本文介绍了丹麦交互设计师和媒体艺术家卡尔·埃米尔·卡尔森如何利用Unity和Python在剧场和展览空间中创造交互式视听幻觉。他通过融合虚拟和物理现象，挑战观众的感知，使用Unity的高级功能如4D Box技术来实现这一目标。此外，他还与其他艺术家合作，利用生成艺术、虚拟细菌和增强现实技术来创作独特的艺术体验。
python 埃米尔特
Have you experienced visual music or witnessed a virtual performer dance right into the audience? In this post, we go behind the scenes with an innovative Danish creator who challenges viewers’ perceptions by projecting Unity-generated experiences in theaters and exhibition spaces.
您是否体验过视觉音乐或目睹了虚拟表演者的舞步直接进入观众的视线？ 在这篇文章中，我们与一位创新的丹麦创作者进行了幕后讨论，他通过在剧院和展览空间中投射Unity产生的体验来挑战观众的感知。
From his lab in the crypt of an old church in Copenhagen, Carl Emil Carlsen – an interaction designer and media artist – shared why he likes to release “living” digital forms from the confines of conventional devices.
交互设计师兼媒体艺术家卡尔·埃米尔·卡尔森(Carl Emil Carlsen)在哥本哈根老教堂地下室的实验室里分享了他为什么喜欢从传统设备中释放“活着的”数字形式的原因。
“I’m interested in crafting interactive audiovisual illusions that merge virtual and physical phenomena. When I make digital entities escape the screen, I like to think they are just like early lifeforms escaping the ocean. It’s exciting to shape this hybrid space as technologies evolve – there are so many new paths for artists to explore.”
“我对制作融合虚拟和物理现象的交互式视听幻觉感兴趣。 当我使数字实体逃离屏幕时，我喜欢认为它们就像逃离海洋的早期生命形式一样。 随着技术的发展，塑造这种混合空间非常令人兴奋–有许多新的途径可供艺术家探索。”
A clip from Silicium2, Carl Emil’s project with techno artist Bjørn Svin
卡尔·埃米尔(Carl Emil)与技术艺术家比约恩·斯文(BjørnSvin)合作的项目Silicium2的片段
工具和协作的重要性 (The importance of tools and collaboration)
A big part of Carl Emil’s approach is how he uses technology to achieve his artistic goals. “Tools shape our thinking, so I want to have some influence over them. Unity lets me do that because it’s highly customizable and I can easily experiment with many different formats, media, and types of content.”
卡尔·埃米尔(Carl Emil)的方法的很大一部分是他如何使用技术来实现他的艺术目标。 工具决定了我们的思想，因此我希望对他们产生影响。 Unity使我能够做到这一点，因为它是高度可定制的，并且我可以轻松地尝试许多不同的格式，媒体和内容类型。”
And he’s not doing this in a vacuum. “Throughout my career I’ve tried to choose projects where I’m going to learn something. I try to find challenges that will take me somewhere new. And on that path, I’ve been lucky to collaborate with some very skilled people, who’ve taught me a lot.”
而且他不是在真空中这样做。 “在我的整个职业生涯中，我一直试图选择要学习一些东西的项目。 我试图找到挑战，这些挑战将带我到新的地方。 在这条路上，我很幸运能与一些非常熟练的人合作，他们对我有很多启发。”
Some of Carl Emil’s tools for creating “gen art,” including strong coffee
卡尔·埃米尔(Carl Emil)的一些用于创造“世代艺术”的工具，包括浓咖啡
融合现实与幻想 (Blending reality and illusion)
In a Unite Copenhagen talk, Carl Emil points out how his interest in mixing physical and virtual spaces led him to explore the 4D Box, a live stage located at The Culture Yard in Helsingør, Denmark. “What excited me about it was the possibility of producing hologram-like illusions for a large audience.”
在 哥本哈根 的 Unite演讲中 ，卡尔·埃米尔(Carl Emil)指出了他对混合物理和虚拟空间的兴趣如何使他探索了位于 丹麦赫尔辛格 ( The Culture Yard) 的4D盒子的现场表演 。 “令我感到兴奋的是，它可能为广大观众带来类似全息图的幻觉。”
The stage is based on an optical illusion popularized over 150 years ago. John Henry Pepper mesmerized London theater-goers by reflecting hidden actors onto a theatre stage using a large piece of glass and a lamp, making them appear like ghosts. Consequently, the technique is referred to as “Pepper’s Ghost.”
