本文转自：中国文化报
Presented from: Chinese Cultural newspaper
本报记者? 李? 琤
This newspaper reporter, Lee?
经过2022年的元宇宙热潮，虚拟数字人不再陌生，它们已走进我们的生活，无论是跨年演唱会上的数字虚拟“明星”，还是各大媒体平台的虚拟主持人、电商平台的虚拟主播，元宇宙招聘大厅清华大学的虚拟学霸……虚拟数字人已经渗透到各行各业中，海内外科技巨头正在加速布局虚拟数字人赛道。
, after the 2022 boom in the meta-cosm, virtual digitals are no longer strangers, and they have entered our lives, whether they are virtual "stars" at the inter-annual concerts, virtual hosts of the major media platforms, virtual hosts of the electronics platform, virtual intellectuals of the Qinghua University of the Won-Cosmos Recruitment Hall... Virtual digitalists have infiltrated all walks of life, and the technology giants, both within and outside the sea, are accelerating the mapping of the virtual digital race.
虚拟数字人是连接用户情感与XR（VR、AR）设备的交互中介。如果说XR设备是元宇宙的入口，那么虚拟数字人则是元宇宙的关键要素，是元宇宙世界最先崛起的领域。
Virtual digital person is an interactive broker linking user emotions to XR (VR, AR) devices. If the XR device is the entrance to the metacosystem, the virtual digital person is the key element of the meta-cosm, the first area to rise in the meta-cosmos world.
2022年7月，上海率先正式对外发布《培育“元宇宙”新赛道行动方案》，其中提及以元宇宙为实体经济赋能，“以虚促实，以虚强实”。同年8月，北京发布虚拟数字人产业专项支持政策，提出到2025年，北京虚拟数字人产业规模将突破500亿元，培育1家至2家市值50亿元以上的虚拟数字人企业，成为全国虚拟数字人产业创新高地。
In July 2022, Shanghai took the lead in the official launch of the New Race Action Programme for the Development of the Meta-Cosmos, which refers to the use of the meta-cosmos as a real economic enabler, “with vanity and vanity.” In August of the same year, Beijing launched a special support policy for the virtual digital industry, suggesting that by 2025, the virtual digital industry in Beijing would have reached 50 billion yuan, and that one to two virtual digital enterprises with a market value of more than $5 billion would have been nurtured to become a national high point of innovation for the virtual digital industry.
随着元宇宙概念的广泛传播，地方政府也在接受这一新概念，部分城市已开始尝试选择虚拟数字人作为自己的城市代言人。古代偶像苏小妹成为四川眉山市“数字代言人”和“宋文化推荐官”，苏小妹打卡眉山市著名景点、自制眉山美食、探访民间工艺，优质的创作内容成为文化与年轻人沟通的桥梁。
With the broad dissemination of the meta-cosmology concept and the acceptance of this new concept by local governments, some cities have begun to try to select virtual digitalists as their own urban spokespersons. An ancient idol, Su, became the “digital spokesperson” and “song cultural referee” in the city of Sichuan Yingshan, and Sioux played the well-known scenes in the city, made home-grown browsing, visited folk crafts, and high-quality creative content became a bridge between culture and young people.
得益于深度学习算法的突破，虚拟数字人为现实世界和虚拟世界之间提供了强视觉效果的交互方式。当前，行业正朝着智能化、便捷化、多样化发展，相应的商业模式也在持续演进与多元化，产业发展迎来加速期。
benefits from a breakthrough in deep learning algorithms, where virtual digitalists provide a powerful way of interacting between the real and virtual worlds. Currently, the industry is moving towards intelligentness, ease, diversification, and the corresponding business model is constantly evolving and diversifying, and industrial development is accelerating.
2022年4月22日，由天娱数科打造的国风虚拟数字人“天妤”上线，其作为首个文化出海的虚拟数字人，通过为其量身定制的中国传统文化系列短剧《千壁寻踪》，在海外TikTok总播放量突破120万，在创新性、影响力、技术支持、文化输出、商业活跃度方面展现出强劲的竞争力。截至2022年12月31日，“天妤”全网视频播放量超3亿，相关话题播放量超8亿。
On April 22, 2022, , the National Wind Virtual Digital Man, created by the Leisure Numbers Section, went online as a virtual digital man for his first cultural trip to the sea. Through a customized series of traditional Chinese cultural dramas, TikTok, a total of 1.2 million people were aired overseas, showing strong competitiveness in terms of innovation, influence, technical support, cultural output, and business activity. As of December 31, 2022, the full-web video was broadcast more than 300 million and related topics more than 800 million.
