主动安全苏标与陕标_苏富比艺术与虚拟现实

主动安全苏标与陕标

This is a guest post from our VR Artist in Residence, Isaac Cohen, also known as Cabbibo. For more background, you can check our initial announcement post here.

这是来自我们居住地VR艺术家Isaac Cohen(也称为Cabbibo)的来宾帖子。 有关更多背景信息，您可以 在此处 查看我们的 初始公告 。

When you know you’ll have to make an art piece in one day, you need to be prepared. For a painter this might mean making sure you have enough brushes, for a sculptor it may mean checking your clay isn’t dry — for me, it’s ensuring I have code that works, and is flexible enough that if I need to make last-minute changes it won’t all come crumbling down.

当您知道必须在一天内制作一件艺术品时，就需要做好准备。 对于画家而言，这可能意味着确保您有足够的刷子；对于雕塑家而言，这可能意味着检查您的粘土是否干燥—对我而言，这确保我拥有可以使用的代码，并且足够灵活，以便在我需要做最后一遍时微小的变化不会全部崩溃。

As Unity’s Artist in Residence, I had the opportunity to feature a piece for an “Art in VR” event at Sotheby’s — the renowned institution in New York City. The event was put on by the VR Society, of which Unity is a member. I wanted to make something special and unique for the site: I decided to show how art can be experienced when regular, everyday objects become reactive to the touch. But doing an installation unique to Sotheby’s meant I had to be extremely prepared. I wouldn’t have much time to write new code, so I spent the weeks leading up to the event writing a group of modules that I could mix and match while there — with final inspiration coming from what I found upon arrival.

作为Unity的驻地艺术家，我有机会在纽约市著名机构苏富比(Sotheby's)的“ VR艺术”活动中展出作品。 该活动由Unity所属的VR协会举办。 我想为网站做些特别的事情：我决定向人们展示当普通的日常物品对触摸产生React时如何体验艺术。 但是，进行苏富比特有的安装意味着我必须做好充分的准备。 我没有太多的时间来编写新代码，所以我花了数周的时间来准备该活动，编写了一组模块，可以在那里进行混合和匹配-最终的灵感来自我抵达时所发现的东西。

1 –概念 (1 – THE CONCEPT)

The first time I did this type of project was with a piece called myRoom (which you can download for Vive here) where I scanned my actual bedroom at home and then aligned the digital representation with the physical, so you could pull and play with the furniture that was actually there in real life, while in VR.

我第一次进行这种类型的项目是使用名为myRoom的作品(您可以 在此处 下载Vive )，我在家里扫描了我的实际卧室，然后将数字表示与实物对齐，以便可以拉动和玩耍。虚拟现实中真正存在的家具。

I wasn’t sure what furniture we’d have available at Sotheby’s to use, so Unity ordered a couch for me — a love-seat, to be exact. (I’d asked that whatever we secured, it had to squishy. It makes the experience more fun.) It was a dark brown, plush, heavy piece of furniture that we dragged out from the piles of crates in the mail room at Sotheby’s, the day before the event was to start. We put it in the booth area where my installation would be — and then I got to work. I scanned it with my iPhone, then pulled out my laptop, sat on the floor, and began creating the couch asset for VR — which would later get a psychedelic twist.

我不确定我们在苏富比可以使用什么家具，所以Unity为我订购了一张沙发-准确地说是一个爱人的位子。 (我问我们要确保什么，都必须软软。它使体验变得更加有趣。)这是一件深褐色，豪华的沉重家具，我们从苏富比拍卖行的邮件室里的一堆箱子里拖了出来。 ，活动开始的前一天。 我们将其放在要安装的展位区域，然后开始工作。 我用iPhone扫描了它，然后拿出笔记本电脑，坐在地板上，开始创建用于VR的沙发资产-后来引起了迷幻的感觉。

The transition from this physical, soft, brown couch to digital iridescent goo is described below. I’ve made a github repo with all the code (it’s my first attempt at making code that is usable by others, so it’s still a little messy. You can ask me questions on twitter @cabbibo and I’ll do my best to help!).

