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TED, Nonny de la Peña: The future of news? Virtual reality

Nonny de la Peña: The future of news? Virtual reality

00:11What if I could present you a story that you would remember with your entire body and not just with your mind?

My whole life as a journalist, I've really been compelled to try to make stories that can make a difference and maybe inspire people to care. I've worked in print. I've worked in documentary. I've worked in broadcast. But it really wasn't until I got involved with virtual reality that I started seeing these really intense, authentic reactions from people that really blew my mind. 00:39So the deal is that with VR, virtual reality, I can put you on scene in the middle of the story.

By putting on these goggles that track wherever you look, you get this whole-body sensation, like you're actually, like, there. So five years ago was about when I really began to push the envelope with using virtual reality and journalism together. And I wanted to do a piece about hunger. Families in America are going hungry, food banks are overwhelmed, and they're often running out of food. Now, I knew I couldn't make people feel hungry, but maybe I could figure out a way to get them to feel something physical. 01:21So -- again, this is five years ago -- so doing journalism and virtual reality together was considered a worse-than-half-baked idea, and I had no funding.

Believe me, I had a lot of colleagues laughing at me.And I did, though, have a really great intern, a woman named Michaela Kobsa-Mark. And together we went out to food banks and started recording audio and photographs. Until one day she came back to my office and she was bawling, she was just crying. She had been on scene at a long line, where the woman running the line was feeling extremely overwhelmed, and she was screaming, "There's too many people! There's too many people!" And this man with diabetes doesn't get food in time, his blood sugar drops too low, and he collapses into a coma. As soon as I heard that audio, I knew that this would be the kind of evocative piece that could really describe what was going on at food banks. 02:18So here's the real line.

You can see how long it was, right? And again, as I said, we didn't have very much funding, so I had to reproduce it with virtual humans that were donated, and people begged and borrowed favors to help me create the models and make things as accurate as we could. And then we tried to convey what happened that day with as much as accuracy as is possible. 02:40(Video) Voice: There's too many people!

There's too many people!

02:53Voice: OK, he's having a seizure.

03:10Voice: We need an ambulance.

03:13Nonny de la Peña: So the man on the right, for him, he's walking around the body.

For him, he's in the room with that body. Like, that guy is at his feet. And even though, through his peripheral vision, he can see that he's in this lab space, he should be able to see that he's not actually on the street, but he feels like he's there with those people. He's very cautious not to step on this guy who isn't really there, right? 03:38So that piece ended up going to Sundance in 2012, a kind of amazing thing, and it was the first virtual reality film ever, basically.

And when we went, I was really terrified. I didn't really know how people were going to react and what was going to happen. And we showed up with this duct-taped pair of goggles. 03:56(Video) Oh, you're crying.

You're crying. Gina, you're crying. 04:00So you can hear the surprise in my voice, right?

And this kind of reaction ended up being the kind of reaction we saw over and over and over: people down on the ground trying to comfort the seizure victim,trying to whisper something into his ear or in some way help, even though they couldn't. And I had a lot of people come out of that piece saying, "Oh my God, I was so frustrated. I couldn't help the guy," and take that back into their lives. 04:27So after this piece was made, the dean of the cinema school at USC, the University of Southern California, brought in the head of the World Economic Forum to try "Hunger," and he took off the goggles, and he commissioned a piece about Syria on the spot.

And I really wanted to do something about Syrian refugee kids, because children have been the worst affected by the Syrian civil war. I sent a team to the border of Iraq to record material at refugee camps, basically an area I wouldn't send a team now, as that's where ISIS is really operating. And then we also recreated a street scene in which a young girl is singing and a bomb goes off. Now, when you're in the middle of that scene and you hear those sounds, and you see the injured around you, it's an incredibly scary and real feeling. I've had individuals who have been involved in real bombings tell me that it evokes the same kind of fear. 05:27[The civil war in Syria may seem far away] [until you experience it yourself.

