“元宇宙”热潮一浪接一浪，已从2021年跨越至2022年。不仅网络平台纷纷加码布局，不少传统影视玩家也竞相入场。去年年底，湖南广电宣布将以国家广播电视总局5G重点实验室为基座，探索搭建芒果元宇宙平台，全面参与未来传播形态竞争；今年1月9日，华策影视发布公告称调整升级现有组织架构，其中动向之一为成立专门的元宇宙新业务部门，抢抓数字化时代新发展机遇；完美世界2月11日在投资者互动平台表示，公司逐步推进元宇宙相关工作的落地，正在研发的多款产品都加入了更加符合元宇宙形态的设计……
At the end of last year, Hunan Radio announced that it would be based on the National Radio and Television Agency’s 5G Focus Laboratory and explore the possibility of building a mango cosmos platform to participate fully in future dissemination competitions; on 9 January this year, Hua Tseng released an announcement calling for the restructuring and upgrading of existing organizational structures, one of which was the creation of a new business unit dedicated to the meta-cosm in order to seize new opportunities for the digital age; and on 11 February, at the investor’s interactive platform, the perfect world indicated that companies were moving gradually towards the descent of the meta-cosy-related work and that many of the products being developed had joined the design that was more in line with the meta-cosm pattern...
影视行业与元宇宙的接入方式正在打开想象力。从数字虚拟人到NFT（Non-Fungible Token，非同质化代币、数字藏品），“元宇宙”尽管从定义到前景都存在着诸多不确定性，但也为影视行业孕育了更多的机会和可能。
Video industry and meta-cosm are opening up imaginations. From digital virtuals to NFTs (Non-Fungible Token, non-homogenous tokens, digital collections), the meta-cosm offers more opportunities and possibilities for the visual industry, despite the uncertainties that exist from definition to perspective.
影视版元宇宙
Video meta-cosmos
“元宇宙”一词源于科幻小说《雪崩》，但大众媒体更愿用影视作品作为“样板”进行推广传播。
The term “megacos” is derived from the science fiction novel Avalanche, but the mass media prefer to use visual works as “models” for dissemination.
2018年斯皮尔伯格导演的科幻电影《头号玩家》，被认为是目前最符合《雪崩》中描述的元宇宙的形态。在《头号玩家》中，2045年的现实世界处于崩溃边缘，人们戴上VR就能即刻“逃脱”，转而进入高度逼真的虚拟世界“绿洲”。“绿洲”里有着完备的虚拟社会形态，包含各行各业的数字内容、数字产品等，虚拟人格可以在其中进行价值交换。而在去年上映的《失控玩家》，则是继《头号玩家》后，被明确打上“元宇宙”标签的又一部电影作品。该片讲述游戏“自由城”中的一个NPC（即非玩家角色），因为带有人工智能引擎，机缘巧合觉醒后有了自我意识，为了守护自己生活的虚拟世界而奋力拼搏。
In The First Player, the real world was on the verge of collapse in 2045, where people were able to “go away” by wearing VR and move to a highly virtual world “Oasis.” The Oasis has a well-established virtual social shape that includes digital content, digital products, etc. from all walks of life in which virtual personalities can exchange values.
灵河文化CEO白一骢
The CEO is white.
不论是《头号玩家》的“绿洲”，还是《失控玩家》的“自由城”，它们构建的光怪陆离的虚拟世界都可以被称为“元宇宙”。灵河文化CEO白一骢表示，元宇宙本质上并非新兴概念，类似的理念早在几十年前就被影视和文学作品多次阐释。比如1999年上映的《黑客帝国》，将几千年的哲思跟计算机、互联网与机器智能结合起来，呈现出几个世纪之后人与机器争斗的图景。早在1982年上映的《电子世界争霸战》，其内在逻辑也与元宇宙类似。片中的男主角为了证实自己是一款游戏的创作人，意外被吸入“程序空间”。在这个虚拟空间里，他不仅要保住自己的性命，更要找到回到现实的方法。
Whether it be the Oasis of the First Player or the City of Freedom of Uncontrollable Players, the virtual world they have built can be called the meta-cosmos. The CEO White version of the Episode culture suggests that the meta-cosmos is not inherently an emerging concept, and similar ideas have been interpreted several decades ago by visual and literary works. The Hacker Empire, for example, which was shown in 1999, combines thousands of years of philosophy with computers, the Internet, and machine intelligence, and presents images of human and machine struggles several centuries later. The logic inherent in the E-World Overlord War, which was shown in 1982, is similar to that of meta-cos. The male lead in the film was accidentally inhaled “procedural space” to prove that he was the creator of a game.