下面描述了从这种物理的，柔软的棕色沙发到数字彩虹色粘胶的转变。 我已经 用所有代码 制作了 github存储库 (这是我第一次尝试使代码可被其他人使用，因此仍然有些混乱。您可以在Twitter @cabbibo 上向我提问 ，我会尽力提供帮助！)。

2 –扫描 (2 – SCANNING)

To get the couch into Unity, I started by taking around 250 pictures with the app ‘Reality Capture’, which I chose because it processes models much faster as its algorithms are written for the GPU (very helpful when you’re trying to make an art piece in a single day). In about an hour, I had an extremely hi-res mesh (10,000,000 verts). Obviously this won’t do for real-time graphics, especially when I wanted to give the couch physical properties. Because of this, I brought the mesh into Blender and cleaned it up, eliminating some other tertiary elements that got captured on the sides. Now I had a simple .fbx which I could import into Unity, which is where the magic begins.

为了使沙发进入Unity，我首先使用 “ Reality Capture” 应用拍摄了约250张照片 ，我之所以选择它，是因为在为GPU编写算法时，它处理模型的速度要快得多(当您尝试制作一个艺术品)。 在大约一个小时内，我有了一个非常高分辨率的网格(10,000,000个顶点)。 显然，这不适用于实时图形，尤其是当我想给沙发提供物理特性时。 因此，我将网格物体引入Blender并进行了清理，消除了侧面捕获的其他第三元素。 现在，我有了一个简单的.fbx，可以将其导入Unity，这就是魔术开始的地方。

I’ve always found much of computing to be very inorganic. We have box colliders and static models, baked lighting and canned animations. For a medium as physical as VR, I have found that the more organic I can make something, the more playful it can become. Making a model reactive can breathe life into it. A regular object suddenly can bring joy. Because of this, I want to make everything squishy, gooey, visceral, and physically palpable. To do this, I need the GPU.

我一直发现很多计算都是非常无机的。 我们有盒子对撞机和静态模型，烘焙的灯光和罐头动画。 对于像VR这样的物理媒体，我发现我可以做的越有机，它就会变得越好玩。 使模型具有React性可以为模型注入生命。 一个普通的物体突然可以带来欢乐。 因此，我想使所有东西都变得粘软，黏糊糊，内脏和可触摸。 为此，我需要GPU。

3 –计算着色器 (3 – COMPUTE SHADERS)

If you have never delved into compute shaders before, I would recommend this tutorial by Kyle Halladay. After I first saw it, I made everything squishy — from donuts and cloths, I made space whales gooey and walking aliens hairy. But every time I would start a new project, I would rewrite custom code, starting from scratch again and again and again. I wouldn’t have that luxury for this project, so I had to make some code that was actually reusable. I am still a beginner in many ways (this was the first time I ever tried my hand at c# inheritance) so I can’t say that it is the best, cleanest, or even most complete architecture, but hopefully with a bit of background knowledge and patience for my strange mind, you can find use for it as well.

如果您以前从未研究过计算着色器，我将推荐 Kyle Halladay撰写的 本教程 。 第一次看到它之后，我把所有东西都变成了糊状-用甜甜圈和布料，使鲸鱼粘糊糊，使外星人毛茸茸。 但是每次我开始一个新项目时，我都会一次又一次地重写自定义代码。 对于这个项目，我不会那么奢侈，所以我不得不编写一些实际上可重用的代码。 我仍然在很多方面还是个初学者(这是我第一次尝试c＃继承)，所以我不能说它是最好，最干净甚至是最完整的体系结构，但希望有一点背景知识知识和耐心让我很奇怪，您也可以从中找到用处。

There were a few things that I knew that I needed this system to be able to handle. The first was to be able to turn any mesh into a compute buffer. This would allow me to not only pass this information into other compute shaders, but would also allow me to have a base buffer I could begin to do physics on. I wanted to try to architect a system where different buffers could be used in different compute steps. For example, I wanted to make sure that I could make a mesh gooey, doing strange physics on its vertices, and then pass this gooey object into a different shader that would do hair physics, making it so we could see the hairs bouncing and swaying on top of a liquid mesh. The update step needed to be flexible so that I could bind different information to different compute shader dispatches at will. Lastly I wanted to be able to get information out of the compute shader for use in CPU land for things like audio and collisions.  With all these thoughts in mind, I made a first pass at GooHairGrass — my part in helping to make the world just a little more squishy.