05:40(Girl singing)

05:47(Explosion)

05:49[Project Syria] [A virtual reality experience]

05:57NP: We were then invited to take the piece to the Victoria and Albert Museum in London.

And it wasn't advertised. And we were put in this tapestry room. There was no press about it, so anybody who happened to walk into the museum to visit it that day would see us with these crazy lights. You know, maybe they would want to see the old storytelling of the tapestries. They were confronted by our virtual reality cameras. But a lot of people tried it, and over a five-day run we ended up with 54 pages of guest book comments, and we were told by the curators there that they'd never seen such an outpouring.Things like, "It's so real," "Absolutely believable," or, of course, the one that I was excited about, "A real feeling as if you were in the middle of something that you normally see on the TV news. 06:45So, it works, right?

This stuff works. And it doesn't really matter where you're from or what age you are --it's really evocative. 06:55Now, don't get me wrong -- I'm not saying that when you're in a piece you forget that you're here.

But it turns out we can feel like we're in two places at once. We can have what I call this duality of presence,and I think that's what allows me to tap into these feelings of empathy. Right? 07:15So that means, of course, that I have to be very cautious about creating these pieces.

I have to really follow best journalistic practices and make sure that these powerful stories are built with integrity. If we don't capture the material ourselves, we have to be extremely exacting about figuring out the provenance and where did this stuff come from and is it authentic? 07:43Let me give you an example.

With this Trayvon Martin case, this is a guy, a kid, who was 17 years old and he bought soda and a candy at a store, and on his way home he was tracked by a neighborhood watchman named George Zimmerman who ended up shooting and killing him. To make that piece, we got the architectural drawings of the entire complex, and we rebuilt the entire scene inside and out, based on those drawings. All of the action is informed by the real 911 recorded calls to the police. And interestingly, we broke some news with this story. The forensic house that did the audio reconstruction, Primeau Productions, they say that they would testify that George Zimmerman, when he got out of the car, he cocked his gun before he went to give chase to Martin. 08:31So you can see that the basic tenets of journalism, they don't really change here, right?

We're still following the same principles that we would always. What is different is the sense of being on scene,whether you're watching a guy collapse from hunger or feeling like you're in the middle of a bomb scene.And this is kind of what has driven me forward with these pieces, and thinking about how to make them.We're trying to make this, obviously, beyond the headset, more available. We're creating mobile pieces like the Trayvon Martin piece. And these things have had impact. I've had Americans tell me that they've donated, direct deductions from their bank account, money to go to Syrian children refugees. And "Hunger in LA," well, it's helped start a new form of doing journalism that I think is going to join all the other normal platforms in the future. 09:21Thank you.

09:22(Applause)

Nonny de la Peña: The future of news? Virtual reality Nonny de la Peña: Die Zukunft der Nachrichten? Virtuelle Realität Nonny de la Peña: ¿El futuro de las noticias? La realidad virtual Nonny de la Peña : L'avenir de l'information ? La réalité virtuelle ノニー・デ・ラ・ペーニャ:ニュースの未来?バーチャルリアリティ 노니 데 라 페냐: 뉴스의 미래는? 가상 현실 Nonny de la Peña: Przyszłość wiadomości? Wirtualna rzeczywistość Nonny de la Peña: O futuro das notícias? Realidade virtual Нонни де ла Пенья: Будущее новостей? Виртуальная реальность Nonny de la Peña: Haberin geleceği mi? Sanal gerçeklik Нонні де ла Пенья: Майбутнє новин? Віртуальна реальність Nonny de la Peña:新闻的未来?虚拟现实

00:11What if I could present you a story that you would remember with your entire body and not just with your mind? 00: 11 ¿Qué pasaría si pudiera presentarte una historia que recordarías con todo tu cuerpo y no solo con tu mente?

