On the afternoon of December 14th, the VR network hosted the "Winter Touring Group to see how VR+Creation was developed." The first batch of intent-to-enterprise exchange conferences under the VR network cable salon and the Qidi R accelerator were successfully held at the Qidi R Accelerator.
2017 is coming to an end. During this year, the VR virtual reality industry has undergone tremendous changes. The focus of the development of VR industry gradually turned to how to realize and break, and the combination with traditional industries has become a breakthrough that more and more companies are seeking. Under this background, VR Network (), held under the theme of "Winter Ensemble to See VR+ Cultural and Creative Development," was held at Qidi R Accelerator, and discussed with many VR industry practitioners on the development of "VR+". In this winter, Baotou warms up and develops together.
The Enlightened R Accelerator is the first flagship accelerator to bring talents, space, media, capital, and industry into one place. The VR network is responsible for the operation of the “Enlightenment R Accelerator†brand under the Qidi Virtual Reality. As an integrated VR professional innovation and entrepreneurship ecological community, Qidi R Accelerator will provide entrepreneurs and a wide range of medium, small and micro VR/AR companies with shared, integrated, service-style office space and professional entrepreneurial tutoring, media and Business services such as marketing, investment and financing, and market matching.
During the event, guests from Pirates of Dream Space, Jian Gong Jian Fang, Sandman Studios and Nordic Trolls released their opinions on the theme of the event. VR Network (WeChat Public Number: VR Platform ) The editor's focus for everyone is as follows:
First of all, Liu Zhiqiang, co-founder of Beijing Pirates of Dream Space Technology Co., Ltd., shared the team's experiences in the entrepreneurial process with the theme of “VR+ Cultural and Entertainment Offline New Speciesâ€.
According to Liu Zhiqiang, Pirates of Dream Space Technology has been thinking about how to choose a project since its inception. He summed up three words: grounding gas, standing outlet, and understanding.
Earthing gas is the product must have market demand, there is no demand, it can only be the castle in the air, before the start of business, its team serves customers mainly military and government personnel, but since the entry into the VR industry found to contact more and more customers Many, such as Huawei, Samsung, Storm, etc., therefore feel that VR must have a market.
Standing out from the air, it is necessary to find a hot spot in the market. Entrepreneurs can also use hot spots and use their ingenuity to make it effortless. For example, a few recent keywords are relatively hot, and Pirates of Dream Space chose the sharing + offline immersive entertainment in this direction.
Understand persistence, more focus, no matter where the market is hot, to find the areas where they are best at doing business, because their team has been doing somatosensory device simulation before the start-up, so we still choose to continue to do somatosensory equipment.
In the actual offline immersive entertainment, there are two directions to choose from, one is large and complete, such as military or aviation theme experience, but such projects are costly and the entrepreneurial team can not afford. And doing small and refined products allows users to experience cool things with fragmented time, which may be an opportunity for startups. This way of thinking is clear, the prototype of the product will be obvious.
The products created by Pirates of Dream Space can be summarized by five words: “under the lineâ€, “young fashion crowdâ€, “high qualityâ€, “self-help experience†and “realization platformâ€. We hope to adopt the best hardware and the best Combine the content and finally realize the realization. Based on these ideas and positioning, Pirates of Dreams has created a “new species†called “Demonstration,†gathering the best content, the best VR devices and the latest wave of gameplay. Its products are fundamentally different from the shared KTV products. They have dual barriers of content and hardware, and they also have advertising screens that bring in value-added revenue and are more profitable than sharing KTVs. Currently, equipment has been laid in Beijing Huarun Wucai City and Joy City, and is being continuously laid.
In actual operations, Pirates of Dream Space focuses on cross-border gameplay, such as combining flash events, movie premieres, game betas, Christmas theme events, and cultural and creative product recommendations. Judging from the current operational data, it is basically at full load every day. The content of people watching movies is dominated by actions and thrillers, and the two together account for more than 64% of all broadcast content.
As for the offline layout plan, Pirates of Dream Space plans to officially promote it from next year, and by 2019, it will lay out 2000 experience points nationwide.
Next, Wu Zhiqun, general manager of Beijing Construction Engineering Technology Co., Ltd. came to power. This old state-owned enterprise, which was established in 1993 in the cultural relics protection industry, has extensive experience in the field of cultural relic protection.
