When I was seven years old, some well-meaning adult asked me what I wanted to be when I grew up.
在我7岁的时候，有位好心的大人问我长大后想做什么。
Proudly, I said: "An artist."
我自豪地说：“一名艺术家。”
"No, you don't," he said, "You can't make a living being an artist!"
“不，你不会，”他说道，“当艺术家你是养不活自己的！”
My little seven-year-old Picasso dreams were crushed.
我7岁的小小毕加索梦想破灭了。
But I gathered myself, went off in search of a new dream, eventually settling on being a scientist,
但是我重整旗鼓，去寻找新的梦想，最终我确定要当一名科学家，
perhaps something like the next Albert Einstein.
也许会成为下一个爱因斯坦。
I have always loved math and science, later, coding.
我一直都热爱数学和科学，后来还爱上了写代码。
And so I decided to study computer programming in college.
因此在大学里我决定学习电脑编程。
In my junior year, my computer graphics professor showed us these wonderful short films.
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。
It was the first computer animation any of us had ever seen.
我们全班都是第一次见到电脑动画。
I watched these films in wonder, transfixed, fireworks going off in my head, thinking, "That is what I want to do with my life."
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，我想，“这就是我梦想的工作。”
The idea that all the math, science and code I had been learning could come together
所有我学到的数学、科学和编程，整合在一起，
to create these worlds and characters and stories I connected with, was pure magic for me.
可以用来创造这些世界、角色，以及故事的这种想法，对我来说充满了魔力。
Just two years later, I started working at the place that made those films, Pixar Animation Studios.
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。
It was here I learned how we actually execute those films.
在这里我真正学会了如何制作那些电影。
To create our movies, we create a three-dimensional world inside the computer.
为制作电影，我们在电脑里制作了3D世界。
We start with a point that makes a line that makes a face that creates characters, or trees and rocks that eventually become a forest.
我们从一个点连成线，线构成面，这样创造角色，或者树，或者石头，逐渐形成了一片森林。
And because it's a three-dimensional world, we can move a camera around inside that world.
因为这是一个3D世界，我们可以在那个世界里移动镜头。
I was fascinated by all of it. But then I got my first taste of lighting.
我被这一切深深吸引住了。然后我第一次尝试了布光。
Lighting in practice is placing lights inside this three-dimensional world.
布光实际上就是在这个3D世界里放置光源。
I actually have icons of lights I move around in there.
我有光源的图标能够在里面移动。
Here you can see I've added a light, I'm turning on the rough version of lighting in our software, turn on shadows and placing the light.
这里你们可以看到我加了一个光源，我打开的是软件里的粗略版光源，打开阴影，然后放置光源。
As I place a light, I think about what it might look like in real life,
当我放置一个光源时，我会想在现实生活中看上去应该是什么样子，
but balance that out with what we need artistically and for the story.
但同时也要平衡我们在艺术和故事上的需要。
So it might look like this at first, but as we adjust this and move that in weeks of work,
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不断进行各种调整和移动，
in rough form it might look like this, and in final form, like this.
在粗略模式下看起来就变成这样了，在最终模式中是这样。
There's this moment in lighting that made me fall utterly in love with it.
就在布光完成的这个瞬间，我完全地爱上了它。
It's where we go from this to this.
这是我们从这样变成这样的地方。
It's the moment where all the pieces come together, and suddenly the world comes to life as if it's an actual place that exists.
这是所有部分整合在一起的时刻，突然整个世界活了过来，就好像这是一个真实存在的地方。
This moment never gets old, especially for that little seven-year-old girl that wanted to be an artist.
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。
As I learned to light, I learned about using light to help tell story, to set the time of day,
随着我不断学习布光，我学会了用光去辅助故事的叙述，去设置一天中的时间，
to create the mood, to guide the audience's eye, how to make a character look appealing or stand out in a busy set.
去创造气氛，去引导观众的视线，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。
Did you see WALL-E? There he is.
你们看到瓦力了吗？他在这儿。
As you can see, we can create any world that we want inside the computer.
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。
We can make a world with monsters, with robots that fall in love, we can even make pigs fly.