My whole life as a journalist, I’ve really been compelled to try to make stories that can make a difference and maybe inspire people to care. Toda mi vida como periodista, realmente me he visto obligado a intentar hacer historias que puedan marcar la diferencia y tal vez inspirar a las personas a preocuparse. Всю свою жизнь в качестве журналиста я действительно был вынужден создавать истории, которые могут изменить ситуацию и, возможно, вдохновить людей на заботу. 在我作為記者的一生中,我真的被迫嘗試製作能夠產生影響並可能激發人們關心的故事。 I’ve worked in print. 我曾在印刷業工作過。 I’ve worked in documentary. He trabajado en documental. I’ve worked in broadcast. He trabajado en transmisión. But it really wasn’t until I got involved with virtual reality that I started seeing these really intense, authentic reactions from people that really blew my mind. Pero realmente no fue hasta que me involucré con la realidad virtual que comencé a ver estas reacciones realmente intensas y auténticas de personas que realmente me asombraron. Но на самом деле только когда я увлекся виртуальной реальностью, я начал видеть эти действительно интенсивные, аутентичные реакции людей, которые действительно взорвали мой мозг. 但直到我接觸虛擬實境之後,我才開始看到人們的這些非常強烈、真實的反應,這真的讓我大吃一驚。 00:39So the deal is that with VR, virtual reality, I can put you on scene in the middle of the story. 00: 39 Así que el trato es que con la realidad virtual, la realidad virtual, puedo ponerte en escena en medio de la historia.

By putting on these goggles that track wherever you look, you get this whole-body sensation, like you’re actually, like, there. Al ponerse estas gafas protectoras donde quiera que mire, obtendrá esta sensación de cuerpo entero, como si en realidad estuviera allí. So five years ago was about when I really began to push the envelope with using virtual reality and journalism together. Así que hace cinco años fue cuando realmente empecé a empujar el sobre con el uso de la realidad virtual y el periodismo juntos. 五年前,我真正開始將虛擬實境和新聞結合起來,挑戰極限。 And I wanted to do a piece about hunger. Y quería hacer un artículo sobre el hambre. Families in America are going hungry, food banks are overwhelmed, and they’re often running out of food. Las familias en Estados Unidos pasan hambre, los bancos de alimentos están abrumados y, a menudo, se están quedando sin alimentos. Семьи в Америке голодают, продовольственные банки переполнены, и у них часто заканчивается еда. 美國的家庭正在挨餓,食物銀行不堪重負,他們的食物常常告罄。 Now, I knew I couldn’t make people feel hungry, but maybe I could figure out a way to get them to feel something physical. Ahora, sabía que no podía hacer que las personas se sintieran hambrientas, pero tal vez podría encontrar una manera de hacer que sintieran algo físico. Теперь я знал, что не могу заставить людей чувствовать голод, но, возможно, я мог бы найти способ заставить их чувствовать что-то физическое. 01:21So -- again, this is five years ago -- so doing journalism and virtual reality together was considered a worse-than-half-baked idea, and I had no funding. 01: 21 Así que, nuevamente, esto es hace cinco años, por lo que hacer periodismo y realidad virtual juntos se consideraba una idea peor que la mitad, y no tenía fondos. 01:21 Итак, опять же, это было пять лет назад, поэтому совместная журналистика и виртуальная реальность считались худшей, чем полусырой идеей, и у меня не было финансирования. 01:21所以——再說一遍,這是五年前的事了——所以將新聞業和虛擬現實結合在一起被認為是一個不成熟的想法,而且我沒有資金。