我知道有些事情我需要这个系统才能处理。 首先是能够将任何网格转换为计算缓冲区。 这不仅使我可以将这些信息传递给其他计算着色器，而且还使我拥有一个可以开始进行物理处理的基本缓冲区。 我想尝试构建一个可以在不同计算步骤中使用不同缓冲区的系统。 例如，我想确保可以制作一个网格粘稠的粘胶布，在其顶点上进行奇怪的物理处理，然后将该粘稠的对象传递到另一个可以进行头发物理处理的着色器中，这样我们就可以看到毛发的弹跳和摇摆。在液体网格上。 更新步骤必须灵活，以便我可以随意将不同的信息绑定到不同的计算着色器调度。 最后，我希望能够从计算着色器中获取信息，以用于CPU领域中的音频和碰撞之类的事情。 考虑到所有这些想法，我在GooHairGrass取得了第一步-我的职责是帮助使世界变得更加柔软。

4 – SIMULACRA (4 – SIMULACRA)

I decided to call the piece ‘Simulacra,’ referring to the imitation of what is real. A representation. VR discussions tend to be mainly about what’s not there, but I think there’s something powerful when all realities collide and you can see your own world around you differently.

我决定称其为“ Simulacra”，指的是对真实事物的模仿。 表示形式。 关于VR的讨论通常主要针对那些 尚不 存在的问题，但是我认为，当所有现实冲突时，会有一些强大的东西，您可以以不同的方式看到自己周围的世界。

As guest after guest put the headset on and walked toward the couch, they didn’t have to feel their way blindly, as some VR experiences demand. In Simulacra, you know the couch is there — you sit on it, bounce off it, feel it beneath you. The glowing colors that look like grass and hair will lean away from you if your hands get too close, and then suck toward you if you squeeze the trigger. Letting go will cause them to bend back and slowly snap back into place. And being thoughtful, in what feels like a dark void of space, sitting on a psychedelic couch that feels real because it IS real, is exactly what Simulacra is all about.

宾客们戴上头戴耳机并走向沙发时，他们不必像某些VR体验需求那样盲目摸索。 在Simulacra，您知道沙发在那儿–您坐在沙发上，从沙发上弹开，感觉它在您的下面。 如果您的手太靠近，看起来像草和头发的发光颜色将向您倾斜，然后挤压扳机，然后朝您的方向吮吸。 放开它们会使它们向后弯曲，然后缓慢地恢复原位。 Simulacra正是要考虑周到的，在一片黑暗的空间中，坐在迷幻的沙发上，因为它是真实的，所以感觉真实。

Actress Maria Bello, who was at the event to give a talk on her 360 video documentary series, also stopped by our installation to see what I had created. Tony Parisi, Head of VR/AR Strategy at Unity gave a few talks on the power of real-time technology for artists, designers, filmmakers, and other creators. I myself was on a panel about artists. It was a great learning experience, and very humbling — especially when I first saw that famous Sotheby’s podium.

女演员玛丽亚·贝洛(Maria Bello)参加了关于她的360视频纪录片系列的演讲，她也因我们的装置而停下来观看我的创作。 Unity VR / AR战略负责人Tony Parisi就艺术家，设计师，电影制片人和其他创作者的实时技术的功能进行了一些演讲。 我本人是一个关于艺术家的小组。 这是一次很棒的学习经历，而且非常谦虚-特别是当我第一次看到那著名的苏富比讲台时。

5 –接下来 (5 – WHAT’S NEXT)

There is still a lot of work to do on the repo, and I’m hoping that as I continue to clean it, the structure will become more easily usable and explainable — but anyone is free to dig in now. I plan on doing some live streams explaining and building out objects using the code, so keep an eye on my twitter (@cabbibo) for announcements on when that is happening. Although there is still so much to do, I hope that this code can begin to help others imbue their creations with gooiness and life, helping to make virtual reality a bit more physical.

回购上仍有很多工作要做，我希望在继续清理时，该结构将变得更易于使用和解释，但是现在任何人都可以自由地进行研究。 我计划使用代码进行一些实时流解释和构建对象，因此请密切关注我的Twitter ( @cabbibo )， 以了解何时发生这种情况。 尽管还有很多事情要做，但我希望这段代码可以开始帮助其他人充满创意和生活，使虚拟现实更具物理性。

I would like to give a special thanks to Morten Mikkelsen from Unity for helping me understand compute shaders, to Yağmur Uyanık for creating magnificent sounds (which you’ll find in the repo, with some extra demos to come), and to George Michael Bower for sending through some models to use in the demos.

我要特别感谢Unity的Morten Mikkelsen帮助我理解计算着色器， 感谢YağmurUyanık 创造了宏伟的声音(您会在回购中找到它，并附带一些其他演示)，以及 George George Bower 通过一些模型发送以供演示使用。

翻译自: https://blogs.unity3d.com/2017/07/07/art-and-vr-at-sothebys/

主动安全苏标与陕标