涉及元宇宙的影视作品需要足够多的投入和足够大的脑洞，前期主要以好莱坞电影为主，如今也有越来越多的国产影视作品尝试注入类似元素。比如，灵河文化今年的片单中，就有一部将真实世界和虚幻世界结合的作品。华策去年春节档推出的电影《刺杀小说家》，也将在今年启动续集。该系列故事平行时空交错，续集在技术条件成熟的情况下，有望通过VR/AR等技术开展新的场景应用和消费。
Videos about the meta-cosm require enough input and big enough brain holes, mainly in Hollywood films, and more and more national films are trying to inject similar elements. For example, in this year’s film by the Ling River culture, there is one that combines the real world with the fantasy world.
文化科技领域投资人、
Investing in cultural science and technology,
《中国式投资》作者 曹海涛
Chinese Investment by & nbsp; & nbsp; Cao Haitao
文化科技领域投资人、《中国式投资》作者曹海涛认为，这些蕴含元宇宙思想的影视作品的主要看点，在于虚拟与现实切入制造的冲突，“虚拟与现实结合，形成两个平行宇宙之间的穿插交错，让故事有了更多的冲突点和层次感，能够突破观众的固有认知，让观众产生浓厚的兴趣。”
In the view of Cao Haitao, an investor in cultural science and technology and author of Chinese-style investment, the main point of view of these visual works, which contain the idea of the meta-cosm, lies in the conflict between virtual and reality-to-realization, “the combination of virtual and reality-to create a trajectories between the two parallel universes that give more points of conflict and a sense of hierarchy to the story, enable it to break through the perception inherent in the audience and generate great interest”.
影视业如何对接元宇宙
how the video industry connects the meta-cosmos
在众多影视作品的普及和推广下，“元宇宙”这一看似高深、玄幻的概念已被不少观众理解与接受。有观点甚至认为，影视行业将在元宇宙发展的下一阶段解决填充内容的主要问题，包括目前影视行业强调的IP价值，将进一步在虚拟空间里获得升值。但当下影视行业到底该如何接入元宇宙并实现落地，则远没有影视作品呈现的那般简单。
With the spread and spread of many visual works, the seemingly advanced and phantom concept of the “megaspace” has been understood and accepted by many viewers. The view has been expressed that the film industry will address the main issues of filling content in the next phase of its development, including the IP values currently highlighted by the film industry, and will further appreciate it in virtual space.
华策影视集团创始人、
Founder of the Watze Film and Television Group,
董事长赵依芳
Chairman Jo Yvonne.
华策影视集团创始人、董事长赵依芳认为，可以通过打造虚拟场景、虚拟人物、数字藏品等将影视与元宇宙连接，包括经典作品的场景、人物、世界观等均可以在元宇宙中得到重现。技术与艺术的结合与发展创新，将让影视作品具有越来越高的仿真度，能够带给用户更强的沉浸感和更高的参与度。
Jo Yvonne, the founder and director of the Chinese Film and Television Group, argued that images could be connected to the meta-cosmos by creating virtual scenes, virtual figures, digital collections, and so on, including classic scenes, characters, worldviews, and so on. The combination of technology and art and the development of innovation would allow film and visual productions to become more emulatory and participatory.
谈及华策对元宇宙的布局情况，赵依芳介绍，《刺杀小说家》目前已完成三个虚拟形象；《反贪风暴5：最终章》推出了NFT盲盒，观众可在线上参加免费领取数字藏品活动；位于长三角国际影视中心的LED虚拟拍摄数字摄影棚已建成，未来华策还会重点围绕虚拟形象、数字藏品、数字影棚、新内容创造等方向，全力发展元宇宙新业务。
Referring to the layout of Huatze vis-à-vis the Woncosm, Zhao Yifan described the three virtual images of " Assassination of novelists " ; the launch of the NFT blind box in Anti-Corruption Storm 5: Final Chapter, which allows viewers to participate online in free digital collections; the construction of the LED virtual digital studio at the Long Triangle International Film and Television Centre; and the future of Huats, which will focus on virtual images, digital collections, digital studios, and new content creation, will focus on the development of new business in the meta-cosm.