Believe me, I had a lot of colleagues laughing at me.And I did, though, have a really great intern, a woman named Michaela Kobsa-Mark. Créeme, tenía muchos colegas riéndose de mí. Y, sin embargo, tengo una gran pasante, una mujer llamada Michaela Kobsa-Mark. And together we went out to food banks and started recording audio and photographs. Until one day she came back to my office and she was bawling, she was just crying. Hasta que un día ella regresó a mi oficina y estaba llorando, solo estaba llorando. Jusqu'au jour où elle est revenue à mon bureau et elle braillait, elle pleurait juste. Пока однажды она не вернулась в мой офис и не плакала, она просто плакала. She had been on scene at a long line, where the woman running the line was feeling extremely overwhelmed, and she was screaming, "There’s too many people! Она была на месте происшествия в длинной очереди, где женщина, управляющая очередью, чувствовала себя очень подавленной и кричала: «Слишком много людей! 她曾在現場排長隊,排長隊的女士感到非常不知所措,她尖叫著:「人太多了! There’s too many people!" And this man with diabetes doesn’t get food in time, his blood sugar drops too low, and he collapses into a coma. Y este hombre con diabetes no recibe alimentos a tiempo, su azúcar en la sangre baja demasiado y cae en coma. 而這個患有糖尿病的人沒有及時得到食物,他的血糖降得太低,他陷入了昏迷。 As soon as I heard that audio, I knew that this would be the kind of evocative piece that could really describe what was going on at food banks. Tan pronto como escuché ese audio, supe que este sería el tipo de pieza evocadora que realmente podría describir lo que estaba sucediendo en los bancos de alimentos. Как только я услышал этот звук, я понял, что это будет своего рода вызывающая воспоминания часть, которая действительно может описать то, что происходит в продовольственных банках. 當我聽到那個音頻時,我知道這將是一種能夠真正描述食物銀行正在發生的事情的令人回味的作品。 02:18So here’s the real line. 02:18這才是真正的線條。

You can see how long it was, right? And again, as I said, we didn’t have very much funding, so I had to reproduce it with virtual humans that were donated, and people begged and borrowed favors to help me create the models and make things as accurate as we could. Y nuevamente, como dije, no teníamos mucha financiación, así que tuve que reproducirla con humanos virtuales que fueron donados, y la gente rogó y pidió prestados favores para ayudarme a crear los modelos y hacer las cosas lo más precisas posible. И снова, как я уже сказал, у нас не было большого финансирования, поэтому мне пришлось воспроизвести его с виртуальными людьми, которые были пожертвованы, и люди просили и брали взаймы услуги, чтобы помочь мне создать модели и сделать вещи настолько точными, насколько мы могли. 再說一遍,正如我所說,我們沒有太多資金,所以我不得不用捐贈的虛擬人類來複製它,人們乞求並借用幫助我創建模型並使事情盡可能準確。 And then we tried to convey what happened that day with as much as accuracy as is possible. Y luego intentamos transmitir lo que sucedió ese día con la mayor precisión posible. А потом мы постарались максимально точно передать то, что произошло в тот день. 02:40(Video) Voice: There’s too many people!

There’s too many people!

02:53Voice: OK, he’s having a seizure. 02: 53 Voz: OK, está teniendo un ataque. 02: 53Voix: OK, il a une crise. 02:53Голос: Ладно, у него припадок. 02:53聲音:好的,他癲癇發作了。

03:10Voice: We need an ambulance.

03:13Nonny de la Peña: So the man on the right, for him, he’s walking around the body. 03:13Nonny de la Peña:所以右邊的人,對他來說,他正在繞著屍體走。

For him, he’s in the room with that body. Like, that guy is at his feet. Como, ese tipo está a sus pies. And even though, through his peripheral vision, he can see that he’s in this lab space, he should be able to see that he’s not actually on the street, but he feels like he’s there with those people. Y aunque, a través de su visión periférica, puede ver que está en este espacio de laboratorio, debería poder ver que en realidad no está en la calle, pero siente que está allí con esa gente. И хотя боковым зрением он видит, что находится в этом лабораторном пространстве, он должен видеть, что на самом деле он не на улице, но ему кажется, что он там, с этими людьми. 儘管透過他的余光,他可以看到自己在這個實驗室空間中,但他應該能夠看到他實際上並不在街上,但他感覺自己和那些人在一起。 He’s very cautious not to step on this guy who isn’t really there, right? Es muy cauteloso para no pisar a este tipo que no está realmente allí, ¿verdad? 03:38So that piece ended up going to Sundance in 2012, a kind of amazing thing, and it was the first virtual reality film ever, basically. 03:38 Así que esa pieza terminó yendo a Sundance en 2012, algo increíble, y fue la primera película de realidad virtual, básicamente. 03:38所以那部作品最終在 2012 年進入了聖丹斯電影節,這是一件令人驚奇的事情,基本上,它是有史以來第一部虛擬現實電影。

