云vr和传统vr_VR是一个疯狂的地方。是时候种植旗帜了。

最新推荐文章于 2024-10-05 13:01:49 发布

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最新推荐文章于 2024-10-05 13:01:49 发布

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原文链接：https://blogs.unity3d.com/2015/07/22/vr-is-a-wild-place-time-to-plant-your-flag/

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云vr和传统vr

As Unity engineer Lucas Meijer said during the Unite Europe keynote, the kinds of VR experiences and interaction models that will set standards in the near future have yet to be invented. Which makes now a perfect time for fearless and visionary artists and developers to jump in and help define this emerging genre.

正如Unity工程师Lucas Meijer在Unite Europe主题演讲中所说的那样，将在不久的将来树立标准的VR体验和交互模型尚待发明。现在，这是无畏而有远见的艺术家和开发人员加入并帮助定义这种新兴类型的绝佳时机。

Brenden Gibbons is a Narrative Designer and student at NHTV, Breda. He jumped into VR filmmaking without a life vest when he made Dyskinetic, a VR live action short film for the Oculus Rift that screened at the international film festival GoShort 2014 in Nijnmegen. He came out of the experience with more problems than solutions, which is why he gave a talk about it at Unite Europe: in the hope that others in the audience would be inspired to solve some of the challenges he encountered.

布伦登·吉本斯(Brenden Gibbons)是布雷达(Breda)NHTV的叙事设计师和学生。当他制作Oss Rift的VR实况短片Dyskinetic时，他在没有救生背心的情况下跳入了VR电影制作，该电影在2014年的奈梅亨国际电影节GoShort放映。他的经验带来的问题多于解决方案，这就是为什么他在Unite Europe进行了演讲：希望观众中的其他人受到启发来解决他遇到的一些挑战。

当前的范式不起作用 (The current paradigms don’t work)

“There are so many things left to do that I can’t do, and it was such a fractured experience to make a VR film. I probably used about seven different types of software to pull my film together, including separate ‘housekeeping’ software to rename files in bulk, or to convert the footage into OGG files for Unity. The workflow I used to turn the footage into frames was especially clunky; we need better solutions.” “VR is still a future piece of technology, at least regarding entertainment content. The ability to put something on your head and feel like you are somewhere else? That sounds like we’re in the future! But we’re using current paradigms to design for this future. We keep asking questions like ‘how do we port an FPS to VR?’ Or the problem of presence. Today we still find it difficult to design an app or make a film that just uses this concept of presence in VR. The real challenge is in figu ring out how to make pure, VR only content.”

“还有很多事情要做，我做不到，而且制作VR电影的经历简直令人难以置信。我可能使用了大约七种不同类型的软件将影片放在一起，包括单独的“客房整理”软件来批量重命名文件，或者将素材转换为Unity的OGG文件。我用来将素材转换成帧的工作流程特别笨拙。我们需要更好的解决方案。” VR至少在娱乐内容方面仍是未来的技术。能够将某些东西放在您的头上并感到自己在其他地方吗？听起来像我们将来！但是我们正在使用当前的范式来设计这个未来。我们一直在问诸如“如何将FPS移植到VR？”之类的问题。还是存在的问题。如今，我们仍然发现仅使用VR中的这种存在性概念来设计应用程序或制作电影是困难的。真正的挑战在于确定如何制作纯VR内容。”

Brenden’s workflow to get his film footage into Unity

Brenden的工作流程，以将他的电影录像带入Unity

“存在是认识与感觉之间的区别” (“Presence is the difference between knowing and feeling”)

Paul Hannah comes from a different background then Brenden, but just like him he’s trying out ways to develop VR content that feels real. He’s a Lead 3D simulation engineer at Airbus DS Newport in the UK. He spoke at Unite Europe about creating Heliskape, a VR helicopter simulator that allows the user to experience flying over London within the cockpit of an Airbus EC135 helicopter.

保罗·汉纳(Paul Hannah)和布伦登(Brenden)来自不同的背景，但就像他一样，他正在尝试开发感觉真实的VR内容的方法。他是英国空中客车DS Newport的首席3D仿真工程师。他在Unite Europe上谈到了创建Heliskape，这是一款VR直升机模拟器，使用户可以体验在空中客车EC135直升机驾驶舱内飞越伦敦的经历。

“We thought to ourselves, how can we create a sense of wonder? The input mechanism plays a key role in that, in creating presence. For Heliskape, we looked at designing the right physical controls that move with your hands just as they would in real life if you were flying a helicopter. For example, a physical control to move the throttle forward can get you much closer to presence in the virtual world.

