Deputy Director of the New Media Department of China Intercontinental Communication Center Xiang Yu: New media methods such as VR help the drama culture go out
On December 22nd, the 4th National Congress of Chinese Opera Performance Association and the 1st Chinese Opera Performance Art hosted by the Chinese Opera Performance Society and the People's Government of Yixiu District of Anqing and organized by Digital World (Beijing) Technology & Culture Co., Ltd. The VR Industry Summit Forum was held in Anqing, and VR Network () as a specially invited media participated in the forum. The forum focused on the topic of contemporary integration of traditional opera performing arts and modern science and technology and interactive interaction with virtual reality VR new industries to promote the creative transformation and innovative development of Chinese opera performance arts, broadening the application fields of modern science and technology and the way forward . During the forum, deputy director of the New Media Department of China’s Intercontinental Communication Center delivered a keynote speech entitled “VR+ Drama, New Media to Help Traditional Culture Go Globalâ€. The content is as follows: First of all, I would like to tell you about the Wuzhou Communication Center. Wuzhou Dissemination Center is affiliated to the Information Office of the State Council. It has four platforms: a film and television center, a publishing center, a network center, and a cultural exchange center. We are an outreach agency with 20 years of experience in foreign communications. At the same time, we are also a unit that has relatively early exposure to VR in China and has made Chinese traditional culture go abroad through VR. As early as 2012, we got funding and set up the first virtual reality project to help traditional culture go out. In the next few years we are doing this part of the work. When we did a lot of overseas Chinese work abroad, we discovered that new media and new technology are indeed a great helper tool. In our activities in Japan and other countries, VR can be a big hot spot. People in the 20-meter long line for 8 hours are uninterrupted. VR we all know that it is actually not a new thing. It has a history of several decades. It has been used in military and other fields before. Why did it get so hot in the mass field from 2014 onwards? The first one is that there is a curve for the maturity of science and technology. At one point, this technology will certainly be industrialized. Virtual reality is such a point. The other is that human information needs have grown as the amount of information gained, from word of mouth to television to the Internet. These are some theoretical aspects. There is one point I think is very interesting, saying that this is the explosion of big companies, capital strength, and technology. Why did you say this? Also at the beginning of the year, we asked a domestic VR maker at a forum. Why are you passionate about VR? Will virtual reality come? He said it will come. It will. Probably in 2012, all the world's chip makers have no room for iteration. This means that after 2012, the chip technology does not need to be developed. Before 2012, we bought a computer for a couple of years and we would have to change one, because the technology is more powerful and the function is to be improved, and in 2012, After that, it is unnecessary. This is a big problem for hardware manufacturers, and video cards are the same. So the arrival of virtual reality is a great opportunity for them. Less than 1% of computers on the market today can run a good VR content, and the arrival of virtual reality means that almost all computers must be upgraded. Virtual reality is driving the development of the entire computer industry. When it comes to VR+ operas, we can first look at the combination of VR and other traditional industries to see the direction of VR's major industries. For educational purposes, cars, and entertainment, you can see five major use scenarios for VR: instant scenes, product demonstrations, scene education, assisted manufacturing, and interactive entertainment. All VR+ are doing around these five points. Opera and virtual reality have some similarities. We all know that virtual reality will create a parallel space. Opera also has an interesting feature. Operas use certain people and specific behaviors to simulate a fixed scene and a virtual one. The environment tells a virtual story, which is highly compatible with virtual reality technology itself. From this level of analysis, we will find that VR+ operas have a lot to do. Whether it is a virtual reality theater, VR drama education, or traditional arts and crafts related to the preservation of opera, I believe that can form a lot of hot spots. We are a communication agency, so we are focusing not only on how VR+ operas are to be done, but we also need to know what to do and who to look for. Therefore, we will divide VR+ operas into two types. One is a relatively shallow experience. It is important to spread; the other is deep experience. It is important to experience cultural content. This is related to the hardware of the VR. PC VR heads can bring a good immersive interactive experience, but currently such devices, from VR helmets to computers, add up to about 15,000, which means that at least at this stage it is not a popular product. Another device is a mobile VR. Its cost can be as low as 10 bucks. It can be viewed through mobile phones and is conducive to communication. What we are concerned about is how to achieve communication after having VR+ operas. VR is now a personalized device. In such a stage of publicization, how can we achieve this? We have found that most of the users of VR have two sides: one is a communication subject and the other forms a self-propagation system. It spreads through VR according to the user's free user population. For example, it can be used as a performance ticket for operas. As a VR mobile phone box, when viewers watch the show, they can also watch the contents of the opera through the box and share it with others. The other is to establish a vertical field VR propagation network. It is to establish a specific VR experience network based on specific user needs and user population distribution. We are divided into three parts in this year's dissemination. First, we set up VR platform special areas in overseas and some mainstream local media. Second, we are doing some of our own hardware and will select some quality content to deliver to our equipment. among. Third, carry out offline activities such as perceiving China and touching China. This will produce our content and disseminate it to foreigners who are concerned about Chinese subjects. This also applies to traditional culture and opera fields. The VR Network learned that this conference included leaders from the Ministry of Culture, Anqing City, Yixiu District, and Tsinghua University, who attended the event. Wang Xuan, President of Digital World, He Yimin, CEO of Digital World, and CEO of VR Virtual Reality Liu Yong, Founder of Qing Hitomi Vision Zuo Houchao, Deputy Director of the New Media Department of China Intercontinental Communication Center Xiang Yi, Li Hongxin, General Manager of Beijing Disheng Digital, Xie Haifeng, CEO of Blockboard Chuangyi Technology, and Zhang Wulong, Director of Beijing Huijing Technology Market, etc. Reality industry big coffee came to the scene. In addition, more than 50 authoritative experts in the theatrical profession participated in the conference and recorded the drama +VR in the future. The 14 opera masters also gathered in Anqing to perform a special performance by Hui Min. They did not forget the beginning of the heart and played in the people. More reports on the first Chinese opera performance art + VR industry summit forum, please continue to focus on VR network (WeChat public number: VR platform). 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