像是某人一直盯着你看一样
Like if someone kept kind of staring at you,
你不会感觉很酷吧
would you feel cool with that?
应该不会
Probably not.
但是如果你在细微之处使用正确
But if you nuance it and do it right,
这就会成为一种很有吸引力的瞬间
it actually ends up being a really intimate moment.
其实这基本上就是个特写镜头
It’s basically a close-up.
我们看下这个效果
So let’s see it play here.
哦 不
Oh, no.
我们能回到上一张幻灯片吗?
Can we go back a slide?
真心希望大家都看下这个
I really want people to see that one.
谢谢
Thank you.
请稍等
Wait a second.
不能播放吗?
Is it not playing?
看来大家只能去YouTube上观赏了
Guess you have to watch the film on YouTube.
抱歉了
Sorry, guys.
我们都热爱探索新事物
So we love discovering things.
对空间的感知
It gives us validation in the space
以及某种对目标的感觉
and some sense of purpose.
那么 一旦接受到这种体验
So ownership of these experiences,
你会说 OK 我发现了这个
where you say to yourself, OK, I found this.
正是因为我发现了这个 它就具备了价值
And because I found this, this has value.
我也实现了价值
And I have value.
那么 如同传统的方式 我们将所有东西
So like the need to present everything to a visitor
展示给观众 老实说这样有点无聊
is a bit old school, and honestly kind of boring,
特别是这会让观众
and especially when all someone has to do
扭头才能看到所有的事物
is turn away from that presentation of something
这样有点低效
for it to be ineffective.
因此 我会尝试将东西摆放在
So I tend to try to place things more in the corner of someone’s
某人的视线角落里 观众可以立刻发现它
eyes so that the moments are discoverable by a visitor
这样也能获得更多观赏体验
so she can own those experiences more.
这是一个可以参考的例子
So here’s an example of how you can play with this.
注意 如果你没发现我这要摔倒
Notice if you don’t catch me falling on my butt,
我事先知道不会有危险
I know I’m going to be fine with that.
但是 如果你偶然看到这明白了
But if you do accidentally get to that point and you see it,
你就会获得我在这里剪断
you get motivation for understanding
作为结尾所产生的感受
where I cut at the end.
当Nick抓住我的手时 屏幕黑了
When Nick grabs my hand, we go to black.
如果你看到了 Nick抓住了我的手
So if you see that and you see Nick grabbing my hand,
你就看到了剪断位置
that’s the cut.
如果没看到 也没问题
If you miss it, it’s fine.
但是如果你看到了 这就是你的瞬间
But if you catch it, it’s your moment.
我认为这是一件
And I think that’s a really important thing
为空间里的人所做的非常重要的事
to do for someone who’s in the space.
我看到WEVR出品的《蓝》
When I saw WEVR’s “TheBlue,” which
这是专门为VIVE拍摄的
is an experience made for the Vive–
这是水下世界
it’s about being underwater.
美丽的体验
And it’s a beautiful experience.
在深海中你的身边
And there’s all this life everywhere
都围绕着生命
because you’re under water.
这里的美妙之处在于
But what’s great about it is they’ve
他们精心设计了围绕你的
actually planted experiences around you
希望你自己发现的新奇体验
that they hope that you actually discover.
这里不是混乱
It’s not just chaos.
这是一种精心设计的混乱
There’s some intricately laid out chaos,
或者说是一种在混乱中精心设计的
or intricately laid out moments within that chaos
希望观众能发现的场景
that they hope that you see.
下面一个影片是来自
My next thing comes from a conversation
两个人的对话
with these two guys.
这是兰德和罗宾·米勒
It’s Rand and Robyn Miller.
他们是游戏《神秘岛》的创始者
And they’re the co-creators of the game called “Myst.”
在VR里看到亚楚斯(游戏主角) 对于游戏玩家来说
Seeing Atrus in VR, for those who’ve played “Myst,”
是很棒的感受 同时也很怪异
is pretty awesome, and weird.
