瞭望元宇宙｜数字人闯入元宇宙 虚拟形象究竟蕴含多少可能？

　　而IP运营能力体现在对数字形象打造的思路和经验之上。郭建君表示，当前行业较为普遍的情况是，技术制作更有信心，运营思维比较欠缺。在这方面，蔚领时代正在探索的一条道路是——选择更专业的生态伙伴合作进行商业化。

According to Kwok Jianjun, the current industry is more confident in technology production than in business thinking. In this regard, one of the paths being explored in the era of assertiveness is the choice of a more professional ecological partner for commercialization.

　　近日，蔚领时代与文娱企业海西传媒集团组建了独立运营的公司蔚海灿娱，推出了龚俊的数字人“霁风”，郭建君表示，后续将围绕可互动数字IP的矩阵搭建、共创虚拟空间的构建等方面进行多重合作。

In recent days, the Heixi Media Group, a leading and entertainment company, has set up an independent company and launched Gon Jun's Digital Man, and Guo Jianjun has indicated that there will be multiple collaboration around the construction of an interactive digital IP matrix and the creation of a virtual space.

　　值得一提的是，利用契合特定场景的IP加快表演型数字人创新也是《计划》的规划的主要任务之一，其提出要“促进技术人才与艺术人才联合创新，加快数字人IP孵化，培育创作者经济。同时打造精品数字人品牌，支持数字人参与广告营销、品牌代言，加强数字人运营管理，树立传播正能量的数字人形象。”

It is worth mentioning that one of the main tasks of planning for the Plan is to accelerate digital innovation using IPs that match specific scenarios, and it proposes “to promote innovation that combines skilled and artistic talent, accelerates the incubation of digital IPs, and fosters the creative economy.” At the same time, it is important to create digital brands that support digital participation in advertising marketing, branding, strengthening the management of digital operations and creating digital images that transmit positive energy.”

　　事实上，IP运营，客户服务和流量变现正是当前数字人主要的三种商业模式。

In fact, IP operates, and client services and traffic changes are now the three main business models for the current digital population.

　　腾讯云近日发布的《数字人产业发展趋势报告(2023)》指出，内容/IP型数字人主要依靠数字人的商业IP运营实现商业变现，功能服务型是交付给客户实现变现，而虚拟分身则需要结合虚拟空间的设定和规则进行流量变现。

According to the Report on Trends in the Development of the Digital Human Industry (2023), recently released by Xeng Xinjung, the content/IP-type digital person relies mainly on the commercial IP operation of the digital person for commercial realization, the functional service type is delivered to the client for realization, while the virtual dichotomy requires flow realization in the context of virtual space creation and rules.

　　“数字人的制作成本和周期伴随定制化程度的下降而递减。三种数字人的制作方式和周期也存在差异，内容/IP型数字人更多是项目制，以定制为主；功能服务型是产品和定制化相结合，在通用产品上，进行定制化开发；而虚拟分身更多是产品制，用户利用平台工具产品进行数字人形象的制作并在相应虚拟场景内进行活动，一般而言，内容/IP型数字人的成本和周期最高，虚拟分身型数字人最低。”

“Digital production costs and cycles are reduced by a reduction in customization. There are also differences in the production patterns and cycles of the three digitals, with content/IP digitals more project-based and custom-based; functional service types are combinations of products and customization, custom-based development on generic products; and virtual compartmentalization is more product-based, with users using platform tool products for digital image production and activities within the corresponding virtual setting, with content/IP digitals generally having the highest costs and cycles, and virtual split digitals having the lowest.”

　　大规模应用依赖可控成本

Large-scale application dependent on manageable costs

　　“数字人的大规模应用，有三个条件必不可少：高写实度的效果、较高的生产效率和可控的成本。”在郭建君看来，虽然对比传统离线渲染的影视级别的写实度效果仍然需要提升，但当前行业应用的实时渲染的技术，在生产效率、可控成本和数字人可互动性上均具备了优势。

“The large-scale application of digital people is essential for three conditions: high-writing effectiveness, high production efficiency and manageable costs.”

　　科技部信息通信专家、上海流程智造科技创新研究院院长贺仁龙告诉21世纪经济报道记者，构造虚拟世界的技术正在逐渐成熟，应用的场景也日益丰富，效果也十分逼真。但在感知交互方面，数字人仍然面临着一系列问题。

The Information and Communication Specialist of the Ministry of Science and Technology and the President of the Shanghai Institute for Flows, Science, Technology, and Innovation Research told economic reporters in the twenty-first century that the technology to construct a virtual world was maturing, and that applications were becoming increasingly rich and effective. But digital people still faced a number of problems in understanding interactions.

　　“在创建元宇宙的过程中，会构造一个世界的秩序和逻辑，但这个世界是否有重力，重力又是多少，目前来看都是技术需要探索的方向。同时，虚拟世界的逻辑需要规律和算法生成，在这其中，如何有效地使数字人在视觉、听觉之外，与用户进行触觉感知交互，也是行业面临的难题。”

“In the process of creating the meta-cosmos, the order and logic of a world will be constructed, but whether there is gravity in the world and how much gravity it is, is the direction that technology now needs to explore. At the same time, the logic of the virtual world requires the production of patterns and algorithms, in which it is also a challenge for the industry to effectively interact with the tactile senses of the users, outside the sight and hearing.”

　　“未来超写实的世界将以可视化为主要特征。而这需要海量的图形运算。”郭建君认为，VR/AR终端将成为元宇宙的入口，但终端的运行依赖算力高速的运行，这其中，实时云渲染能力解决的就是把超写实的世界带到终端体验上的问题。

"The future super-writing of the world will be a major feature of visualization. This will require graphic calculations of the magnitude. Kwok Jianjunk believes that the VR/AR terminal will be the gateway to the metacosystem, but that the terminal's operation depends on the high speed of arithmetic, in which real-time cloud rendering solves the problem of bringing the overwritten world to the end experience.

　　“只有云端实时渲染在达到较高标准的情况下，才能真正带来足够写实、互动、有沉浸感的图像画质。这也就是蔚领时代认为的GaaS(Graphics as a Service)时代到来的逻辑依据。”

"Only real-time cloud rendering, if it meets a high standard, can it actually produce enough graphics to be written, interactive, and immersed. That is the logic behind the age of Gaaphys as a Service, as it was considered in the Axis era."