Wu Zhiqun first introduced that China has 52 world cultural heritage sites, 236 5A scenic spots, 4296 national key cultural relics protection units, and more than 5,000 museums. This is the most powerful promoter and most direct customer of the cultural and creative industry.
Although the market size is so objective, the current cultural relic protection industry has the following pain points:
The irreversibility of the cultural relics will disappear sooner or later.
The cultural heritage is mostly immovable and extremely precious national assets, and it has a strong dependence on the region. For example, if you want to see the Forbidden City, you have to come to Beijing.
When a large number of tourists enter the scenic spot at the same time, the experience of the tourists is greatly reduced. The entire Palace is a sea of ​​people, and this situation is difficult to change.
The science and technology exhibition Chen is relatively old-fashioned in most of the scenic spots, museums, and memorial halls, and some even stay at the level of ten years ago.
Urban culture is difficult for the public to understand, and it is difficult for the public to intuitively understand the development of the city since ancient times.
Through VR technology, with the help of cultural heritage big data and IP power of cultural heritage, we can help us to complete the cultural dissemination of cultural heritage. The specific solution is as follows:
For geographical issues, VR products break the strong dependence of the region, allowing the audience to perform surreal experiences at any time and place, which can be diverted for scenic spots.
In response to the cultural relics issue, the magnificent and glorious Galaxy of Huaxia Relics will be immortalized in numbers and passed on to our children and grandchildren.
For cultural issues, using VR's real sensation of liveliness, telling stories and talking about culture in virtual scenes, allowing audiences to experience different countries and urban cultures.
The first VR product of Jiangong Jianfang was to restore the giant buddha of Yungang Grottoes in VR. People can stand in the lotus seat and communicate with the Buddha statues. The effect of using VR is very shocking.
In Wu Zhiqun's view, VR can break the strong dependence of the region, allowing the audience to experience a surreal experience at any time and place, which can be diverted for scenic spots. In the ordinary times, cultural relics and tourists are irreconcilable contradictions. For example, in Xuankong Temple in Shanxi Province, the number of visitors per day can reach 5,000, but the cultural relics can only carry 200 people. Many people cannot see even if they buy tickets. What the construction industry must do is to allow the cultural relics to have eternal life in digitization and to pass on the immortal cultural relics to future generations, and to tell real stories in VR.
In response to the current status of the cultural heritage protection industry in China, Jianjian Jianfang focused on creating three solutions:
B-side solution: Provide comprehensive VR solutions for scenic spots and cultural security units, covering single-player, multi-player VR interactive experiences, single-player, multi-player VR movie viewing, and providing comprehensive content services and hardware support.
Stadium operation plan: In the scenic spots, cultural security units and places with cultural characteristics, build a VR experience center, build a good offline experience environment, and provide sound operation services. Jointly known offline offline experience stores and VR theaters provide high quality content resource services.
C-side products: For the personal market, we have launched several well-known VR products of the world's cultural heritage on the well-known VR content platform at home and abroad to promote scenic spots and cultural heritage so that individual users can experience the profoundness of Chinese culture.
"Yes, we are creating a brand new industry," Wu Zhiqun concluded.
After the cultural relics protection was over, we took a look at the recent hot VR film and television content. We invited the founder of Sandman Studio Lou Yanyi to take a look at the wonderful sharing he had brought us.
According to Yan Yanjun, Sandman Studio started production of "Self Travel" in November last year. After hard work, he successfully entered the main competition unit of the Venice Film Festival. In addition to animations, Sandman Studio also has different directions of thinking and exploration, and is preparing different types of works.
Yanyan Yan believes that the experience form constructed in the American drama “The Western World†is closer to the form that the VR narrative wants to express. Users want to experience this story, we must enter into it to explore, this is active, not sitting, passive experience. At this time, the definition of the story has changed. The usual story is linear, passive, and one-way. However, the form of the story can be varied. For example, listening to music is also a story. Painting works are also stories.
At present, there are few VR studios for story experience, and VR content is in a very scarce state. Everyone has defined VR as a technology, but in F. Lou’s view, VR is more of a medium and a means of communication. Many people still do not realize the value of content, and everyone does not pay enough attention to content creation.