这是众多游戏中最经典的一款
But one of the most– it’s an amazing computer game.
如果你没有玩过 一定要试试
If you haven’t played it, you should definitely play it.
罗宾说了一件有趣的事
And Robyn said something interesting.
他说当他进入VR世界的时候 他会主动去
He says what he does in a VR experience is that he actively
判断设计者希望他看到的场景
identifies what a creator wants him to look at.
然后他就故意将头扭向它的正相反方向
And then he looks in the completely different direction.
于是我开始尝试也这样做
And I started to do this.
令人震惊的是几乎没有人规划过
And you’d be shocked by how little people plan
那片空间该如何设置
for that space.
该怎样处理那片空间?
So what do we do with that space?
我们该怎样打磨那里?
How do we craft that?
那里应该有什么?
What’s there?
这段场景来自于我们用Jump拍摄的
So here’s a scene from a film we made
一条视频 名称是《共振》
with Jump called “Resonance.”
这里是一位年轻的女孩肯尼迪 正在演奏小提琴
And we have a young girl, Kennedy, playing the violin.
在她身后是她的父母
And behind her are her parents.
当然 你能看到小女孩
And you know, you’d get a fine experience
肯尼迪拉小提琴就得到了好的体验
by watching Kennedy play the violin.
没有丢下什么
Like you don’t lose anything.
这是场景的中心
That’s the whole point of the scene.
但事实上是她的父母也在
But the fact that the parents are there,
如果你转头看到了她的父母
and if you turn and you see the parents
同时听到她的演奏声
and you hear the audio of her playing,
这的确是个很美妙的瞬间
there’s something really beautiful about that moment.
那么 也许这种逆反不那么强烈
So maybe the rebellion isn’t so much
不用看着相反的方向
looking at the opposite direction,
而是看着最轻松的方向
it’s looking the easiest direction,
那么我会给你布置一些朝向你的刺
and then I spike you in the face.
温柔的 无害的刺
Gentle spikes, they’re like happy spikes.
那么 对于一种体验世界来说
So the nature of an experiential world– and the people in it
在其中的人们对其有着深刻的影响
can have a profound effect on us.
当我们走进一个都是熟人的
When we go into a room of people that we
房间里时 和我们走进一个
know versus when we go into a room of people
都是陌生人的房间相比 会有不同
that we don’t know, it’s different.
我们与人第一次见面时
We meet someone for the first time, it’s how you do.
会和对方握手
You shake hands.
然后走开
You move on.
但是与这人第二次见面时
But if you meet someone for the second time,
就不用这样做了
you don’t have to do that.
这就是差别
That’s different.
当我们建立好关系后 能量会偏移和改变
Energy shifts and changes as we build relationships.
那么 来看看我的家庭吧
So meet my family.
尽管这个摄像机对他们来说挺奇怪
Even though the rig is a strange and weird thing for them,
但它是我的一部分
it’s part of me.
因为他们爱我
And because they– I hope they love me– they
关心我 他们围绕在
love me and care about me, they goof around
它旁边 就好像它就是我
with it as if it were me.
感觉上很自然
It feels very natural.
从普通屏幕上很难看出来
It’s, again, hard to read from a screen,
但是在VR里 欢迎的氛围很浓
but in VR, it’s welcome to my house, which
但即便对我来说有点
is for me kind of creepy.
怪怪的感觉 老实说
But let’s be honest.
这是2015年的谷歌IO
And this is Google I/O in 2015.
(笑声)
[LAUGHTER]
我们看下这个情况
I mean, let’s just ponder this for a second.
我在克莱给Jump做讲演之前
And I just turned on the rig right before the keynote
将设备打开了一段时间
where Clay announced Jump.
于是所有的人都被捕捉进去了
So all these people were coming in.
这是个非常奇怪的感觉
And it’s a very different feeling.
他好像没有时间来盯着你看了
He doesn’t have the time to look at you.
我的意思是 这与拍摄一个家庭非常不同
So I mean, that’s very different than a family.
