The future of news? Virtual reality
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0:01 - 0:03What if I could present you a story
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0:03 - 0:05that you would remember
with your entire body -
0:05 - 0:07and not just with your mind?
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0:07 - 0:10My whole life as a journalist,
I've really been compelled -
0:10 - 0:12to try to make stories
that can make a difference -
0:12 - 0:15and maybe inspire people to care.
-
0:15 - 0:17I've worked in print.
I've worked in documentary. -
0:17 - 0:19I've worked in broadcast.
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0:19 - 0:22But it really wasn't until
I got involved with virtual reality -
0:22 - 0:25that I started seeing
these really intense, -
0:25 - 0:27authentic reactions from people
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0:27 - 0:28that really blew my mind.
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0:28 - 0:33So the deal is that with VR,
virtual reality, -
0:33 - 0:36I can put you on scene
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0:36 - 0:38in the middle of the story.
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0:38 - 0:42By putting on these goggles
that track wherever you look, -
0:42 - 0:45you get this whole-body sensation,
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0:45 - 0:47like you're actually, like, there.
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0:47 - 0:51So five years ago was about when
I really began to push the envelope -
0:51 - 0:54with using virtual reality
and journalism together. -
0:54 - 0:56And I wanted to do a piece about hunger.
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0:56 - 1:00Families in America are going hungry,
food banks are overwhelmed, -
1:00 - 1:02and they're often running out of food.
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1:02 - 1:06Now, I knew I couldn't
make people feel hungry, -
1:06 - 1:10but maybe I could figure out a way
to get them to feel something physical. -
1:11 - 1:14So -- again, this is five years ago --
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1:14 - 1:17so doing journalism
and virtual reality together -
1:17 - 1:20was considered
a worse-than-half-baked idea, -
1:20 - 1:21and I had no funding.
-
1:21 - 1:24Believe me, I had a lot
of colleagues laughing at me. -
1:24 - 1:28And I did, though,
have a really great intern, -
1:28 - 1:30a woman named Michaela Kobsa-Mark.
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1:30 - 1:32And together we went out to food banks
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1:32 - 1:35and started recording
audio and photographs. -
1:35 - 1:37Until one day she came back to my office
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1:37 - 1:39and she was bawling, she was just crying.
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1:39 - 1:42She had been on scene at a long line,
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1:42 - 1:46where the woman running the line
was feeling extremely overwhelmed, -
1:46 - 1:49and she was screaming,
"There's too many people! -
1:49 - 1:51There's too many people!"
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1:51 - 1:54And this man with diabetes
doesn't get food in time, -
1:54 - 1:58his blood sugar drops too low,
and he collapses into a coma. -
1:59 - 2:00As soon as I heard that audio,
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2:00 - 2:03I knew that this would be
the kind of evocative piece -
2:04 - 2:07that could really describe
what was going on at food banks. -
2:07 - 2:11So here's the real line.
You can see how long it was, right? -
2:11 - 2:14And again, as I said, we didn't
have very much funding, -
2:14 - 2:17so I had to reproduce it
with virtual humans that were donated, -
2:17 - 2:21and people begged and borrowed favors
to help me create the models -
2:22 - 2:24and make things as accurate as we could.
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2:24 - 2:26And then we tried to convey
what happened that day -
2:26 - 2:29with as much as accuracy as is possible.
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2:30 - 2:34(Video) Voice: There's too many people!
There's too many people! -
2:42 - 2:45Voice: OK, he's having a seizure.
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2:59 - 3:02Voice: We need an ambulance.
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3:02 - 3:04Nonny de la Peña: So the man on the right,
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3:04 - 3:06for him, he's walking around the body.
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3:06 - 3:09For him, he's in the room with that body.
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3:09 - 3:11Like, that guy is at his feet.
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3:12 - 3:14And even though,
through his peripheral vision, -
3:14 - 3:16he can see that he's in this lab space,
-
3:16 - 3:20he should be able to see
that he's not actually on the street, -
3:20 - 3:23but he feels like he's there
with those people. -
3:23 - 3:25He's very cautious not to step on this guy
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3:25 - 3:27who isn't really there, right?