舞台基于150年前流行的错觉。 约翰·亨利·佩珀(John Henry Pepper)用大块的玻璃和灯将隐藏的演员反射到剧院舞台上，使伦敦的剧院迷着迷，使他们看起来像是鬼魂。 因此，该技术被称为“胡椒鬼”。
The 4D Box extends this technique with a passive stereoscopic 3D system, which means the audience (wearing 3D glasses) can experience virtual props and scenography. To test viewing angles and content scaling for the project, Carl Emil made the Pepper’s Ghost model below (available on GitHub).
4D Box通过被动立体3D系统扩展了该技术，这意味着观众(戴3D眼镜)可以体验虚拟道具和场景。 为了测试项目的视角和内容缩放，Carl Emil在下面制作了Pepper's Ghost模型( 可在GitHub上使用 )。
Carl Emil’s Pepper’s Ghost mockup for the 4D Box stage
卡尔·埃米尔(Carl Emil)的Pepper's Ghost模型在4D Box舞台上
“To create the best-possible 3D perspective, I overwrote Unity’s camera projection matrix with off-axis projection using OffAxisCamera from the Asset Store. I also extended Unity with an ArtNet DMX implementation to take control of the stage lights and match the virtual lighting with physical lighting.”
“为创建最佳的3D透视图，我使用 Asset Store中的 OffAxisCamera 用偏轴投影 重写 了 Unity的照相机投影矩阵 。 我还通过ArtNet DMX实施扩展了Unity，以控制舞台灯光并使虚拟灯光与物理灯光匹配。”
To virtualize the performer’s body, Carl Emil uses a Microsoft Kinect sensor, which tracks the body’s movements. “I need to calibrate the tracking with the projection so that virtual elements can be aligned perfectly with the body. Then I use the depth image from the sensor to mask out elements that move behind the actor.” To synchronize everything, he handles the animation in Playhead, a custom tool he built in Unity, based on Unity UI and OSC simpl from the Asset Store.
为了虚拟表演者的身体，卡尔·埃米尔(Carl Emil)使用Microsoft Kinect传感器，该传感器跟踪身体的运动。 “我需要用投影来校准跟踪，以便虚拟元素可以与身体完美对齐。 然后，我使用来自传感器的深度图像来掩盖在角色后面移动的元素。” 为了同步所有内容，他在Playhead中处理动画，Playhead是他在Unity中构建的自定义工具，它 基于Unity UI和Asset Store中的OSC简化 。
Carl Emil’s custom Playhead tool in action
卡尔·埃米尔(Carl Emil)的自定义播放头工具
His first experiment in the format was Seasonal Skin, a runner-up in the Unity Awards’ Best Non-Game category some years ago. He used the stage as an interactive installation on which the audience could experience being dressed in virtual costumes. Since then, he has done a wide range of 4D Box productions, experimenting with new technologies and Unity features as they emerged.
他的格式的第一个实验是 Seasonal Skin ，几年前在Unity Awards的“最佳非游戏”类别中获得亚军。 他将舞台用作交互式装置，观众可以在其中体验身着虚拟服装的穿着。 从那时起，他进行了广泛的4D Box制作，尝试了新技术和Unity功能的出现。
Seasonal Skin: An early blending of generative art and a live performer. Carl Emil has been using Unity since 2006 (version 1.4).
季节性皮肤：早期融合生成艺术和现场表演者的功能。 卡尔·埃米尔(Carl Emil)从2006年开始使用Unity(1.4版)。
使用Silicium生成视觉音乐 (Generating visual music with Silicium)
Not long after the Seasonal Skin project, Carl Emil started the visual music duo Silicium with Danish techno artist Bjørn Svin. Together, they focus on creating audiovisual and synthetic-organic interactions in live performances. So far they’ve created four 4D Box productions, with the latest one shown at Ars Electronica in Linz, Austria. According to Carl Emil, “Starting with a core concept, we develop real-time synthesized material in parallel, working towards a coherent audiovisual universe, an approach similar in some ways to game design.”