这儿有一群人来去溜达
You have one group goofing off.
还有一群人
And then you have this other group
上下打量你 好像在研究你是否
that’s evaluating you and seeing if you’re even worth
值得用Instagram来一张 我猜测
their time and Instagram moment, I guess.
现在我们回到我最开始
Now let’s get back to the clip that I showed you
给大家展示的视频
at the beginning.
这就是我爱上了这种媒介的原因
And this is why I think I fell in love with this medium
爱上了这个视频
and why I fell in love with this clip.
因为这里摆放的摄像机
It’s because it’s a rig to them, too.
就是这些人自己制作的
But they created it.
他们为摄像机能工作而感到很高兴
They’re so happy that you work.
为此非常振奋
They couldn’t be more stoked.
你能感受到这种欢快的气氛
And there’s this feeling of joy that you just– I mean,
我在谷歌拍摄电影多年 很多情况是为这些工程师拍摄的
I’ve been making films here for a long time, most of them about
我能感受到
engineers.
他们搭起了这个摄像机
And I tell you, the fact that they set a camera up and just
这是件很了不起的事
did this is remarkable.
把这一幕拍下来也是很了不起的
And captured this is remarkable.
好的
All right.
现在来说说故事情节
So let’s talk about story.
其实我不想说故事情节这个话题
And I actually don’t want to talk about story yet because I
因为我想说说这个(我们丢掉重点了吗)
want to talk about this.
现在大部分为VR制作的内容都是表面的
Lots of what’s being made in VR right now is mostly surface.
基本上都是我们的所见和所闻
It’s mostly just about what we see and what we hear.
这就像是到达某个地方的第一层感受
It’s like the first level of being somewhere.
但是到那里其实可以有更深的感受
But being there goes much deeper.
更深入的是各种可能性
There’s significant depth to what’s possible.
于是我们要去做某种
And we’re starting to see more and more
更深入的探索
of this kind of exploration.
我想有这样一些东西
So here are a few things I’m thinking about.
一般来说 了解某人是需要花些时间的
Generally it takes some time to know someone.
刚刚我们说过一些这个
We talked about that a little bit earlier,
在某个特定场合会感到舒适
to feel comfortable being in a particular space.
我们被放置到的大部分的体验场景中
Yet in a lot of experiences, we’re thrown into it.
设计者都希望能让场景与我们每个人发生关联
And then we’re expected to relate to everybody there.
但是现实生活中这需要一个过程
But in life it’s a process.
你们能明白 对吗
You know that, right?
就像我们最终与某人走得更近
Like eventually we become closer to someone else.
原因是我们关心这个人
Eventually we care.
那么我们该如何在VR里适当的构建这样
So what if we started building these relationships
一种亲密关系呢
appropriately in VR too?
可以让某人出现 但距离稍远
Start with someone present but distant,
再逐渐的将他们与我们推近距离
and gradually bring them closer to us.
只要我们建立起这种关系了
Now once we establish that relationship,
是否就可以出现眼神交流和亲昵称呼了呢?
is it eye contact and direct address?
这是最好的连接方式吗?
Is that the best way to connect?
其实也许不是
Maybe not.
我们发现共同的经历才是关键点
We found that shared experience is powerful stuff.
这一点无论在虚拟现实空间
This is as true for the virtual reality space
还是在现实世界都一样适用
as it is for the real world.
我能共同经历受伤
We go through traumatic experiences.
共同经历美好
We go through great experiences.
如果你们有相同的经历
You can see it in someone else’s eyes
你可以在对方的眼中看到自己
if they know that you’ve gone through the same thing.
我们都感受到过
We’ve all felt that.
因此 我觉得VR可以产生出某种
So I feel that VR can provide some sort of outlet
深刻的连接
for that kind of profound connection.
当我看到了奥斯卡·拉比的《赞同》后
And when I watched Oscar Raby’s “The Assent,”
我认为这是个非常好的例子
I thought it was a great example of this.