我们可以使世界充满了怪兽，充满了陷入爱河的机器人，我们甚至可以使猪飞起来。
While this is an incredible thing, this untethered artistic freedom, it can create chaos.
这是一件不可思议的事，同时也是不受束缚的艺术自由，它可以创造混乱。
It can create unbelievable worlds, unbelievable movement, things that are jarring to the audience.
它可以创造出难以置信的世界、难以置信的运动，使观众觉得不舒服的东西。
So to combat this, we tether ourselves with science.
所以为了对抗这些，我们用科学约束自己。
We use science and the world we know as a backbone, to ground ourselves in something relatable and recognizable.
我们以科学和已知的常识作为支柱，把我们与可关联和可识别的事物联系起来。
"Finding Nemo" is an excellent example of this. A major portion of the movie takes place underwater.
“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。
But how do you make it look underwater?
但是你怎样使它看起来是在水下呢？
In early research and development, we took a clip of underwater footage and recreated it in the computer.
在早期的研发中，我们拿出一段水下的影片在电脑里面重建它。
Then we broke it back down to see which elements make up that underwater look.
然后我们把它进行分解去找出形成水下场景的元素。
One of the most critical elements was how the light travels through the water.
最关键的元素之一是光线如何在水中移动。
So we coded up a light that mimics this physics -- first, the visibility of the water, and then what happens with the color.
所以我们编码了一种光源模拟这种物理现象--首先，是水的能见度，然后是颜色的变化。
Objects close to the eye have their full, rich colors.
距离近的物体有完整的、丰富的色彩。
As light travels deeper into the water, we lose the red wavelengths,
随着水深增加，我们失去了红色波段的光，
then the green wavelengths, leaving us with blue at the far depths.
然后是绿色波段，在很深的地方只剩下蓝色。
In this clip you can see two other important elements.
在这个片段里你们可以看到两个其它重要元素。
The first is the surge and swell, or the invisible underwater current that pushes the bits of particulate around in the water.
第一个是涌动，或者说是不可见的暗流，这推动了周围水中的少量微粒。
The second is the caustics. These are the ribbons of light, like you might see on the bottom of a pool,
第二个是光的散射。这些是光线照射的条纹，就像你可以在池底看到的一样，
that are created when the sun bends through the crests of the ripples and waves on the ocean's surface.
这些是光线在海面上穿过涟漪和波浪的波峰时发生了弯曲。
Here we have the fog beams. These give us color depth cues,
这里我们有雾化光束。这些给了我们不同色彩的深度暗示，
but also tells which direction is up in shots where we don't see the water surface.
并且在看不到水面的地方告诉我们哪个方向是上方。
The other really cool thing you can see here is that we lit that particulate only with the caustics,
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，
so that as it goes in and out of those ribbons of light,
因此随着它进入和离开光的散射带，
it appears and disappears, lending a subtle, magical sparkle to the underwater.
它出会出现然后消失，产生了一个微妙的、魔幻的、生气勃勃的水下世界。
You can see how we're using the science -- the physics of water, light and movement -- to tether that artistic freedom.
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--来与艺术的自由相联系。
But we are not beholden to it. We considered each of these elements
但是我们不会被它禁锢。我们会仔细考虑每一个元素，
and which ones had to be scientifically accurate and which ones we could push and pull to suit the story and the mood.
然后决定哪些必须要达到科学准确度，哪些为了故事情节和气氛可以妥协。
We realized early on that color was one we had some leeway with.
我们在早期就意识到色彩就是一项有发挥空间的元素。
So here's a traditionally colored underwater scene.
这是一个用传统色彩渲染方式制作的水下场景。
But here, we can take Sydney Harbor and push it fairly green to suit the sad mood of what's happening.
但是这儿，我们可以将悉尼港调整得非常绿，来配合正在发生的悲伤的气氛。

In this scene, it's really important we see deep into the underwater,
在这个场景里，到深水下面去看真的非常重要，
so we understand what the East Australian Current is, that the turtles are diving into and going on this roller coaster ride.
这样我们就能理解东澳大利亚的洋流，那些海龟正在潜入洋流，搭乘这个“过山车”。
So we pushed the visibility of the water well past anything you would ever see in real life.