-
3:28 - 3:31So that piece ended up
going to Sundance in 2012, -
3:31 - 3:35a kind of amazing thing,
and it was the first virtual reality film -
3:35 - 3:37ever, basically.
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3:37 - 3:39And when we went, I was really terrified.
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3:39 - 3:41I didn't really know
how people were going to react -
3:42 - 3:43and what was going to happen.
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3:43 - 3:46And we showed up
with this duct-taped pair of goggles. -
3:46 - 3:50(Video) Oh, you're crying.
You're crying. Gina, you're crying. -
3:50 - 3:53So you can hear
the surprise in my voice, right? -
3:53 - 3:56And this kind of reaction ended up being
the kind of reaction we saw -
3:56 - 3:59over and over and over:
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3:59 - 4:03people down on the ground
trying to comfort the seizure victim, -
4:03 - 4:05trying to whisper something into his ear
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4:05 - 4:09or in some way help,
even though they couldn't. -
4:09 - 4:11And I had a lot of people
come out of that piece saying, -
4:11 - 4:14"Oh my God, I was so frustrated.
I couldn't help the guy," -
4:14 - 4:16and take that back into their lives.
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4:17 - 4:19So after this piece was made,
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4:20 - 4:24the dean of the cinema school at USC,
the University of Southern California, -
4:24 - 4:28brought in the head of the World
Economic Forum to try "Hunger," -
4:28 - 4:30and he took off the goggles,
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4:30 - 4:33and he commissioned
a piece about Syria on the spot. -
4:33 - 4:36And I really wanted to do something
about Syrian refugee kids, -
4:36 - 4:40because children have been the worst
affected by the Syrian civil war. -
4:41 - 4:45I sent a team to the border of Iraq
to record material at refugee camps, -
4:45 - 4:48basically an area I wouldn't
send a team now, -
4:48 - 4:50as that's where ISIS is really operating.
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4:50 - 4:53And then we also recreated a street scene
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4:53 - 4:57in which a young girl is singing
and a bomb goes off. -
4:57 - 4:59Now, when you're
in the middle of that scene -
4:59 - 5:02and you hear those sounds,
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5:02 - 5:04and you see the injured around you,
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5:04 - 5:07it's an incredibly scary and real feeling.
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5:07 - 5:12I've had individuals who have been
involved in real bombings tell me -
5:12 - 5:15that it evokes the same kind of fear.
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5:16 - 5:21[The civil war in Syria may seem far away]
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5:22 - 5:28[until you experience it yourself.]
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5:29 - 5:36(Girl singing)
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5:36 - 5:39(Explosion)
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5:39 - 5:43[Project Syria]
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5:44 - 5:46[A virtual reality experience]
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5:47 - 5:49NP: We were then invited to take the piece
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5:49 - 5:51to the Victoria and Albert
Museum in London. -
5:51 - 5:52And it wasn't advertised.
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5:52 - 5:55And we were put in this tapestry room.
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5:55 - 5:56There was no press about it,
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5:56 - 6:00so anybody who happened to walk
into the museum to visit it that day -
6:00 - 6:01would see us with these crazy lights.
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6:01 - 6:05You know, maybe they would want to see
the old storytelling of the tapestries. -
6:05 - 6:08They were confronted
by our virtual reality cameras. -
6:09 - 6:12But a lot of people tried it,
and over a five-day run -
6:12 - 6:16we ended up with 54 pages
of guest book comments, -
6:16 - 6:19and we were told by the curators there
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6:19 - 6:21that they'd never seen such an outpouring.
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6:21 - 6:26Things like, "It's so real,"
"Absolutely believable," -
6:26 - 6:28or, of course, the one
that I was excited about, -
6:28 - 6:31"A real feeling as if you were
in the middle of something -
6:31 - 6:33that you normally see on the TV news."
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6:34 - 6:38So, it works, right? This stuff works.
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6:38 - 6:42And it doesn't really matter
where you're from or what age you are -- -
6:42 - 6:44it's really evocative.
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6:44 - 6:48Now, don't get me wrong -- I'm not saying
that when you're in a piece -
6:48 - 6:51you forget that you're here.