作为观众 你扮演的是奥斯卡的父亲 在一次悲剧中复生
As the visitor, you are Oscar’s father reliving a tragic event.
但是奥斯卡也在那儿
But Oscar is there, too.
他扮演的角色是耐心的引导你
And as a character, he’s patiently leading you
重建你自己
through this recreation.
我不是奥斯卡的父亲
And I am not Oscar’s father.
他听到我这样说肯定会笑的
He would laugh if he heard me say that.
但是我感觉到了与他建立起的非常深刻的连接
But I feel connected with him in a very profound way.
我与他共享了这段经历
I simply share this experience with him,
在这件事上我们连接在了一起
and we’re in this thing together.
那么 虚拟世界与现实世界的
So what’s the dialogue between the virtual space
对话窗口在哪里?
and the real space?
在这种窗口中
What’s the potential for something
有什么潜在体验能够存在?
that lives in that tension?
那么 这是在头设里发生的场景
So right now, there’s what goes on in the headset, which
你们看不见
you didn’t see.
然后同时这是我们在现实世界做的事
And then there’s also what we do in the real world
配合这种体验
for that experience to happen.
如果现实世界中的运动有影响
And if movement in the real world added to something
或者有某种含义
or meant something uniquely narrative– like how
那我们该怎样构建一种可能会
do we potentially construct experiences that ride
跨越两个世界的体验?
both worlds simultaneously?
泰勒·赫德拍了这样一个很棒的视频
Tyler Hurd did this really great video, that maybe you
好像你们看不到 看到了
can’t see, but we’ll see now.

All right.
想象某人在跳舞
Imagine someone was dancing, or there’s
或者在播放某个跳舞的动画
these dancing animations.
我们看下
And we’ll show you that.
(视频播放)
[VIDEO PLAYBACK]
– 想像他们一样跳舞吗 你能吗?
-So if you want to dance like these guys, can you do that?
杰西卡:这是格伦·基恩在体验
JESSICA BRILLHART: This is Glen Keane
Tilt Brush团队的泰勒给他
with the Tilt Brush guys dancing to the experience
定制的舞蹈模式
that Tyler made.
– 这真是个不错的活动
-This is a great workout.
杰西卡:其实你们可以
JESSICA BRILLHART: And you can actually
在侧面的屏幕上看到虚拟世界里的
see a little bit of the experience there on the side
体验
screen there.
这挺简单
But it’s a simple thing.
只是在跳舞 对吗?
It’s just like dancing, right?
但我的意思是 沉浸在跳舞的经历中
I mean, I’m in the experience and there’s dancing.
相比较于我在外面的世界跳舞
And now I’m compelled to dance outside of that.
这种表演是什么?
Like what’s the performance there?
我能在现实世界做的动作
What can we do with the actual real world
会在我们体验虚拟现实时
that could be a result of what we experience
带来什么样的结果?
in the virtual world?
(视频播放结束)
[END PLAYBACK]
杰西卡:我们究竟是如何体验事物的?
JESSICA BRILLHART: And how do we experience things really?
在我们的人生中 我们能够了解自己是谁(屏幕:我们看不见真实的世界 看见的只是对自己有用的世界)
In our lives, we know ourselves and we are us.
我的意思是 怎样才算是我们
I mean, that’s just how it is.
但是在VR中 我们可以体验到不同的存在感受
But in VR we can experience different ways of being.
那是超脱这个世界的
And we can experience the world beyond ourselves and beyond how
超脱我们的感知的
we have evolved to perceive it.
《6×9》就是个很好的例子
“6×9” is a great example of this.
它讲的是一名犯人被关在单间里
It’s how does an inmate in solitary confinement
是如何了解世界的
perceive the world.
这样的境况是如何影响到他的?
How does a situation like this truly affect him?
他对世界的感受
Or how does it feel to see the world the way
是怎样用计算机算法描绘的?
a computer algorithm might see it?
这是DeepDream VR
This is DeepDream VR.