所以我们将水的能见度推到一个你们在现实生活中从没见过的程度。
Because in the end, we are not trying to recreate the scientifically correct real world,
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，
we're trying to create a believable world, one the audience can immerse themselves in to experience the story.
我们在尝试创造一个逼真的世界，一个可以让观众融入到这个故事中的世界。
We use science to create something wonderful.
我们用科学去创造一些很棒的东西。
We use story and artistic touch to get us to a place of wonder.
通过故事和艺术修饰将我们带到一个神奇的地方。
This guy, WALL-E, is a great example of that. He finds beauty in the simplest things.
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。
But when he came in to lighting, we knew we had a big problem.
但到了给他布光的时候，我们发现了一个大问题。
We got so geeked-out on making WALL-E this convincing robot, that we made his binoculars practically optically perfect.
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，我们把他的双筒眼睛做得近乎达到了光学上的完美。
His binoculars are one of the most critical acting devices he has.
他的双筒眼睛是它拥有的最关键的行动部件之一。
He doesn't have a face or even traditional dialogue, for that matter.
他没有脸，甚至没有传统的对话。
So the animators were heavily dependent on the binoculars to sell his acting and emotions.
因此动画制作者严重地依赖他的双筒眼睛去展现他的行为和情感。
We started lighting and we realized the triple lenses inside his binoculars were a mess of reflections.
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。
He was starting to look glassy-eyed.
他开始看起来眼神呆滞。
Now, glassy-eyed is a fundamentally awful thing when you are trying to convince an audience that a robot has a personality
现在问题来了，当你尝试说服一个观众一个机器人是有个性的，
and he's capable of falling in love.
而且他可以陷入爱河，那么眼神呆滞就是一个致命的问题。
So we went to work on these optically perfect binoculars,
所以我们在这些光学上完美的双筒眼睛上进行研究，
trying to find a solution that would maintain his true robot materials but solve this reflection problem.
努力寻找一个可以维持他真实的机器人身份的材质，同时又能解决反射问题的方案。
So we started with the lenses. Here's the flat-front lens, we have a concave lens and a convex lens.
所以我们从镜片上着手。这是前面的平面镜，后面有一个凹透镜，最后是一个凸透镜。
And here you see all three together, showing us all these reflections.
这里你们可以同时看到这三个，向我们展示了所有的反射。
We tried turning them down, we tried blocking them, nothing was working.
我们试着关闭它们，挡住它们，但是没什么效果。
You can see here, sometimes we needed something specific reflected in his eyes -- usually Eve.
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--常常是伊娃。
So we couldn't just use some faked abstract image on the lenses.
所以我们不能只是在镜片上用一些虚假抽象的图像。
So here we have Eve on the first lens, we put Eve on the second lens, it's not working.
那么在这儿我们将伊娃投影在第一个镜片上，还试着把它放到第二个镜片上，都不起作用。
We turn it down, it's still not working.
我们将它关掉，还是没用。
And then we have our eureka moment. We add a light to WALL-E that accidentally leaks into his eyes.
然后我们有了灵光一现的时刻。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。
You can see it light up these gray aperture blades.
你们可以看到它照亮了这些灰色的光圈叶片。
Suddenly, those aperture blades are poking through that reflection the way nothing else has.
突然，这些光圈叶片透过那个反射突显出来，其他任何方式都达不到这种效果。
Now we recognize WALL-E as having an eye.
现在我们可以看出瓦力有眼睛。
As humans we have the white of our eye, the colored iris and the black pupil.
像我们人类有眼白部分，有带色彩的虹膜以及黑色的瞳孔。
Now WALL-E has the black of an eye, the gray aperture blades and the black pupil.
现在，瓦力有眼睛的黑色，灰色的光圈叶片和黑色的瞳孔。
Suddenly, WALL-E feels like he has a soul, like there's a character with emotion inside.
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。
Later in the movie towards the end, WALL-E loses his personality, essentially going dead.
在电影快结束的时候，瓦力失去了他的个性，基本上说是快要死去了。
This is the perfect time to bring back that glassy-eyed look.
