Субтитры (348)
0:04We spend great effort
into trying to capture moments.
0:08Freeze-frame memories,
0:10drawings, paintings, sculptures,
0:13photography and home movies
0:15are all our attempts
to remember something after it's gone.
0:19But did you know that your brain and eyes
are already hardwired to do this?
0:24I'm not talking about memory.
0:26I'm talking about the fact
that your eye continues to see an object
0:30for a split second
after that object disappears.
0:35I've been thinking about that fact
for over 35 years.
0:42(Video) Hi, I’m Brian McLean, and I’m
doing my science fair project on
0:46the principle of persistence of vision.
0:48Many of you are probably
wondering what is persistence of vision?
0:52Well, it's really pretty neat.
0:54Your eye is an amazing organ,
but it has one little quirk.
0:58It continues to see an object
for a 10th of a second
1:02after the object disappears.
1:05This principle is what makes movies,
1:07cartoons and even TV possible.
1:11Can't believe the sweater still fits.
1:16Brian McLean: Yep, that was me,
1:1712 years old and going deep
into the science of animation.
1:22I didn't want to do
my science fair project
1:24on the principle of persistence of vision.
1:29I wanted to do my science fair
project on claymation,
1:32but my dad, he wouldn't let me.
1:34He said, "Brian, this is a science fair.
1:37If you want to do claymation,
you have to focus on the science
1:40that makes animation possible."
1:43So I opened up my collection
of encyclopedias and I got to work.
1:47It was here that I learned
about this strange optical phenomenon
1:50called the principle
of persistence of vision.
1:53Of course, our brains
play a huge role in this.
1:55It's not just the quirk in the retina
that allow us to see film and animation.
1:59Our brains are hardwired
to be imaginative,
2:05in this case a series of still images,
2:07and create something new and innovative
2:09out of what it was given.
2:11But when I was in sixth grade,
I wasn't thinking of any of that.
2:14I just loved stop-motion animation.
2:17King Kong, Rudolph the Red-Nose reindeer,
2:20scenes from "Star Wars,"
2:22"Nightmare Before Christmas"
and Wallace and Gromit.
2:25I spent my childhood wondering
what types of tools these filmmakers use
2:29to create movie magic.
2:31Artists, technicians,
cinematographers and animators
2:35were creating groundbreaking visuals
2:37using primitive tools
compared to today's standards.
2:40Audiences leaving the theaters
2:41wondering how the heck
those geniuses pulled it off.
2:46So I went to school to study art.
2:48When I graduated college in 1999,
2:51I barely knew how to write an email.
2:54Computers were not something
I was comfortable with, so I resisted.
2:58Like many artists,
I bounced from job to job.
3:00My career path was not a straight line.
3:02Eventually, I ended up at a design school
3:05running their model shop.
3:07It was here the trajectory
of my life changed.
3:10I was introduced to a 3D printer.
3:13This amazing tool
was like science fiction.
3:15It bridged the digital world
and the physical worlds together.
3:19And for me, it made the digital
world far less intimidating
3:23and more approachable.
3:25So I'd read the instruction
manual at night
3:27and teach the students
how to use it during the day.
3:31I realized then that creativity
isn't just about making things,
3:36it's also about reinventing
how we make them.
3:38So a 3D printer isn't as unusual
as it was 20 years ago.
3:43But the potential impacts are enormous.
3:46Humans love to work with our hands.
3:49For thousands of years, everything
we made was handcrafted and unique.
3:54More recently, we've drifted
towards making lots and lots of things.
3:58Now, as we mass produce these objects,
4:00each object needed
to be the same by design.
4:04Innovation has built
assembly lines and tools
4:07that can pump out
thousands of widgets a day,
4:09precise but all the same.
4:13it takes a three-dimensional object
4:15and slices it into hundreds,
if not thousands,
4:18of two-dimensional images.
4:21Kind of like a CAT scan.
4:23And then those images
are built up layer by layer.
4:26A polyjet printer sprays down liquid resin
4:29and a bright UV light goes
and cures that resin.
4:35It’s a lot like your inkjet
printer at your house.
4:38Imagine printing the letter A
on a piece of paper
4:41and jetting down the A
in the exact same spot.
4:43And between each pass of the printer head,
4:45imagine dropping the paper slightly.
4:48Eventually you're going
to end up with an extruded A.
4:52Now, just like your inkjet
printer at your house,
4:55it doesn't take any longer
to print a paragraph of Shakespeare
4:58or a rudimentary sentence.
5:00The detail of what you're printing
doesn't necessarily add more time.
5:05We’re so used to the equation:
5:09the more complexity to something,
the longer it takes to make.
5:14But with a 3D printer,
5:15you can utilize the speed
of a mass-produced object,
5:18but each object can be unique,
5:20have their own bespoke
design and personality.
5:24And they were about
to have a fundamental impact
5:26on the way that stop-motion
movies are made.