长三角国际影视中心的 LED 虚拟拍摄影棚
LED Virtual Film Studio, Long Triangle International Film Center
芒果TV副总裁方菲表示，芒果超媒将由影视及游戏的精品VR内容切入，以技术创新为手段，辅以NFT数字艺术藏品交易平台为关键，分阶段建设“芒果星球元宇宙”。
The Vice-President of Mango TV, Fang Fui, said that Mango super-media would be built in phases of a “Mango meta-cosm” using technological innovation as a key tool, complemented by a NFT digital art collection trading platform, from the very best VR content of video and video games.
爱奇艺相关负责人杨光
Yang Gwang, head of Aki culture
爱奇艺相关负责人杨光认为，若以用户为中心来思考，元宇宙应该包含Avatar（虚拟身份）、活动、场景等基本元素。其中，活动是指包含任务、操作和动作的整体过程。对于影视行业，用户首先认可的是影视IP内容，所以活动、场景这两项元素的设计由IP内容而来，会更能让用户接受，这也是影视行业的核心优势之一。杨光强调，并非所有影视内容都适合元宇宙，单纯就“观看”这个动作而言，在虚拟世界观看并不一定比在现实世界中躺在沙发上观看感受更好。但元宇宙中包含很多能让用户共同体验的内容，这些带有“活动”元素的影视作品，能够通过“元宇宙化”获取更多用户消费，进而在为用户产生增量体验的同时，获取增量价值。
In the case of the film industry, the user-oriented Yang Gwang believes that the meta-cosm should contain the basic elements of Avatar (virtual identity), activities, scenes, and so on. The activity refers to the whole process that contains tasks, operations, and actions. For the visual industry, the user first accepts the IP content, so that the design of the two elements is more acceptable to the user, which is one of the central advantages of the film industry. Yang Gwang stresses that not all of the visual content is suitable for the meta-cosm, and that it is not necessarily better to view the virtual world simply as a “watching” movement than to look on the couch in the real world. But the meta-cosm contains a lot of content that can be shared with the user.
“这些可以‘元宇宙化’的作品，需要从作品策划的第一天起，就在剧本、道具、拍摄、后期等环节中融入相关工作。这也许会改变原有的影视摄制流程。”杨光认为，关于“活动”的设计将是影视行业接入元宇宙的重点，也是难点。“对于这份工作，相对来说，游戏行业从业者更为熟悉。随着时间的推进、业务的需要，元宇宙内容创作或将进一步加速影视、游戏行业的交流和融合，也许能够创造出全新的体验。”
"These works, which can be `megasmicized', need to be integrated into the script, props, film, and later stages from the very first day of their design. This may change the original video production process. Yang Gwang believes that the design of “activities” will be the focus of the video industry's access to the metacosystem, and that it is difficult. “For this job, the players in the game industry are relatively familiar.
《刺杀小说家》
"Assassination of the novelist."