“国风虚拟数字人”在这一领域的崛起尤为引人注目。一方面是因为国风形象在互联网平台上自持热度，国风爱好者在年轻人中占比约七成。另一方面，通过结合传统文化输出精品内容，打造具有较高辨识度的中国文化符号，努力面向世界讲好中华优秀传统文化故事。中国文化随同虚拟数字人出海，成为当今最重要、最便捷、最高效的传播通道之一。
The rise of the National Wind Virtual Digitalist is particularly striking in this area. On the one hand, because of the national wind image of its own heat on Internet platforms, the country's fans account for about 70% of young people. On the other hand, by combining the traditional culture with its content and producing Chinese cultural symbols with a high degree of recognition, China's cultural heritage stories are being presented to the world. China's culture follows virtual digital figures, making it one of the most important, convenient and efficient channels of communication today .
但竞争环境愈发激烈，虚拟数字人如何保持持续竞争力和旺盛的生命力？只有持续创作优质的内容、与用户建立深度且持久情感连接的虚拟数字人，才能保摆脱被替代的风险。以“天妤”为例，优质内容正是其IP运营的核心竞争力。在人物形象设定方面，“天妤”团队通过对传统文化的深入研究和提取，在人物形象上最大程度还原东方文化之美，既古典又兼顾现代审美元素。在内容创作方面，通过持续更新的系列短剧，对琵琶、巾舞、围棋、散花飞天、山海经开明兽等不同的传统文化类别进行专业化地呈现，实现用户与剧的“共情”、与品牌的“长情”，其形象和内涵也得到不断延展。
, but with a more competitive environment, how do virtual digitalists maintain their continued competitiveness and vitality? Only virtual digitals who create high quality content on a continuous basis, with deep and sustained emotional connections with users, can protect themselves from the risk of substitution. For example, the quality of content is the core competitiveness of their IP operations. In the area of character image-setting, the “tempo” team, through in-depth research and extraction of traditional cultures, maximizes the preservation of the image of the person to the beauty of Eastern culture, both classical and modern dollar-based.
如今，虚拟数字人行业发展持续进阶，也更加考验公司的核心技术能力、商业化落地以及连接行业上下游生态的能力。近日，“天妤”又宣布与经纪公司壹心娱乐达成深度合作，共同探索数字化泛娱乐领域新玩法、新场景，也标志“天妤”正式开启“艺人”身份。同时，“天妤”还将现身陕西卫视丝路春晚舞台，带来不一样的表现。
Today, the virtual digital industry continues to evolve and to test the company's core technological capabilities, commercialization, and ability to connect the industry to upstream and downstream ecology. In recent days, Tianjing has announced deep cooperation with the entertainment companies to explore new ways of playing in digital entertainment, new scenes, and to mark the official opening of the “artist” identity.
随着Web 3.0时代的到来，互联网正脱离平面进入三维立体空间中，这意味着网络需要更多的交互方式以带给用户更加真实的体验。虚拟数字人行业仍然受到众多因素影响，资本投入、产业政策、需求关系、技术突破、行业生态，这也是一场智慧与耐力的比拼。随着交互智能技术的加速发展，虚拟数字人正在从技术创新走向产业应用。
With the advent of the Web 3.0 era, the Internet is moving away from the plane into a three-dimensional square space, which means that the network needs more interactive ways to give users a more real experience. The virtual digital industry continues to be influenced by many factors, such as capital input, industrial policy, demand relationships, technological breakthroughs, industry ecology, which is also a combination of wisdom and endurance. As interactive intelligence advances accelerate, virtual digitalists are moving from technological innovation to industrial applications.