5:44working with a small team
5:46at a fledgling animation studio
outside of Portland, Oregon,
5:50we pioneered the use of using 3D printers
for stop-motion animation
5:54to produce replacement animation.
5:58was to take this 100-year-old technique
of replacement animation,
6:02and fuse it with 21st-century
3D printing technology.
6:07We'd harness the power and subtlety
of the computer animation,
6:12but instead of rendering out a model
like Pixar or Dreamworks would,
6:15we would send face geometry
to a 3D printer
6:18and then have it become a physical object
6:20that would snap onto a stop-motion puppet.
6:24"Coraline" was the first film
to have 3D-printed faces.
6:28Over the course of the next
18 years and six films,
6:31LAIKA’s continued to pioneer
what stop-motion is capable of,
6:35as well as really redefining
what's capable
6:38in the 3D printing industry.
6:46BM: At first, we started printing
faces out of a single material
6:49and we had to hand-paint things.
6:51But then for our next few films,
we started using color printing.
6:56Now, color printing was different
6:57than the resin printing we'd used before.
7:01Here, colored glue is sprayed down
onto white powder.
7:06Now, the science behind
this printer is the absorption rate
7:09between the liquid and the dry powder.
7:13Together, they came together to create
the geometry as well as the mixed color.
7:17Now the problem is we live
in Portland, Oregon.
7:20I don't know if you guys noticed,
but it tends to rain a little bit here.
7:24So what that means if we printed
a face in the summer
7:27and that exact same face in the winter,
7:30they would come out
different sizes and different colors
7:33because of the humidity differences.
7:35But it was the only
color printer on the market.
7:37So for years we made do.
7:40Now we'd also design and engineer
the entire head in the computer.
7:44Computer modelers wore many hats.
7:46They were first the sculptor
7:47that was sculpting
the outside of the face,
7:50and then they would switch gears
and become the engineer
7:52to engineer all the inner components.
7:55We refer to these as very fancy
Mr. Potato Heads.
8:00Now, starting in 2016,
8:03something really exciting
happened in the 3D printing world.
8:06I don't know if any of you guys heard,
8:08but man, us 3D printing nerds were stoked.
8:11Are you ready for this?
8:15You've all heard -- thanks.
8:19You've all heard of pixels, right?
8:21The little 2D dots
that make up 2D imagery.
8:25Well, a voxel is basically
a three-dimensional pixel.
8:29There's something like
338 million voxels in a cubic inch.
8:35So unlike the inkjet printing
we'd used before
8:39that were based on decades
of 2D inkjet technology,
8:42where colors can overlap to mix color,
8:47Each voxel has to occupy its own 3D space.
8:52The printer jets down distinct voxels
of cyan, yellow, magenta,
8:57black, white, and clear resin
8:59layer by layer in different patterns.
9:02Now, because we're printing
a three-dimensional object,
9:06the shape of that object,
9:07and the way that light hits the surface
and is either reflected off
9:12affects the colors our eyes see.
9:15So what that means is the pattern
of voxels of magenta and yellow
9:19to print an orange sphere
9:22are different than that of an orange cube.
9:26If you were to take one of our faces
9:28and look at it under
an electron microscope,
9:30you would not see smooth mixed color,
9:33but instead millions and millions
of distinct voxels.
9:37It's a lot like a pointillist painting.
9:39If you stand back far enough,
9:41it appears as though the colors are mixed.
9:43But when you get close to the canvas,
you can see the individual colors.
9:48This was groundbreaking
in the 3D-printing world.
9:51Not only could you create
sophisticated color parts,
9:54but you could start to control
the interior as well.
9:57Remember, there are voxels
throughout the entire volume,
10:00not just on the surface.
10:02By leveraging visual effects
software packages typically used
10:05in big-budget movies to render
explosions, tornadoes,
10:11LAIKA has been taking
super-dense point cloud data
10:14and transferring them
into 3D printed voxels
10:17and being able to precisely control
voxels in a 3D space.
10:21We're at the tip of the innovation
sphere in this area.
10:24We can take hard materials
and soft materials
10:27and combine them on a voxel level,
10:29producing a brand new material
with unique properties in the process.
10:34Anyone wondering what this is over here,
10:36this ominous object under the black cloth?
10:40Well, remember how a 3D object
is built up out of layers?
10:45Well, it turns out you
can take the CAT scan data,
10:48and you can 3D print a perfect replica
of a patient's body part.
10:52By taking voxels, you can create materials
10:55that are like bone, tissue,
10:57muscle veins, and skin.
11:00A surgeon can take real patient data
11:04and 3D print a perfect replica
of a patient's head
11:07with the exact placement of their tumor,
11:10and then do a practice operation
removing that tumor.
11:22LAIKA’s very own Rob Ducey,
11:24who was part of that
original team in 2006,
11:28has helped write a research paper,
11:30along with Nick Jacobson
11:32and other researchers
in the medical field on this very subject.