在“季节性皮肤”项目推出后不久，卡尔·埃米尔(Carl Emil)与丹麦技术艺术家 比约恩·斯文(BjørnSvin) 创立了视觉音乐二人组Silicium 。 他们共同致力于现场表演中的视听和合成有机互动。 到目前为止，他们已经创造了四款4D Box产品，其中最新的一款 在奥地利林茨的 Ars Electronica 上 展出 。 卡尔·埃米尔(Carl Emil)表示：“从核心概念开始，我们并行开发实时合成材料，致力于建立一个连贯的视听领域，这种方法在某些方面类似于游戏设计。”
Last year, Silicium produced “Primordial,” a visual music concert in a tour-friendly format based on a cinematic 2D setup. This production premiered at CPH:DOX and was most recently shown at Art & Tech Days in Košice, Slovakia.
去年，Silicium制作了“ Primordial”，这是一种基于电影2D设置的旅游友好型视觉音乐音乐会。 该作品在 CPH：DOX上 首映， 最近在 斯洛伐克科希策的 Art＆Tech Days 上 展出 。
Gen art from Silicium’s Primordial project
Silicium的Primordial项目中的Gen艺术
Carl Emil handles most of the animation in Primordial via Playhead, while some parameters are controlled live through Durga, a multi-touch GUI that he also made with Unity. Durga allows him to blend influences from the music and various random behaviors in an improvised manner. The virtual camera is controlled freehand by a 3DConnexion Space Navigator, integrated using the free SpaceNavigator Driver from the Asset Store.
卡尔·埃米尔(Carl Emil)通过Playhead处理Primordial中的大多数动画，而一些参数则通过他也使用Unity制作的多点触控GUI Durga进行实时控制。 杜尔加允许他以即兴的方式融合音乐和各种随机行为的影响。 虚拟摄像机由3DConnexion Space Navigator徒手控制，并使用 Asset Store中 的免费 SpaceNavigator Driver 进行了 集成 。
To orchestrate the gen art that’s at the core of his experimental work, Carl Emil has developed a specialized graph framework in Unity. This primarily routes ComputeBuffers between various ComputeShader passes. The graph UI is built in UIElements and is an example of a specialized graph tool that Unity users can build for their own needs.
为了协调作为实验工作核心的基因艺术，卡尔·埃米尔(Carl Emil)在Unity中开发了专门的图形框架。 这主要是在各种ComputeShader传递之间路由ComputeBuffers。 图形用户界面内置于 UIElements中 ，是Unity用户可以根据自己的需求构建的专用图形工具的示例。
The setup for Primordial’s visual simulations shown in Unity 2019.3
Unity 2019.3中显示的Primordial视觉模拟的设置
用虚拟细菌指出 (Making a point with virtual bacteria)
On the commercial front, Carl Emil also exercises his experimental chops. Approached by Perstorp, a Swedish company promoting a product to reduce the amount of antibiotics used for meat production, he led the design on an interactive expo to draw awareness to drug-resistant bacteria.
在商业方面，卡尔·埃米尔(Carl Emil)还练习他的实验印章。 在瑞典公司Perstorp的推广下，该公司开发了一种产品以减少用于肉类生产的抗生素，他在一个互动博览会上领导该设计，以提高人们对耐药菌的认识。
“To do that, I got a single machine running Unity to render to six HD projections, five of which covered a typical VR cave setup. I did the rendering with the High Definition Render Pipeline (HDRP), with non-interactive parts played back as HAP codec video using AVPro Video from the Asset Store.”
“为此，我有一台运行Unity的机器来渲染六个高清投影，其中五个覆盖了典型的VR洞穴设置。 我使用 高清渲染管道 (HDRP)进行了 渲染 ，并使用 Asset Store中的 AVPro Video 将 非交互部分作为HAP编解码器视频进行 回放 。”
He built a Swedish forest environment, largely based on the free Book of the Dead assets by Unity’s Demo team, which served as background for illustrations by Sidsel Sørensen and Maya SB. Narrative and sound design was produced by Simon Kirk, while the hardware setup was designed by Vertigo, a light art studio that hosts Carl Emil’s workspace.
他建立了瑞典的森林环境，主要是基于 Unity演示团队 免费 的《死者之书》 资产，并作为 SidselSørensen 和 Maya SB 插图的背景 。 叙述和声音设计由 Simon Kirk 制作 ，而硬件设置由 Vertigo 设计， Vertigo 是托管Carl Emil工作区的轻型艺术工作室。
He pointed the sixth projector at the audience for a special surprise. At the height of the experience, the virtual bacteria crossed the screen-space border to enter the human realm, reminding the audience how such issues can become a personal matter.