技术壁垒亟待突破
我们离元宇宙究竟有多远？实现元宇宙需要哪些技术基石？ How far are we from the meta-cosmos? What technological building blocks are needed to achieve the meta-cosmos? 中国传媒大学新媒体研究院院长赵子忠介绍，元宇宙的技术基础包括VR（虚拟现实）、AR（增强现实）、云计算、3D视觉、区块链、数字孪生、物联网、网络及运算、人工智能、交互技术、电子游戏技术等。 Tsung Zhao, President of the New Media Institute of China Media University, described the technological foundations of the Yuan cosmos as VR (virtual reality), AR (enhanced reality), cloud computing, 3D visualization, block chains, digital twins, object networking, networks and computing, artificial intelligence, interactive technology, video games, etc. “底层的基础设施是网络通信及算力。”赵子忠介绍，想要实现虚拟与现实之间即时的互联互通，需要编织一张低延时、超高速且覆盖面广的通信网络。”因此，5G甚至6G通信网络是畅游元宇宙的技术基底。而在人们设想中的终极元宇宙里，实时高刷的沉浸式体验画面、同一空间内多人实时在线并实现复杂的交互，还需要海量算力、算法的支持。因此，动态分配算力的云计算系统也是元宇宙的一项基础设施。“而要实现在元宇宙中连接现实与虚拟世界，完成两个世界之间的实时互动、互相映射，还离不开物联网技术的支撑。 “The bottom infrastructure is network communication and arithmetic.” Chiu Tsing, in order to achieve instant interconnectivity between virtual and reality, needs to weave a low-latitude, hypervelocity and wide-ranging communications network.” Thus, 5G and even 6G communication networks are the technological foundation for travelling through the meta-cosm. In the envisioned final meta-coastal universe, real-time, high-spoiled immersion images, real-time online interaction and complex interaction among many people in the same space also require the support of big numeracy and algorithms. Therefore, the cloud computing system for dynamic distribution of numeracy is also an infrastructure of the meta-cosm.” And “to achieve real-time interaction between the two worlds in the meta-cosmos, mutual mapping, and without the support of interconnection technology. 另外，VR、AR等扩展现实技术为元宇宙提供沉浸式体验；数字孪生技术生成现实世界的镜像；区块链技术搭建经济体系，将虚拟世界与现实世界在经济系统、社交系统、身份系统上密切融合，并且允许每个用户进行内容生产和世界编辑。 In addition, extended reality technologies such as VR and AR provide a immersion experience for metacosystems; digital twin technologies generate mirrors of the real world; block-chain technologies build economic systems that closely integrate the virtual world with the real world in economic, social and identity systems, and allow each user to produce content and edit the world. 百度副总裁、希壤负责人马杰认为，在当前网络技术条件下，视觉、听觉和交互的技术难题是阻碍元宇宙发展的三座大山，挑战非常大。要解决这些难题，需要突破一系列技术瓶颈，需要强大基础技术的支撑，包括安全、自主、智能的云计算技术，在人工智能、ARM云、边缘计算、智能视频、VR和AR等领域的不断创新，以及内容生态的建设与庞大的市场基础。 The 100-degree Vice-President and head of the Greek border, Majore, argued that, under current cyber-technology conditions, the technical challenges of vision, hearing, and interaction are three great mountains that impede the development of the meta-cosm. Addressing these challenges will require a series of technological bottlenecks that will require strong underlying technologies, including secure, autonomous, intelligent cloud computing techniques, continuous innovation in the areas of artificial intelligence, ARM clouds, margin computing, smart video, VR, and AR, as well as the building of content ecology and a large market base. vivo通信研究院院长秦飞认为，AR/VR类终端目前面临几个问题：太重，不能长时间佩戴，轻量化解决供电问题需要核心技术突破；算力、数据、平台等支撑技术，以及区块链建立的可信机制，也需要进一步加强。 In the view of Qin Fei, President of the Vivo Institute of Communications, AR/VR type terminals currently face several problems: they are too heavy to be worn for long periods of time, lightly quantifying the supply of electricity requires a core technological breakthrough; and supporting technologies such as arithmetic, data, platforms, etc., as well as credible mechanisms established in the block chain, need to be further strengthened. 腾讯互娱研发效能部副总经理邓大付认为，元宇宙会产生大量的三维内容，构建三维世界首先需要有高产量的3D制作能力，对于目前的技术能力而言，这依旧是非常大的挑战。其次是人工智能产业的发展。他提到，尽管当下人人都在谈元宇宙，但目前的技术无法做到让数字人像美剧《西部世界》一样实现智能对话、驱动行为和探索世界。