And when we went, I was really terrified. 當我們去的時候,我真的很害怕。 I didn’t really know how people were going to react and what was going to happen. And we showed up with this duct-taped pair of goggles. Et nous sommes arrivés avec cette paire de lunettes à gaine. И мы появились с этой парой очков с клейкой лентой. 我們帶著這副用膠帶黏著的護目鏡出現了。 03:56(Video) Oh, you’re crying.

You’re crying. Gina, you’re crying. 04:00So you can hear the surprise in my voice, right?

And this kind of reaction ended up being the kind of reaction we saw over and over and over: people down on the ground trying to comfort the seizure victim,trying to whisper something into his ear or in some way help, even though they couldn’t. И такая реакция закончилась той же реакцией, которую мы видели снова и снова и снова: люди, лежащие на земле, пытались утешить жертву припадка, пытались что-то прошептать ему на ухо или каким-то образом помочь, хотя и не могли. т. 這種反應最終成為我們一遍又一遍地看到的那種反應:人們趴在地上試圖安慰癲癇患者,試圖在他耳邊低聲說些什麼,或者以某種方式提供幫助,儘管他們做不到。 t。 And I had a lot of people come out of that piece saying, "Oh my God, I was so frustrated. 很多人聽完那篇文章後都說:「天哪,我太沮喪了。 I couldn’t help the guy," and take that back into their lives. 我無法幫助這個人,」並將其帶回他們的生活中。 04:27So after this piece was made, the dean of the cinema school at USC, the University of Southern California, brought in the head of the World Economic Forum to try "Hunger," and he took off the goggles, and he commissioned a piece about Syria on the spot. 04:27После того, как эта часть была сделана, декан киношколы в USC, Университет Южной Калифорнии, привел главу Всемирного экономического форума, чтобы попробовать «Голод», и он снял очки, и он заказал кусок о Сирии на месте. 04:27所以這部作品拍完之後,南加州大學USC電影學院的院長請來了世界經濟論壇的負責人來嘗試《飢餓》,他摘下護目鏡,委託了一個關於敘利亞的現場報道。

And I really wanted to do something about Syrian refugee kids, because children have been the worst affected by the Syrian civil war. И я действительно хотел что-то сделать для детей сирийских беженцев, потому что дети больше всего пострадали от гражданской войны в Сирии. I sent a team to the border of Iraq to record material at refugee camps, basically an area I wouldn’t send a team now, as that’s where ISIS is really operating. Я отправил группу на границу с Ираком для записи материала в лагерях беженцев, в основном в район, куда я бы сейчас не стал посылать команду, поскольку именно там действительно действует ИГИЛ. 我派了一個團隊到伊拉克邊境去記錄難民營的材料,基本上我現在不會派團隊去這個地區,因為那是伊斯蘭國真正活動的地方。 And then we also recreated a street scene in which a young girl is singing and a bomb goes off. 然後我們還重現了一個街頭場景,一個年輕女孩正在唱歌,炸彈爆炸了。 Now, when you’re in the middle of that scene and you hear those sounds, and you see the injured around you, it’s an incredibly scary and real feeling. I’ve had individuals who have been involved in real bombings tell me that it evokes the same kind of fear. У меня были люди, участвовавшие в реальных взрывах, которые говорили мне, что это вызывает такой же страх. 參與過真實爆炸事件的人告訴我,這會引起同樣的恐懼。 05:27[The civil war in Syria may seem far away] [until you experience it yourself. 05:27 [Гражданская война в Сирии может казаться далекой] [пока вы не испытаете это на себе. 05:27[敘利亞內戰可能看起來很遙遠][除非你親自經歷。