Sandman Studio has been working on VR movies for a year now. Lou Yan-hsi thinks his work is not a movie, and he prefers to call it a "VR experience." VR experiences and movies are very different, especially after joining interactions. The traditional film narratives follow the basic logic, use the script to construct the world outlook form, use the picture clip, the fragment to tell the story, but VR is totally different. VR content can also be the same as the game form and can be controlled by the user, but there is still a need to find a balance point here.
What Sandman Studio wants to do is to discover new ideas and visual expression methodologies in an entirely new process, and to find the logic of VR in narrative. At present, no studio in the world can claim to be the king of VR narrative films. Therefore, there is an opportunity to explore in this direction. Sandman Studio needs to find out the narrative language in the VR field, and it is logically structured.
Many people are eager to understand how their content is done. If you want to learn more, you have to look more. Lou Yanfu admits that he has already read more than 500 VR videos. It is a very important job to see others. Things will be inspiring, and you will find out which directions have not been tried, but what is more important is to do things. Do not know where to go. If you want to try this area, it is more important than watching.
As for the current view of the VR industry, Lou Yanyi summed up three words: have confidence, survive, dare to tough. Now that the VR industry is more difficult, everyone will have a hesitation period in the early days of emerging technologies, and will bow to reality. VR industry employees must have confidence in the industry. Although the C-end is popular, it takes time, but it has value and potential. Second, before we develop, we must first survive. In the process of living, we must accumulate experience and establish our own barriers. The last thing is to dare to smash your bones. After you squat down, the value is much higher than others.
Afterwards, the main members of the Nordic Troll (Beijing) Science and Technology Co., Ltd., the main team members from overseas, discussed with the guests the topic of “Challenges in Making VR Gamesâ€.
The first version of the Nordic troll's first VR game "KARNAGE CHRONICLES" has been launched on the Steam and Oculus stores, and has received high praise. Players believe that this game establishes the benchmark of VR game quality. And this game still got the best interaction award of VRCORE developer contest some time ago.
In the opinion of the Nordic troll team, the three main challenges in making VR games are motion, motion sickness, and interactive design.
The Nordic troll's CTO Seven interprets some of the problems with the sport. He believes that there are different platforms in VR, people have different preferences, various ideas, and requirements are varied. Difficult to adjust, developers should try their best to meet all different needs.
Teleportation is a frequently used exercise method. The white user who first came into contact with VR mostly chooses this type of exercise, while the veteran chooses to translate because teleportation will break the immersion. When you use pan, the player will feel like floating in the past. Many people feel dizzy, but some people prefer this method and have more immersion.
In addition, different platforms have different requirements, different controllers, and different methods of moving, such as using heads to determine the direction, or using the joystick on the Oculus handle to steer, while on the turn, some people like to be smooth. Turning, some people like to gradually turn over. In the room-scale VR experience, after the player has teleported past the center point, he must pay attention to keeping himself within the size of the room. He must have a certain gap with the virtual object and prevent it from hitting the wall.
The second challenge is motion sickness, shared by Dan, artistic director of the Nordic trolls. He said that the Nordic trolls conducted in-depth research in various aspects to ensure that players do not feel dizzy when enjoying games.
The first is the frame rate. In an ordinary PC game, the refresh rate can reach 30-60. In the VR, the refresh rate cannot be less than 90 frames in any one of the links. It is very stable. Even if it is occasionally reduced to 85 frames in a few seconds, it is impossible because the reflection of the human brain is very sensitive. In this process, optimization is king. This is the most important point. It requires the cooperation of technology and fine art to achieve the ultimate optimization.
The choice of exercise style will also have an effect on motion sickness. The panning is particularly prone to dizziness, but it is not possible to pan slowly and then gradually increase the speed, but to quickly move from the beginning, but also to avoid the situation where too many people fall and fall and avoid uneven surfaces.
On the material side, the team of Nordic trolls discovered that if the material is particularly delicate, the brain is not capable of carrying it, and it will cause dizziness. This problem may be solved when there is a higher resolution.
This is followed by parallax mapping. This technique is common in 2D games and can disguise 2D as 3D. This can be used in PC games but not in VR.
The light source setting is very important in all games. In VR, the light source will guide the player's direction and help the player to focus. If there is a light source setting in a remote place, the player will have a direction guide and will not Lost direction, reduce the possibility of dizziness.
As for the true and false force field, it involves the problem of gravity. If you let the player fall, do not have acceleration. Instead, let users fall directly in the same way as in the real world.