我们与人工智能团队合作的作品
We worked with the artificial intelligence team on this.
很奇特 对吗?
Pretty trippy, right?
其实人工智能可以
But artificial intelligence can actually
向我们的现实世界注入
provide some really beautiful insights
某些非常美丽的视觉
into our perceived world.
这个《盲人音符》是个值得观赏的作品
And “Notes on Blindness” is a remarkable piece.
这段VR讲的是一个即将全盲的人
It’s a VR piece based on the account of a man going blind,
如何应对即将到来的黑暗
dealing with going blind.
我们所了解的这种新形式
So this new form that we’ve known,
这种物理的 几乎是坚实的世界
this physicalness, this almost rigid world
逐渐转换得更加美丽
transforms into something a little bit more beautiful
和真实
and true.
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– 当某人逐渐变得看不见时
-As one goes deeper into blindness,
这种他平时认为是理所当然的事物
the things which once one took for granted and then
现在开始为它们的消失哀悼 然后绝望的尝试
mourned the loss of and then tried in a way desperately
为其补偿 最终 都不再重要
to compensate for, in the end, ceased to matter.
它们永远的消失了
They lose existential meaning.
它们被转移到某人的
They are removed to the periphery
意识周边
on one’s consciousness.
它们变得不再相关
They become irrelevant.
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杰西卡:我在看过这种形式之后
JESSICA BRILLHART: And I had grown
理解了它 存在逐渐消失破碎
to know these forms so well that when the forms started
大教堂开始飘走
to actually break apart and the cathedral started
我开始逐渐明白
to drift away, I sort of started to understand that maybe I’m
当我自己看不见本应看见的东西时 会是怎样
not seeing things the way that I should be seeing.
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杰西卡:等等 还有一点
JESSICA BRILLHART: But wait, there’s more.
我会快速过一下这一个主题 关于引导
I’m going to go through these super fast, but onboarding.
用户对VR没有100%了解
People don’t really understand VR 100% yet,
在最开始为用户安排几个阶段的
so it’s nice to have a couple levels
体验让他了解
in the beginning of the experience
什么是VR 这很重要
so that you know that they know that it’s VR.
扩展和响应 观众将会如何与空间关联?
Extend and respond, like how they engage with the space?
你会怎样扩展这种关系?
How do you extend that engagement?
该对这种情况做何响应?
How do you respond to it?
我们来实现连接 社会空间的连接
Let’s do entanglement, social space.
就像是 假设你身处于
Like, what if there is some space
在你之前来的人会对你产生影响的空间里
that you are in that is affected by someone who came before you?
天气变了
The weather changes.
颜色变了
The colors change.
角色也在改变和进化
The character shifts and change and evolve.
就像是 – 纽西姆其实说过
Maybe something like this– [INAUDIBLE] Newsome actually
这一点
talks about this.
她也在持续思考这个问题
She’s been thinking about this stuff too, the idea
360度空间太广阔了
that 360 space is a lot of space.
你能在其中定位到物体吗?
Can you then start targeting things?
你能在一个其实只有270度 180度 或者90度的
Can you then start constructing spaces or worlds
空间里构建出完整的世界吗?
where it’s really just about the 180 or the 270 or the 90,
在这样的空间中有多少故事会被讲述?
and different amounts of story are revealed at that space?
主动被动 世界功能 强化
Passive-active, world function, reinforcement.
哦 好吧 太晚了
Oh well, too late.
多元宇宙 听上去我越来越像个疯子了
Multiverse– I’m going to sound like a crazy person
这个意思就是
if I don’t already, but the fact that time
时间也是一种线性构造
is a linear construct too.
如果所有不同的世界我们都可以
What if all the different worlds we could travel through
同时穿越旅行
or tunnel through are all the same worlds,
看到它们中发生着不同的事 这会怎样?
but different things have happened in them?
不同的故事会涌现出来
The story has emerged differently.
不同的主角
There’s a different character.