12月12日至14日，“文旅中国元宇宙首届生态大会”在福建省福州市举办。“文旅中国元宇宙”以平台化的方式为行业提供资源管理与价值变现服务，促进文化和旅游领域把握元宇宙的发展机遇，进一步实现数字化转型、进入创新发展的新阶段。数字人作为元宇宙数字内容的核心抓手，走在元宇宙技术发展的最前端。各级地方政府也在工作报告及产业规划中频繁提及虚拟数字技术及数字人，随着数字人场景化应用落地，大量企业涌入数字人相关市场，保守估计，中国“虚拟人”、“数字人”相关企业数目已超过5万家，而且还在呈快速增长趋势。
, 12-14 December, the First Congress of Ecology of the Chinese Won-Cosmos, held in Fuzhou City, Fujian Province. “The Chinese Won-Cosmos” provides the industry with a platform for resource management and value realization services, promotes cultural and tourism access to the development opportunities of the Won-cosm, and further digitalizes the transition to a new phase of innovation. Digitals, as the core of meta-cosm digital content, are at the forefront of the development of meta-cosmos technology. Local governments at all levels have also made frequent references to virtual digital technology and digital people in their work reports and industrial plans, and, as digital landscapes fall, a large number of businesses have moved into digital-related markets, and it is conservatively estimated that the number of Chinese “virtuals” and “digitals” related businesses has reached more than 50,000 and are on a fast-growing trend .
中传文旅将在2023年推出“女娲计划”，计划将在2023-2025年间发掘中国优质的传统文化、旅游场景IP，从中提取具有历史传承价值的中华文化元素、符号和标识，转化为可视化要素，进一步创新性发展和创造性转化丰富的文旅IP，真正以数字人为IP外宣与发展的抓手，为文化创新创造提供丰富多彩的文化素材，为激发全民族文化创新创造活力提供源头活水。
In 2023, the `font' travel brigade will launch the `Women's Day Plan', which will, between 2023 and 2025, tap into China's high-quality traditional culture, tourist scene IP, from which Chinese cultural elements, symbols and symbols of historical heritage will be transformed into visual elements, further innovative development and creative transformation of rich cultural IP, genuine digital literacy and development, and provide rich cultural material for cultural innovation, as well as a source of fresh water for stimulating the dynamism of cultural innovation across the nation.
“女娲计划”将创造并聚集100位/组数字人IP，并通过新媒体矩阵、影视综资源、线上线下全渠道露出将这100位数字人打造为代表中国的数字艺人，积极引导国内青少年网络文化和偶像文化的健康发展，依托“文旅中国元宇宙”平台生态资源，对数字人资源整合、传播和对接。同时作为文化出海的外宣KOL矩阵，向世界展现中华文化和中国科技，让世界走近中国，爱上中华文化。
The project will create and bring together 100 digital IPs and show through the new media matrix, the video pool resources, and full access to online channels the 100 digitals as digital artists representing China. It will actively guide the healthy development of the culture of the country's youth network and iconic culture. It will integrate, disseminate and connect the resources of digital people through the platform. It will also serve as a cultural outreach KOL matrix to show the world the Chinese culture and Chinese technology, bringing the world closer to China and falling in love with the Chinese culture.