目前的技术已经达成了局部的突破，“但如何让它们真正融为一体，是我们一直在思考的课题。” The Deputy Director-General of Recreational Research and Development Effectiveness, Mr. Deng, argued that the universe would produce a great deal of three-dimensional content, and that building a three-dimensional world would require, first and foremost, a high-yield 3D production capacity, which would remain a major challenge for current technological capabilities. Second, the development of the artificial intelligence industry. He mentioned that, while everyone was talking about the meta-cosm, current technology could not make it possible for digitals to engage in intelligent dialogue, drive behavior and explore the world like the American play Western World. 在通向元宇宙的道路上，全球影视业做了大量技术侧的准备工作，例如虚拟形象、数字场景、数字拍摄基地等。但受限于现有技术条件，包括软硬件、接入带宽、用户频段等，目前的元宇宙更多仍是概念化框架，其具体形式要比互联网和手机互联网最初的构想更漫无边际。 On the road to the meta-cosm, the global film industry has done a great deal of technical preparation, such as virtual images, digital scenes, digital photography bases, etc., but is constrained by existing technical conditions, including hardware and software, access bandwidth, user frequency, etc., the current meta-cosm remains more conceptual than originally conceived by the Internet and mobile phone Internet. 随着元宇宙浪潮兴起，金融服务监管、知识产权等面临的诸多现实问题都浮出水面。 With the rise of the meta-cosmos, many of the real problems facing financial services regulation, intellectual property rights, etc., have surfaced. 白一骢认为，“元宇宙”的概念炒得火热，但从严格意义上讲，目前还没有谁真正做成。元宇宙的沉浸体验不仅由特效细节和技术性渲染来塑造，还需科技创新调动视觉以外的其他感官参与，让用户在虚拟环境中达到心理的沉浸及情感的投入。“最简单的，只要能让我在虚拟环境中游个泳或者喝杯水，让我感受到游泳的触觉或者水的味道就行，但现在的技术根本做不到。” The white mind says that the concept of the “megascopic universe” is hot, but in the strict sense, no one is really doing it yet. Not only are the molten experiences of the meta-cosmos shaped by special effects details and technical renderings, but there is also a need for technological innovation to involve other senses than visuals, allowing users to become psychologically immersed and emotional input in a virtual environment. “The simplest thing is that I can swim in a virtual environment or have a glass of water that makes me feel the touch of swimming or the taste of water, but the technology is simply not available.” 抛开具体技术不谈，白一骢直言现在连元宇宙将有着怎样的观影模式都无明确答案。尽管VR/AR能够近一步提升用户体验的真实性和交互性，被业内视为进入元宇宙的重要入口，但目前技术发展仍不成熟。其中，VR产品和服务具有沉浸感强、私密性高、迎合个人体验等特点，却在使用场景上受到限制。而AR具备与现实世界强交互的属性，使用方式更加便捷，虽已在工业场景中取得落地成果，却难以开启商业化智能时代。白一骢拿3D电影举例，“3D技术发展这么多年，直到现在佩戴3D眼镜还会让一些受众出现眩晕感。要为观众营造一个可触、可感、可信的虚拟世界，足以想象有多难。”白一骢认为，横亘在影视与元宇宙之间的技术壁垒不是短时间内能解决的，也不是光靠影视行业就能攻克的。 Despite the fact that VR/AR is a step closer to enhancing the authenticity and interaction of the user’s experience, which is considered an important entry point into the meta-cosm, technological development is still immature. Among these, VR products and services, which are characterized by immersion, privacy, and personal experience, are limited in their use. “蓝海”还是“泡沫”？ "Blue Sea" or "foam"? 很多人认为，元宇宙是互联网的最终发展方向之一，也有不少专业人士频泼冷水，预言元宇宙只是概念炒作，这轮泡沫终将破灭。 Many believe that the meta-cosmos is one of the ultimate directions of the Internet, and that there are a number of professionals who are pouring cold water, predicting that the meta-cosmos is merely a concept and that the bubble will eventually collapse. 华策成立专门的元宇宙新业务部门，足以证明对其发展前景充满信心。赵依芳表示，元宇宙是华策集团的六大新业务创新发展板块之一，未来将持续性投入，“布局元宇宙是华策集团拥抱未来的长期战略发展方向，也是处于探索期的业务板块。我们是边干边规划，目标是完善华策多样化内容的商业化模式，不断升级‘华策内容创造’，应用好元宇宙新技术，优化数字内容，包括数字藏品、内置虚拟形象的虚拟世界。” Jo Yvonne said that the Yuan cosmos is one of the six new business innovation development blocks of the Group and will continue to invest in the future. “The layout cosmos is the long-term strategic direction that the Group embraces and is in the process of exploring. We are a dry-side planning with the objective of improving the commercialization model of the diversity of Chinese content, upgrading the “Wantice content creation” and applying the new technology of the cosmos to optimize the digital content, including digital collections and a virtual world with built-in virtual images.” 