不同的配角
There are supporting characters.
她最终没有和他在一起
She didn’t end up with him.
他后来变成了一只猴子
He became a monkey.
我不知道 但是基本上你可以将这些不同的世界
I don’t know, but basically you have all these different worlds
并列存在 然后为它们分别打造故事
that exist, and you craft something based on that.
群集
Flocking.
OK 故事
OK, so story.
现在我们准备好了这些局部
Now we’ve got all that stuff all the way-ish.
当然 还有很多很多细节
I mean, there’s a lot more.
一大堆
There’s a ton more.
但是我们开始说说故事吧
But let’s touch on the story.
关于故事和影片 让我们先思考一下
Let’s think for a moment of story and film
将它们认为是一颗致密的原子
as a dense atom of stuff.
当你看到它时 你就会立刻明白
And when you look at this atom, you get it.
你能看见一切
You see everything.
现在想象这颗原子爆炸了
Now imagine that atom exploding.
色彩 光线 以及人物的情感
That color and that light and the emotion in the characters,
爆炸的哪里都是
it’s all over the place.
这就是VR
And that’s VR.
于是故事就是一种将你
And story has always been a way of transporting you
从一个时间 地点 世界 穿越到另一个的手段
to another place or time or world.
VR的基础特征是存在
But the fundamental nature of VR is presence.
不再有所谓的“在很久很久以前”
There’s no once upon a time anymore.
不再有“有一个地方”
There’s no in a world.
你就身在其中
You’re there.
故事会在你来到那里
And the story emerges from when you do
开始做某事时涌现出来
or what you do when you’re there.
这就是你存在的结果
And it’s a result of your existence.
你之前是观众 但现在就是讲故事的人
You as a visitor are now the storyteller.
于是我们的任务就是作为这一切的创造者
And our job as creators is this.
为了做到这一点
Now in order to do this, we still
我们仍然需要一种语言 可以至少
need a language so that we can, at the very least,
让这一切有意义
make sense of it all.
做回顾的话 电影已有百年历史
And in retrospect, cinema has had a hundred years
来专门处理这个领域 形成了这样一种语言形式
to deal with this, to be able to come up with this language
专门用来讲故事
where from story sort of emerged.
然而现在这里还有很多未知数
And there’s a lot of unknowns here,
但我们对迄今为止所获得的发现
but we are pretty excited about the language we’ve
还是非常兴奋的
been able to discover so far.
我们认为这是个非常棒的起点
And we think it’s a really great place to start.
那么接下来会是什么?
So what’s next?
我不知道
I don’t know.
但是我知道的是 当我开始
But I do know that as I start to come up
获得更多的洞见 发现更多的
with more insights, as we discover more
关于这种媒介的特点 我会与大家
things about what’s going on in this medium, I want all of you
一起分享我和我们团队的狂热与激情的
know about it, as crazy as they may seem to me and to my team.
我会发布在Medium网站上 以及我的YouTube频道上
But I’ll publish them on Medium, my channel on YouTube.
尽管来看看吧
Feel free to check that out.
那里已经有一些我今天提到的影片了
That has a lot of the films I talked about today.
我创建了一个播放列表 今天展示的都有
I’ll have a playlist for all the content that I showed you.
总之我想说的是
And I think overall what I want to just say
现在对VR来说是个疯狂的时刻
is it’s a crazy time to be in VR.
我们已经非常实际的讨论过了
We’ve been talking very pragmatically.
但我认为现在我们应该俯下身来
But I think it’s time that we hunker down and start really
好好思考下到底在发生什么
thinking about what’s going on here.
我已经等不及想在明年的这个时候看到大家又发现了什么
And I can’t wait to see what you guys discover in the next year.
好的 谢谢大家
So thank you.
(掌声)
[APPLAUSE]
(音乐播放中)
[MUSIC PLAYING]

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翻译译者

知易行难

审核员

王磊

视频来源

https://www.youtube.com/watch?v=t3xDgONMdlM

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