05:40(Girl singing)

05:47(Explosion)

05:49[Project Syria] [A virtual reality experience]

05:57NP: We were then invited to take the piece to the Victoria and Albert Museum in London. 05:57NP:然後我們被邀請將這件作品帶到倫敦的維多利亞和阿爾伯特博物館。

And it wasn’t advertised. 而且它沒有做廣告。 And we were put in this tapestry room. Et nous avons été mis dans cette salle de tapisserie. И нас поместили в эту комнату с гобеленами. 我們被安排在這個掛毯房間。 There was no press about it, so anybody who happened to walk into the museum to visit it that day would see us with these crazy lights. 沒有關於它的新聞報道,所以那天碰巧走進博物館參觀的任何人都會看到我們這些瘋狂的燈光。 You know, maybe they would want to see the old storytelling of the tapestries. 你知道,也許他們想看看掛毯的古老故事。 They were confronted by our virtual reality cameras. Им противостояли наши камеры виртуальной реальности. 他們面對的是我們的虛擬實境攝影機。 But a lot of people tried it, and over a five-day run we ended up with 54 pages of guest book comments, and we were told by the curators there that they’d never seen such an outpouring.Things like, "It’s so real," "Absolutely believable," or, of course, the one that I was excited about, "A real feeling as if you were in the middle of something that you normally see on the TV news. Mais beaucoup de gens l'ont essayé, et en cinq jours, nous nous sommes retrouvés avec 54 pages de commentaires sur le livre d'or, et les conservateurs nous ont dit qu'ils n'avaient jamais vu une telle effusion. réel »,« Absolument crédible », ou, bien sûr, celui qui m'excitait,« Un sentiment réel comme si vous étiez au milieu de quelque chose que vous voyez normalement au journal télévisé. Но многие люди пробовали это, и за пять дней мы получили 54 страницы отзывов в гостевой книге, и тамошние кураторы сказали нам, что они никогда не видели такого излияния. настоящий», «Абсолютно правдоподобный», или, конечно, тот, который меня взволновал: «Реальное ощущение, будто ты в центре чего-то, что обычно видишь в новостях по телевизору. 但很多人嘗試過,經過五天的運行,我們最終得到了 54 頁的留言簿評論,那裡的策展人告訴我們,他們從未見過如此豐富的評論。真實的”,“絕對可信” ,或者,當然,是我感到興奮的那個,「一種真實的感覺,就好像你正置身於電視新聞中通常看到的事情之中。 06:45So, it works, right?

This stuff works. And it doesn’t really matter where you’re from or what age you are --it’s really evocative. И на самом деле не имеет значения, откуда вы или сколько вам лет — это действительно вызывает воспоминания. 無論你來自哪裡、年紀多大,這並不重要——這真的很能喚起人們的回憶。 06:55Now, don’t get me wrong -- I’m not saying that when you’re in a piece you forget that you’re here. 06:55現在,請不要誤會我的意思──我並不是說當你陷入困境時你會忘記你在這裡。

But it turns out we can feel like we’re in two places at once. Но оказывается, мы можем чувствовать, что находимся в двух местах одновременно. We can have what I call this duality of presence,and I think that’s what allows me to tap into these feelings of empathy. 我們可以擁有我所說的這種存在的二元性,我認為這就是讓我能夠利用這些同理心的原因。 Right? 07:15So that means, of course, that I have to be very cautious about creating these pieces. 07:15 То есть это, конечно, означает, что я должен быть очень осторожным при создании этих произведений.