中国艺术研究院副研究员孙佳山则是 “概念炒作，泡沫论”的支持者。他认为影视行业如果盲目跟进元宇宙，将随着泡沫的破灭受到冲击，“在整个文化产业格局中，影视其实处于产业链的中下游。上游资源和财富的外溢会促进下游行业的发展，这是正常的结构。而当影视行业人才持续被游戏公司、被元宇宙公司挖走，第一个垮塌的就是影视行业。”孙佳山认为，面对元宇宙热潮，影视行业要未雨绸缪，一方面不要跟着“瞎起哄”；另一方面应对泡沫破灭对行业造成的伤害，要提前做好预案。 Sun Jiasan, a deputy researcher at China’s Academy of Arts, is a supporter of “concepts fading, bubble theory.” He believes that the film industry, if blindly followed the meta-cosm, will be hit by the bursting of the bubble, “in the whole cultural landscape, it is actually in the middle and lower of the chain of industry.” The upstream spill of resources and wealth will facilitate the development of the downstream industry, which is the normal structure. 白一骢认为，现阶段谈元宇宙在影视领域的实际应用为时过早，毕竟整个元宇宙尚处于混沌的概念阶段，“基本的技术问题都没有解决，即便是强大的影视公司也很难起到引领作用。” It is too early at this stage to talk about the practical application of the meta-cosm in the visual field, after all, that the entire meta-cosm is still at the conceptual stage of confusion, that “the basic technical problems are not solved, and even powerful video companies are difficult to lead”. 杨光也表示，“元宇宙的畅想很美好，但不得不承认距离实现还有很长一段路程，中间甚至可能会经历多个发展阶段。” Yang Gwang also said, “The vision of the Won cosmos is beautiful, but one has to admit that there is still a long way to go before it can be realized and that there may even be several stages of development in the middle”. 投资过众多科技和影视项目的曹海涛持谨慎态度，目前尚无下注元宇宙的计划，“各方都在尝试，表面看很繁荣，变现的点很多，实际上大多是赔钱赚吆喝。”如同几年前刚兴起VR、AR时一样，任何概念或产品的走红，必然会带动相应领域的发展，但也容易催生畸形经济，“所谓潮流，经常是逼着大家往前走，但过程中充斥很多不确定因素。概念炒作之后，对应的结果往往是一地鸡毛。” Cao Haitao, who has invested in many technological and visual projects, is cautious, and there are no plans to bet on the meta-cosmos: “All sides are trying, on the surface, to be prosperous, to realize a lot of things, and in fact, to make money and drink.” As was the case a few years ago when VR, AR, any concept or product was rededicated, which must lead to the development of the respective fields, but it was also easy to create deformed economies, “the so-called tides, often forcing people to move forward, but the process was fraught with uncertainties. 但就长期趋势来看，曹海涛认为，元宇宙毋庸置疑是科技的再一次进步，即便再不看好元宇宙能短期盈利的研究者，也难以回避元宇宙对众多行业带来的冲击和挑战，“但不管是影视行业，还是其他领域，都要将着眼点放在高质量发展上。毕竟，只有稳健成长的硬核内容才有持续的制造力，才能让元宇宙有活力。” In terms of long-term trends, however, Tsao believes that the meta-cosm is undoubtedly yet another advance in technology, and that it is difficult to avoid the impact and challenges of the meta-cosm on many industries without looking at researchers who can make short-term profits, “but it is important to focus on high-quality development, whether in the visual industry or in other areas. After all, only robustly grown hard nuclear content is capable of sustaining production and making the meta-cosm alive.” 特别策划|元宇宙这盘大棋 "Strong" especially planned the Chess of the Won-Cosmos "/strang" 元宇宙这盘大棋 It's a big game in the Won-Cosmos. 影视行业抢滩元宇宙 The video industry robs the beach cosmos. 五问“元宇宙” ——专访华策集团创始人、董事长赵依芳 Five questions: "The Won-Cosmos" - a visit to Jo Yvonne, founder and chairman of the China-China Group. 元宇宙时代:影视业的机会与彷徨 The Age of the Won cosmos: opportunities and opportunities for the film industry 元宇宙:媒介融合的高级阶段与社会的未来形态 Metacosm: advanced stages of media integration and the future shape of society 投稿请发送至邮箱： Contributions to should be sent to the mailbox: zongyiweekly@163.com —
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