他将第六台投影机对准观众，感到特别惊喜。 在体验的高峰期，虚拟细菌越过了屏幕空间边界进入了人类领域，提醒观众这些问题如何变成个人的问题。
Scenes from the experience, including “live” virtual bacteria
体验中的场景，包括“活”虚拟细菌
将Play-Doh变成适合儿童的AR (Turning Play-Doh into kid-friendly AR)
Besides his “screenless” work, Carl Emil has brought his background in interactive design and media to a number of interesting small-screen projects. “I love getting involved in the early stages of concept development, prototyping interactive elements to explore what the product may feel like.”
除了他的“无屏幕”作品外，卡尔·埃米尔还把他在交互设计和媒体方面的背景带到了许多有趣的小屏幕项目中。 “我喜欢参与概念开发的早期阶段，为交互式元素制作原型，以探索产品的感觉。”
For example, at ustwo (makers of Monument Valley) he was involved in AR prototyping for LEGO and Hasbro. The Hasbro prototype was later turned into a toy product called Play-Doh Touch. For the prototype, he procedurally transformed images of plain Play-Doh into rigged 3D characters using the OpenCV integration from the Asset Store.
例如，在 ustwo ( 纪念碑谷的 制造商 )，他参与了LEGO和Hasbro的AR原型设计。 孩之宝的原型后来变成了一种名为 Play-Doh Touch 的玩具产品 。 对于原型，他使用 Asset Store中 的 OpenCV 集成 将原始Play-Doh的图像程序化为装配的3D角色 。
From Play-Doh to rigged AR prototype
从Play-Doh到装配的AR原型
那么，2020年将会发生什么？ (So what’s coming up in 2020? )
“I’m continuing work with The Culture Yard. They’re currently producing a new 4D Box theater performance about personal data and artificial intelligence (AI), which will preview at the upcoming Click Festival.”
“我正在继续与The Culture Yard合作。 他们目前正在制作有关个人数据和人工智能(AI)的新4D Box影院表演，并将在即将到来的 Click Festival上进行 预览 。”
For this, Carl Emil is developing interactive graphics, including a visualization of a chat-bot AI created by artist Cecilie Falkenstrøm and her team. “The AI will converse with an actor and the audience as a non-linear narrative unfolds, providing insight into how our data is being harvested and used, which is mostly hidden from us. I hope this piece will leave the audience with a poetic and sensory awareness of the issue.”
为此，Carl Emil正在开发交互式图形，包括由艺术家 CecilieFalkenstrøm 和她的团队 创建的聊天机器人AI的可视化 。 “随着非线性叙事的展开，人工智能将与演员和观众交谈，从而提供洞悉我们如何收集和使用我们的数据的方法，而这大部分是我们所不知道的。 我希望这篇文章能使听众对这一问题有诗意和感官的认识。”
In April, Carl Emil is going to Taiwan to tour with Chronicle of Lightyear, a cross-cultural 4D Box production by Very Theatre (TW) and the Culture Yard.
4月，卡尔·埃米尔(Carl Emil)将前往台湾与光年纪事(Chronicle of Lightyear)巡回演出，这是由美国 甚剧院 (TW)和文化院(Cultural Yard) 制作的跨文化4D盒子 。
想更多地了解在Unity中创建世代艺术吗？ (Want to learn more about creating gen art in Unity?)
If you’re interested in generative art/graphics, Carl Emil says that a good place to start is the tutorials by Catlike Coding (on Patreon). You can also check out examples by our Tokyo-based evangelist Keijiro Takahashi. To explore what else is buzzing in this corner of the Unity community, join the Audiovisual Unity Facebook group that Carl Emil moderates. You can also follow Carl Emil’s work on Twitter, and check out more projects at his website.
如果您对生成艺术/图形感兴趣，Carl Emil说，一个不错的起点是Catlike Coding (位于Patreon上 )的教程。 您还可以查看位于东京的福音传教士 高桥敬二郎(Keijiro Takahashi)的 示例 。 要了解Unity社区这个角落里还有哪些热门话题，请加入由 Carl Emil主持 的 Audiovisual Unity Facebook小组。 您也可以 在Twitter上 关注 Carl Emil的工作 ，并在 其网站上 查看更多项目 。
python 埃米尔特
扫一扫
1741
被折叠的 条评论
为什么被折叠?
到【灌水乐园】发言