The third challenge is interactive design. Producer Thor shares his experience in interactive design. He believes that interactive design is very important, allowing players to enter the virtual world to feel more real and more enjoyable. It mainly needs attention feedback, space surround sound, AI, can interact with the environment, prevent hand jitter and other issues.
Force feedback is the feeling that comes into contact with something in the game. In the real world, no matter what it touches, there will be feedback. In the virtual world, there should also be a design synchronized with the controller.
Space surround sound is a requirement for sound effects. Many early VR games placed the sound source at the player's location. In VR games, the sound should be the same as in the real world. In VR games, sound can be given. Players have some tips.
In the aspect of AI design, close combat AI is more challenging. In the traditional game, the avatar of the player and the monster in the game are controllable. It is a well-written code. The avatar in the game can make a variety of The attack, monster AI is aware of these reactions. In the first-person VR environment, monsters need to respond to the real-time player's actions, not in advance, players can do anything they want to do, for the preparation of the monster AI in the game, we must learn to predict, to Learning how to deal with the player's actions, how to predict is a very complicated development process.
Then there is an interactive environment. When placing the player in the virtual world, will the player pick up a cup, throw it out, and perform various interactions? If the player is given a torch, he will think that the torch can be lit, so it must be designed Think ahead in advance, what kind of things to put in this world, if you put these things in, players are looking forward to wanting to interact with him, this will increase the difficulty of development, development will also increase exponentially.
Finally, it is anti-shake. In VR games, players may have jitters in their hands if they are not optimized. If the hands are still shaking, it will also affect immersion.
After the sharing of the four guests was completed, Liu Yong, CEO of VR Network of Qidi Virtual Reality (Beijing) Technology Development Co., Ltd., initiated the call for “VR companies should embrace warmth and common progressâ€.
At present, the VR industry is not particularly booming, and it is undergoing a curve development process. VR companies should embrace groups to keep warm. After all, a company can't pick up many projects, and a big project can't be done by a single company. As an important platform company for the deployment of Qidi Holdings in the field of virtual reality, Enlightenment Virtual Reality and the National Teleplay Theatre and other institutions all have stable cooperation and can join hands with partners to lead everyone in making progress together. Enlightenment Holdings has always been looking for cluster-type innovation, gathering everyone's wisdom in order to have great development. As for the VR entrepreneurial team, it is necessary to find a scenario that is suitable for their own ploughing, and keep trying. This is also the spirit that the startup company must have.
Currently, the Enlightenment R accelerator, which is operated by the VR network, has begun operations. The Enlightenment R accelerator can provide VR companies with resources, projects, capital, and government connections. As we all know, it is still too early to implement ToC in the current VR industry, and serving the government is the best way. However, a company cannot solve the government's big project. Therefore, it needs the development of a large number of VR companies.
VR Network () is a comprehensive portal for the virtual reality industry of Tsinghua Hedi Holdings. It aims to provide quality VR media coverage for VR industry practitioners and enthusiasts by integrating superior resources online and offline, VR software and hardware distribution, and VR talents. Training, VR exhibition services. At present, there are more than 800 partners and the services provided have covered 95% of the industry's employees. VR network integrates VR resources, builds a shared platform, and grows together with VR companies.
After the end of the big coffee sharing, VR Network held the first-ever enterprise exchange meeting, which provided a platform for communication and exchange for the VR entrepreneurial team and companies that are about to enter the Entrepreneurial R accelerator. The participating companies visited the Inspired R accelerator, and We watched the R+ Holographic World Theatre dummy performance and pure virtual human drama performance created by Enlighten Digital. The performances combined the holographic, scrim, 3D projection, motion capture and many other industry-leading technologies, and won the visitors’ Unanimous praise.
In the future, the VR network will continue to hold such events. We hope that we can help the development of the VR industry through our own meager efforts and provide new development ideas for the entrepreneurial teams and companies in the VR industry. Please pay attention.
Thanks to the following cooperation media for their support for this event (in no particular order):
Chinese Business Reports, TechWeb, DONEWS, Sina VR, 913VR, 87870, VR tabloids on Speedway, 99VR Vision, Ranger VR, Blackbox, Mag net, Zero Mirror, Bee Network, VRZINC, VRPinea, 52VR Development Network, Extreme sauce, Pirates of Dreams, VR Gyro, New Horizons VR, ARinChina, Tiger VR, VR World Wide Web, Invitational VR, VREYES
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