“我们自以为是，我们如何创造一种惊奇感？输入机制在创建状态方面起着关键作用。对于Heliskape，我们着眼于设计正确的物理控件，这些控件可以像在驾驶直升机时在现实生活中那样动手。例如，向前移动油门的物理控件可以使您更接近虚拟世界中的存在。

He recounts how a student who tried out Heliskape experienced the sensation of vertigo even though she was sitting in a chair. “She felt as though she were flying high up in the sky; she was blown away by the experience, it was just brilliant.”

他讲述了一个尝试Heliskape的学生即使坐在椅子上也如何体验眩晕的感觉。 “她觉得自己好像在高空飞翔；她的经历让她震惊，那真是太棒了。”

“I don’t think we are far off from being able to more widely develop true VR experiences. VR has moved faster than any other new input medium. The spatially aware controllers that Oculus and Valve are working on could be a big breakthrough.”

“我认为我们离能够更广泛地开发真正的VR体验并不遥远。 VR的发展速度比任何其他新输入媒体都要快。 Oculus和Valve正在研究的具有空间意识的控制器可能是一个重大突破。”

用Unity进行创新 (Innovating with Unity)

As part of the Unite Europe keynote Lucas Meijer talked about the new features in Unity 5.1, including the out-of-the-box support for Oculus Rift and Gear VR. He said the way forward with VR is “to try many different ideas and see what sticks. Unity is the best development environment to experiment with VR, to fail fast and just try hundreds and hundreds of things on this search to find the experiences and interaction models that will work.”

作为Unite Europe主旨演讲的一部分，Lucas Meijer谈到了Unity 5.1中的新功能，包括对Oculus Rift和Gear VR的现成支持。他说，VR的前进方向是“尝试许多不同的想法，看看有什么用。 Unity是体验VR的最佳开发环境，它可以快速失败，只需在搜索中尝试成百上千种事物，以找到可行的体验和交互模型即可。”

At Airbus Paul and his team use Unity mainly to prototype. “It helps us to innovate quickly, to try out the ideas in our head, to see how it could work on multiple devices.” He says Unity 5 has greatly streamlined the artists’ workflow, especially with the Standard Shader and Real-time Global Illumination.

在空中客车公司，Paul及其团队主要使用Unity进行原型制作。 “它帮助我们快速创新，在脑海中尝试想法，了解它如何在多种设备上工作。” 他说，Unity 5极大地简化了艺术家的工作流程，尤其是使用标准着色器和实时全局照明。

Brenden says that bringing his VR film together in Unity was “super simple. I used the footage as a texture feature in Unity 5 and just dragged the prefab in and it worked.”

布伦登说，将他的VR电影放到Unity中是“超级简单的事情。我将素材用作Unity 5的纹理功能，然后将预制件拖入其中就可以了。”

Setting up Dyskinetic in Unity

在Unity中设置运动障碍

跨行业的知识交流是塑造VR成功未来的关键 (Cross-industry exchange of knowledge is key to shaping a successful future for VR)

Paul says in serious games “we have to embrace the real-world, whereas game developers often create their own fantastical world. Our approaches are different but we can and should learn from each other because VR is going to change games, films, how people buy real-estate and choose holidays; it’s going to change everything.”

保罗说，在严肃的游戏中，“我们必须拥抱现实世界，而游戏开发人员通常会创造自己的梦幻世界。我们的方法不同，但是我们可以并且应该互相学习，因为虚拟现实将改变游戏，电影，人们如何购买房地产和选择假期。它将改变一切。”

“VR film is a real mixed-bag of disciplines,” says Brenden. “You can learn from interactive theatre about how to position your actors; learn from film about how to frame your shots; learn from game development for level design, for example, how to place your lights, how to use color, how to animate elements in the film all so you can force the viewer to look where you want them to look in your film. Be inspired by everything! It’s unexplored territory; we’re creating all-new styles of storytelling.”

布伦登说：“虚拟现实电影是一个真正的学科混合体。” “您可以从交互式剧院学习如何定位演员；从电影中学习如何构图；从游戏开发中学习关卡设计，例如，如何放置灯光，如何使用颜色，如何为影片中的元素设置动画，以便您可以迫使观众看到您希望它们在影片中的显示位置。受到一切启发！这是一个尚未开发的领域；我们正在创造全新的叙事风格。”