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6:51 - 6:54But it turns out we can feel
like we're in two places at once. -
6:54 - 6:58We can have what I call
this duality of presence, -
6:58 - 7:02and I think that's what allows me
to tap into these feelings of empathy. -
7:02 - 7:04Right?
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7:04 - 7:07So that means, of course,
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7:07 - 7:12that I have to be very cautious
about creating these pieces. -
7:12 - 7:16I have to really follow
best journalistic practices -
7:16 - 7:19and make sure that these powerful stories
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7:19 - 7:20are built with integrity.
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7:20 - 7:23If we don't capture
the material ourselves, -
7:23 - 7:28we have to be extremely exacting
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7:28 - 7:31about figuring out the provenance
and where did this stuff come from -
7:31 - 7:32and is it authentic?
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7:32 - 7:34Let me give you an example.
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7:34 - 7:37With this Trayvon Martin case,
this is a guy, a kid, -
7:37 - 7:41who was 17 years old and he bought
soda and a candy at a store, -
7:41 - 7:44and on his way home he was tracked
by a neighborhood watchman -
7:44 - 7:47named George Zimmerman
who ended up shooting and killing him. -
7:48 - 7:49To make that piece,
-
7:49 - 7:52we got the architectural drawings
of the entire complex, -
7:52 - 7:57and we rebuilt the entire scene
inside and out, based on those drawings. -
7:57 - 7:59All of the action
-
7:59 - 8:03is informed by the real 911
recorded calls to the police. -
8:04 - 8:07And interestingly, we broke
some news with this story. -
8:07 - 8:11The forensic house that did the audio
reconstruction, Primeau Productions, -
8:11 - 8:13they say that they would testify
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8:13 - 8:16that George Zimmerman,
when he got out of the car, -
8:16 - 8:19he cocked his gun before he went
to give chase to Martin. -
8:20 - 8:23So you can see that
the basic tenets of journalism, -
8:23 - 8:25they don't really change here, right?
-
8:25 - 8:29We're still following the same principles
that we would always. -
8:29 - 8:32What is different is the sense
of being on scene, -
8:32 - 8:34whether you're watching
a guy collapse from hunger -
8:34 - 8:37or feeling like you're
in the middle of a bomb scene. -
8:37 - 8:42And this is kind of what has driven me
forward with these pieces, -
8:42 - 8:44and thinking about how to make them.
-
8:44 - 8:48We're trying to make this, obviously,
beyond the headset, more available. -
8:48 - 8:51We're creating mobile pieces
like the Trayvon Martin piece. -
8:51 - 8:54And these things have had impact.
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8:54 - 8:57I've had Americans tell me
that they've donated, -
8:57 - 9:01direct deductions from their bank account,
money to go to Syrian children refugees. -
9:01 - 9:04And "Hunger in LA," well,
it's helped start -
9:04 - 9:06a new form of doing journalism
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9:06 - 9:09that I think is going to join
all the other normal platforms -
9:09 - 9:11in the future.
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9:11 - 9:12Thank you.
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9:12 - 9:14(Applause)
- Title:
- The future of news? Virtual reality
- Speaker:
- Nonny de la Peña
- Description:
-
What if you could experience a story with your entire body, not just with your mind? Nonny de la Peña is working on a new form of journalism that combines traditional reporting with emerging VR technologies to put the audience inside the story. The result is an evocative experience that de la Peña hopes will help people understand the news in a brand new way.
- Video Language:
- English
- Team:
- closed TED
- Project:
- TEDTalks
- Duration:
- 09:27
Brian Greene edited English subtitles for The future of news? Virtual reality | ||
Brian Greene edited English subtitles for The future of news? Virtual reality | ||
Camille Martínez approved English subtitles for The future of news? Virtual reality | ||
Camille Martínez edited English subtitles for The future of news? Virtual reality | ||
Camille Martínez edited English subtitles for The future of news? Virtual reality | ||
Camille Martínez edited English subtitles for The future of news? Virtual reality | ||
Brian Greene accepted English subtitles for The future of news? Virtual reality | ||
Brian Greene edited English subtitles for The future of news? Virtual reality |