这是将他呆滞的眼神带回来的完美时刻。
In the next scene, WALL-E comes back to life.
在下一个场景中，瓦力又活了过来。
We bring that light back to bring the aperture blades back, and he returns to that sweet, soulful robot we've come to love. Eva?
我们将那个光源弄回来重新照亮光圈叶片，然后他变回了那个我们喜爱的甜美的，有灵魂的机器人。伊娃？
There's a beauty in these unexpected moments -- when you find the key to unlocking a robot's soul,
在这些无法预料的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，
the moment when you discover what you want to do with your life.
当你知道了你的人生中要做什么时。
The jellyfish in "Finding Nemo" was one of those moments for me.
“海底总动员”中的水母对我来说也是这些时刻之一。
There are scenes in every movie that struggle to come together. This was one of those scenes.
在每部电影里都有一些需要纠结一番才能完成的场景。这就是那些场景之一。
The director had a vision for this scene based on some wonderful footage of jellyfish in the South Pacific.
导演对这个场景有一种期待，他看过关于南太平洋中的水母的一些很棒的片段。
As we went along, we were floundering.
随着工作的深入，我们开始变得焦头烂额。
The reviews with the director turned from the normal look-and-feel conversation into more and more questions about numbers and percentages.
导演的评审从普通的观后感过渡到了越来越多关于数字和百分比的问题。
Maybe because unlike normal, we were basing it on something in real life, or maybe just because we had lost our way.
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，或者也许只是因为我们失去了方向。
But it had become about using our brain without our eyes, the science without the art.
但这只是在使用我们的大脑而不是眼睛，是使用了没有艺术性的科学。
That scientific tether was strangling the scene.
科学的束缚扼杀了场景。
But even through all the frustrations, I still believed it could be beautiful.
但即使经历了所有的挫折，我仍然相信它将是美丽的。
So when it came in to lighting, I dug in.
因此当到了布光的时候，我投入了全部的心血。
As I worked to balance the blues and the pinks, the caustics dancing on the jellyfish bells,
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，
the undulating fog beams, something promising began to appear.
起伏的雾化光束，我开始看到了一些曙光。
I came in one morning and checked the previous night's work.
一天早上我进来检查头一天晚上的成果。
And I got excited. And then I showed it to the lighting director and she got excited.
然后我变得兴奋起来。接着我给灯光导演展示，她也变得兴奋起来。
Soon, I was showing to the director in a dark room full of 50 people.
很快，我在一个坐满50个人的黑房间里给导演展示。
In director review, you hope you might get some nice words, then you get some notes and fixes, generally.
在导演的评审中，你会希望可以得到一些积极评价，然后通常你会得到一些解决问题的建议。
And then, hopefully, you get a final, signaling to move on to the next stage.
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。
I gave my intro, and I played the jellyfish scene.
我做了介绍，播放了水母场景。
And the director was silent for an uncomfortably long amount of time.
然而导演沉默好长一段时间，让我十分忐忑。
Just long enough for me to think, "Oh no, this is doomed."
长得让我不得不想，“噢，不，看来没戏了。”
And then he started clapping. And then the production designer started clapping.
然而他开始鼓掌了。然后制片设计师开始鼓掌。
And then the whole room was clapping. This is the moment that I live for in lighting.
接着整个房间的人都在鼓掌。这就是我为布光倾注心血所期待的时刻。
The moment where it all comes together and we get a world that we can believe in.
在所有部分都完成时，就会得到一个逼真的世界。
We use math, science and code to create these amazing worlds.
我们用数学、科学和编程来创作这些美轮美奂的世界。
We use storytelling and art to bring them to life.
我们用讲故事和艺术来赋予他们生命。
It's this interweaving of art and science that elevates the world to a place of wonder,
艺术和科学的交织将世界提升到了一个神奇的地点，
a place with soul, a place we can believe in, a place where the things you imagine can become real
一个有灵魂的地方，一个我们可以相信的地方，一个让你美梦成真的地方
and a world where a girl suddenly realizes not only is she a scientist, but also an artist. Thank you.
在这个世界中，一个女孩突然意识到她不但是一名科学家，还是一名艺术家。谢谢。