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天娱数科集团元圆科技总经理? 郑屹呈 General Manager of Wont Science and Technology? 问：传统虚拟数字人在互动方面，无法实现超写实、沉浸式实时互动是难点。如何应对行业环境变化，回应观众需求？ asks: It is difficult for a traditional virtual digital person to be able to interact in a way that is overwritten and immersed in real time. How to respond to changes in the industry environment and to the needs of the audience? 答：目前，大部分虚拟数字人带来的只是短时流量，且不具备持续盈利的能力；而内容所带来的粉丝用户质量和黏性就要牢靠得多。好的内容能引发情感和认同，其原创性、真实性、针对性、价值性、积极性、合法性都是无与伦比的。此外，虚拟数字人的应用场景仍不充分，更多侧重于概念和内容营销。我们正在不断尝试创新，将虚拟数字人、虚拟场景和虚拟货品与真实商品（权益）相结合，塑造全链路、周期性的体系化运营模式，助力品牌实现长期效益。 : At present, most virtual digitalists bring only short-term flows and do not have the capacity to sustain profits; and content brings much more of the quality and stickyness of fan users. Good content generates emotions and identity that are indistinguishable in terms of originality, authenticity, relevance, value, motivation, legitimacy. In addition, virtual digitalists still have inadequate applications, with a greater focus on the marketing of concepts and content. We are constantly trying to innovate by combining virtual digitalists, virtual scenes and virtual goods with real goods (equity) to shape a fully-connected, cyclical, structured operating model that supports the long-term benefits of brands. 但也需要看到，在未来的元宇宙中，虚拟数字人的核心竞争力就在于是否具有“思维”和可交互的能力。为此，我们基于动态光场扫描建模技术、全身动态捕捉技术、数字人表情库等数据基础，以AI技术为支点，通过Meta-Surfing元享SaaS平台驱动“高质量、低成本、短周期”的虚拟数字人与虚拟内容生产，用AIGC方式辅助完成虚拟数字人日常视觉内容以及口播内容的生成与输出。同时，应用平台内置的面部表情实时驱动技术、光线智能追踪与分布式智能云端渲染三项辅助智慧功能，真正实现了高精度模型在直播中的低延时与人场高度融合的完美结合，完成了超400万面高精度模型的实时互动直播。 also needs to see whether the core competitiveness of virtual digital players in the future meta-cosm is “thinking” and interactive. To this end, based on data bases such as dynamic photo-scanning techniques, full-body dynamic capture techniques, digital man-image think tanks, etc., we use AI technology as a back-stop, using the Meta-Surfing SaaS platform to drive “high-quality, low-cost, short-cycle” digital and virtual content production, supporting the generation and output of virtual digital visual and oral content in an AIGC way. 2023年我们还将从技术、内容、玩法、粉丝运营、虚拟数字人矩阵5个方面进行全方位升级。我们希望“天妤”能在更广泛的用户群体中代表中国古典文化、传统审美、普世价值观，成为一个代表中国文化的IP符号。 2023 will also be fully upgraded in terms of technology, content, play, fans' operation, and virtual digitalist matrix 5. We hope that Tian Yi will represent Chinese classical culture, traditional aesthetics, universal values among the wider user community and become an IP symbol for Chinese culture. 数字栩生联合创始人兼CEO? 宋? 震 问：为什么要打造中国人自己的数字人？ asks: Why build the Chinese's own digital man? 答：目前，海内外涌现了很多的数字人公司，但各国打造的数字人都有自己的特点。从表达体系到长相到语言等，中国和整个西方文化是不一样的，所以中国的数字人体系不可能按照西方的方式去构建，因为我们有不同的文化、价值观、长相、表达方式，因此，我们需要有自己的一套数字人表现方式。 : At present, there are a lot of digital companies, both within and outside the country, but the numbers created by each country have their own characteristics. From expression to appearance to language, Chinese and Western cultures are different, so Chinese digital systems cannot be constructed in a Western way, because we have different cultures, values, appearances, expressions, so we need to have our own set of digital expressions. 去年年底，全国首个高精度京剧数字人“梅兰芳孪生数字人”亮相。这是数字栩生团队和中戏、北理工、中科院自动化所、腾讯等一起完成的全国首个高精度京剧数字人，这个项目探索传承中华文明精神与京剧国粹文化的创新传播业态，并以此为典范构建“中国人物”数字资产库。作为戏曲界的改革先驱和曲艺大师，梅兰芳数字人是“大师复现”项目在虚拟数字人领域中颇具革命性的创举。通过现代科技赋予历史中的伟大人物以活力与生机，让这些鲜活的“中国人物”成为跨越时空、超越国度、富有永恒魅力、具有当代价值的中华文化精神图腾，正是“大师复现”的意义。 