I have to really follow best journalistic practices and make sure that these powerful stories are built with integrity. Я должен действительно следовать лучшим журналистским практикам и следить за тем, чтобы эти сильные истории были построены честно. 我必須真正遵循最佳新聞實踐,並確保這些強有力的故事是誠信建構的。 If we don’t capture the material ourselves, we have to be extremely exacting about figuring out the provenance and where did this stuff come from and is it authentic? Если мы не захватим материал сами, мы должны быть чрезвычайно требовательны к выяснению происхождения, откуда взялся этот материал и является ли он подлинным? 如果我們自己不捕捉這些材料,我們就必須極其嚴格地弄清楚這些材料的出處以及這些材料來自哪裡以及它是真實的嗎? 07:43Let me give you an example.

With this Trayvon Martin case, this is a guy, a kid, who was 17 years old and he bought soda and a candy at a store, and on his way home he was tracked by a neighborhood watchman named George Zimmerman who ended up shooting and killing him. Что касается этого дела Трейвона Мартина, то это парень, ребенок, которому было 17 лет, и он купил газировку и конфеты в магазине, а по дороге домой его выследил соседский сторож по имени Джордж Циммерман, который в итоге выстрелил и убивая его. 在這個Trayvon Martin 案件中,這是一個17 歲的男孩,他在一家商店買了蘇打水和糖果,在回家的路上,他被一位名叫喬治·齊默爾曼(George Zimmerman) 的社區看守人跟踪,最後開槍射殺了他。殺了他。 To make that piece, we got the architectural drawings of the entire complex, and we rebuilt the entire scene inside and out, based on those drawings. 為了製作這件作品,我們獲得了整個建築群的建築圖紙,並根據這些圖紙從裡到外重建了整個場景。 All of the action is informed by the real 911 recorded calls to the police. 所有的行動都是由真實的 911 警報電話錄音告知的。 And interestingly, we broke some news with this story. И что интересно, мы поделились некоторыми новостями с этой историей. 有趣的是,我們透過這個故事發布了一些新聞。 The forensic house that did the audio reconstruction, Primeau Productions, they say that they would testify that George Zimmerman, when he got out of the car, he cocked his gun before he went to give chase to Martin. Судебно-медицинская экспертиза, которая занималась реконструкцией звука, Primeau Productions, говорят, что они засвидетельствуют, что Джордж Циммерман, выйдя из машины, взвел курок перед тем, как броситься в погоню за Мартином. 進行音頻重建的法醫公司Primeau Productions表示,他們將作證喬治·齊默爾曼(George Zimmerman)下車時,在追趕馬丁之前舉起了槍。 08:31So you can see that the basic tenets of journalism, they don’t really change here, right? 08:31 Итак, вы видите, что основные принципы журналистики здесь не меняются, верно? 08:31所以你可以看到新聞業的基本原則在這裡並沒有真正改變,對吧?

We’re still following the same principles that we would always. What is different is the sense of being on scene,whether you’re watching a guy collapse from hunger or feeling like you’re in the middle of a bomb scene.And this is kind of what has driven me forward with these pieces, and thinking about how to make them.We’re trying to make this, obviously, beyond the headset, more available. 不同的是身臨其境的感覺,無論你是看著一個人因飢餓而倒下,還是感覺自己身處炸彈現場。這就是推動我創作這些作品的動力,思考如何製作它們。顯然,我們正在努力使其超越耳機,變得更加可用。 We’re creating mobile pieces like the Trayvon Martin piece. And these things have had impact. И эти вещи повлияли. I’ve had Americans tell me that they’ve donated, direct deductions from their bank account, money to go to Syrian children refugees. Американцы рассказывали мне, что они пожертвовали, прямыми вычетами со своего банковского счета, деньги для помощи сирийским детям-беженцам. 美國人告訴我,他們已經從他們的銀行帳戶中直接扣除金錢,捐給敘利亞兒童難民。 And "Hunger in LA," well, it’s helped start a new form of doing journalism that I think is going to join all the other normal platforms in the future. 而《洛杉磯的飢餓》,它幫助開啟了一種新的新聞報導形式,我認為這種形式在未來將會加入所有其他正常的平台。 09:21Thank you.

09:22(Applause)