11:35It's amazing to see
LAIKA Animation Studios,
11:38alongside other prestigious
medical researchers,
11:42as the one pioneering the use
of voxel printing in the medical field.
11:48But we're like any other user
in the 3D-printing world.
11:51Yes, we've won a scientific
and technical Oscar
11:53for pioneering the use of 3D printing
in stop-motion animation,
11:57but most other users
are creating prototypes.
12:01We’re using a 3D printer
as a creative expression.
12:04In a way, bringing still objects to life.
12:07Each face we print is unique.
12:09Each one is a work of art
that's hand-finished by artists.
12:13For our latest film, "Missing Link,"
12:15we printed over 106,000 unique faces.
12:19We have a face library
run by face librarians
12:23who catalog and archive
each individual expression.
12:28We've also won a Guinness
Book of World Records
12:31for the most number of 3D-printed faces
in a stop-motion animated film.
12:36I don't think anyone else
is competing in that category,
12:39but it's still pretty cool.
12:42So the geniuses at LAIKA have been
trying to figure out a way,
12:47that I could demonstrate how we use
3D printers for replacement animation.
12:51You see, stop-motion animation
is an extremely slow process.
12:56The average animator,
working 40 hours a week,
13:00can produce three to four
seconds of footage.
13:04I would be up on this stage for weeks
trying to animate something for you guys,
13:08and if any of you stuck around that long,
you'd be disappointed
13:11because I'm not an animator
13:13and it wouldn't look very good.
13:16So at first we thought
about building one of these.
13:19This is called a zoetrope.
13:21It was invented
before film cameras existed
13:23as a way to see still images come to life.
13:26We thought about dragging
one of these out here
13:28and having me spin it like crazy,
13:30but the problem with this design
is all the beautiful artwork is hidden
13:34behind those large cylindrical walls.
13:38we designed, engineered and built
something specific for this TEDx stage.
13:52He's one of our typical
stop-motion puppets.
13:56Norman is about ten inches tall.
13:59He's got a metal armature.
14:01Animators will move the puppet,
14:03and they will also remove his face.
14:06This is one of those 3D-printed faces.
14:08There are magnets on the back,
14:10and the magnets snap
the face into position.
14:14So when an animator goes out to set,
14:16they go out with their little
character, the little puppet,
14:18but they also go out with a box of faces.
14:22We're delivering 24 faces
for every second of footage.
14:27This represents three seconds
of Norman animation.
14:33Think about this contraption,
14:36this camera as your eyeball
14:38and this flywheel mechanism
as your eyelid.
14:42As I move slowly,
it's like you're blinking slowly.
14:47As I move backwards --
14:50I can move forward and backwards.
14:52Now, you can also kind of probably
hear some sounds, right?
14:55Those are broken up sounds of words.
14:58As I move faster, it's like
you're blinking faster, right?
15:02Now, let me get this set up.
15:04Once I hit the magical speed
of 24 frames a second,
15:10your mind's imagination
will fill in the gaps,
15:13and you'll be left with
the beautiful and creative world
15:16coming to life before your eyes.
15:19Alright, so this is 16 feet long,
15:21and I've got to get over there
in about two seconds.
15:24I've had to get in shape for this part.
15:26They didn't tell me that
when they built this thing.
15:33Norman: Hi. Nice to see you guys.
15:37(Applause and cheers)
15:47BM: Alright, one more time.
15:49That was pretty cool.
15:53BM: Oh, I was afraid
you were going to say that.
15:55Alright, can we dim the lights?
15:59Norman: Hi. Nice to see you guys.
16:03(Cheers and applause)
16:12BM: That kid you saw before in the video
16:14loves stop-motion animation.
16:17That led me down a path
of first discovery,
16:20then resisting something
I feared: technology.
16:23The artistic drive of the individuals
that I have an honor of working alongside
16:28have built an environment
16:29where we get to bring
imagination into reality
16:32and forge the path forward
of not only inventing new things,
16:36but using creativity to reinvent
how we make them.
16:41(Video) Mr Pickles: Mmm.
16:43Mr Trout: Just keeping
the streets clean.
16:45Mr Pickles: Free from evil.
16:47Mr Pickles: You ever think
about the universe, Mr Trout?
16:51What if our world is just
like a tiny speck.
16:55Mr Trout: A tiny little speck.
16:56Mr Pickles: And there are giants
looking down on us?
16:59Mr Trout: And every time we move --
17:01Mr Pickles: It's actually them moving us.
17:04Mr Trout: Seems a bit tedious.
17:06Mr Pickles: Like that,
just there, me blinking.
17:08That would have taken them a day.
17:10Mr Trout: Me moving my arm, 500 men.
17:13Mr Pickles: I mean,
none of them are going home.
17:15They're having to do this bit.
17:21I mean, this should stop.
17:25BM: Thank you very much.