At the end of last year, the country's first high-precision Tokyo drama digitalist, “The Melanfant Digital Man,” appeared. This project, the first high-precision Kyoto drama digitalist in the country, carried out together with the digital team and the Chinese drama team, the North Polytechnics, the Chinese Academy Automated Institute, the Telegraph, etc., explores the innovative dissemination of Chinese civilization and the Kyoto populist culture, and uses it as a model to build a “China character” digital asset base. As a pioneer and traverser in the theatre, the Melanvan digitalist is a revolutionary initiative in the virtual digital domain. Through modern technology, it gives energy and life to the great characters of history to give these fresh Chinese characters the meaning of the Chinese cultural spirit that transcends time, transcends the country, has an eternal charm, and has a contemporary value. 上海燃麦网络科技有限公司联合创始人/数字人中心总经理? 朱? 倩 Co-founder/General Manager of the Center for Digital People's Science and Technology Ltd. in Shanghai > /font > 问：科技如何赋能传统文化传播背后的故事？元宇宙的未来，还需要赋予超写实数字人怎样的内容和内涵？ asks: How can technology give way to the story behind traditional cultures? The future of the meta-cosmos also needs to give people with overwritten numbers the content and content? 答：目前，燃麦从超写实数字人AYAYI开始，逐渐形成数字人IP矩阵，目前已开发运营AYAYI、锘亚Noah、若一Ro1yi和阿曜Ayo等多个超写实数字人。在我们看来，传统文化太依赖于人，也会因为人的离去造成重要内容的流失，同时传统文化落地场景较少，整体传播与传承上也面临无法解决的“坎”。随着科技的发展，特别是数字化和人工智能化的发展进度，让传统文化有了更强大的可视化空间，也让传播文化有了无限可能性，能够伴随着元宇宙的叙事和数字化基建的结合扩大用户的接触面积。 : Currently, the burning of wheat, starting with the super-written digitalist AYAYI, has evolved into a digital human IP matrix, which has developed and operates a number of super-written digitalists such as AYAYI, a Noah, Ro1yi, and Aayo. In our view, traditional culture is too human-dependent and can also cause the loss of important content due to human departures, while traditional culture is less present, and overall transmission and transmission face an unresolvable “can” situation. As technology, especially digitalization and artificial intelligence, progress has given traditional culture a stronger visualization space, as well as an unlimited potential for communication culture, to expand user exposure along with meta-cosm narratives and digital infrastructure. 我们的生命正在不断被数字化。大数据、算法、个性化推荐，这些大家耳熟能详的概念，其背后其实就是用户生命的一部分，被算法以统计学的方式实现了数字化。到目前为止，超写实数字人还处在皮囊超写实阶段，随着技术的进步，角色背后的“灵魂”也将变得超写实。 Our lives are constantly being digitized. Big data, algorithms, personalizations, well-known concepts, which are actually part of the user's life, are statistically digitized by algorithms. So far, overwritten digital people are still in over-manoeuvring stages, and as technology advances, the "sults" behind characters will become overwritten. 创壹科技CEO? 梁子康 It's a new technology, the CEO? 问：虚拟偶像如何赋能传统文化传播？ asks: How can virtual icons enable traditional culture to spread? 答：创壹科技成立于2018年5月，2021年10月31日上线的虚拟偶像柳夜熙成为2021年的“现象级”虚拟人，其东方面孔、中国风的妆容与捉妖师的神秘身份都契合了当下盛行的国潮风尚，妆容中充满科幻感的特效与赛博朋克风格的后期色调迎合了年轻人的喜好。 : So-Technology was founded in May 2018, and Yoo Yae-hee, who came on line on October 31, 2021, became a 2021 “prompt-level” virtual, whose East Fung, Chinese wind make-up and the mysterious identity of the sorcererer match the current state style, and the sci-fi-filled special effects in the makeup match the young people's preferences. 在我们看来，目前市面上的虚拟人大多是以虚拟偶像的模式运营为主，可大致分为养成类、人格化类、二次元女团等类型，虚拟人所处时空也多是纯CG的二次元或者现实世界的三次元。而创壹科技对于柳夜熙的定位是希望其游离于二者之间的存在，像漫威、迪士尼那样，希望能打造一个带有自己特色的IP世界，做短视频赛道的“迪士尼”。 It seems to us that most of the virtual people on the market are now operating on the model of virtual icons, which can be broadly divided into types of breeders, personality groups, second-time girls, etc. Virtuals also spend more of their time and space on pure CGs, or three parts of the real world. And creative technology is about positioning Willow Night-hee in the hope that he will travel between them and, like Manway and Disney, that he will create an IP world with his own identity, a “disney” for short video tracks.
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