從頭條新聞到耳機– VR演出能否擊敗真實的演出?

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  • 從頭條新聞到耳機– VR演出能否擊敗真實的演出?

      202012/2508:44

    ◎很明顯,現場音樂行業將在相當長的一段時間內不會恢復正常。隨著全球各地的觀眾繼續大聲疾呼尋求某種安全的現場娛樂形式,VR是可能的答案嗎?
    ◎現場音樂的門票銷售佔音樂產業收入的一半,即使在大流行限制病毒傳播方面取得了進展,現場音樂也無法在相當長的一段時間內恢復正常。實際上,各國政府為降低Covid 19音樂會參加者的風險所做的不同努力只是在強調安全享受傳統現場音樂體驗的難度方面是統一的。
    ◎以英國最近的現場表演回歸為例,只要遵守嚴格的規則,將慢慢允許現場表演繼續進行。7月25日,(Miles Kane)在(Camden Unlock)現場表演拉開序幕,向50人表演,所有人必須強制性戴口罩,站在地板上標明的社交距離區域中。幾天後,(Frank Turner)也進行了現場表演,這場演出是為了收集有關社交距離演出,是否在財務上可行而進行。即使(Frank Turner)無酬演出,但場館實際上還是由於管理費用和必須只以20%營運容量而虧損。更糟糕的是,觀眾幾乎一片負評,顯示出安全、社交距離的演出,在經濟和經驗上,都是失敗的。
    ◎隨著事實證明令人失望,虛擬實境現已提升到可以使觀眾更接近真實事物的位置。自從幾年前推出了價格更實惠的VR硬體以來,內容提供商一直在呼籲採用新的方法來取悅更多潛在受眾的耳目。
    ◎虛擬音樂會在「XRSPACE MANOVA」耳機的最新全球發布中佔有重要地位。7月24日,來自台灣的歌手和詞曲創作人(Bii)的15名精選粉絲,使用XRSPACE的獨立VR頭戴設備,親自參加了“現場”音樂會,另有數百名虛擬參與者通過自己的VR頭戴設備進行了遠端觀看。接著,8月28日,與台灣歌手(Julia Wu),(Kimberley Chen)與(CHING G SQUAD)舉行另一場虛擬音樂會,通過中華電信提供的5G網絡和「XRSPACE MANOVA Headset」進行現場直播,並向更多觀眾直播。與在世界其他各地看到令人失望的重返現場演出相比,這些VR音樂會取得了巨大的成功,在大多數情況下,看似孤立的體驗變成了共享體驗世界。
    ◎出色的VR確實是一種新媒體,現在可以與電影,電視,書籍甚至現場活動同時使用。這是一種獨特的體驗,當人們被困在社交互動數週或數月之久時,它使人相信能置身於他處。

    ◎這項技術可能已經被炒作了好幾年(或更準確地說是幾十年),但是隨著圖像質量的提高,終於達到了可以大規模採用的地步。音樂會只是現場VR的冰山一角。在美國,職業籃球已經每週在VR中播出一場比賽,其他體育項目也將隨之效仿。
    ◎即使VR演唱會不能取代現場活動,但VR演唱會為無法親自參加演唱會的音樂愛好者,提供獨特體驗的能力,也將成為音樂行業未來的重要組成部分。既是唱片公司和歌手的潛在收入來源,又是音樂迷本身獨特的東西。

    詳細全文:

    By this point, it’s become clear that the live music industry won’t be returning to normal for quite some time. As audiences across the globe continue to clamor for some safe form of live entertainment, could VR possibly be the answer?
    Guest post by Sophie Banda
    Ticket sales for live music make up half of the music industry’s revenue, so it is difficult to overstate just how devastating the widespread cancellation of live performances caused by the pandemic has been. Even with progress being made to limit the spread of the virus, the live music scene will not be returning to normal for quite some time. In fact, the different efforts that governments have made to reduce the risk of Covid 19 to concert goers are only unified in underlining just how difficult it is to enjoy a traditional live music experience safely.
    Take for example the recent return of live acts in the UK, which is slowly allowing live performances to go-ahead as long as they abide by strict rules. On July 25th Miles Kane kicked off Camden Unlocked with a live performance to a crowd of 50 people, all of whom had to stand in socially distanced sections marked out on the floor, while wearing compulsory face masks. Not exactly the triumphant return of live music for which we were all hoping.
    Then there was Frank Turner’s live show a few days later. A performance that was staged to gather data on whether social distanced shows could be financially viable. Even with Turner waiving his performance fee, the venue actually lost money because of overhead costs and as a result of having to operate at 20 percent capacity. Worse still was the almost unilateral negative feedback from his audience, marking the first safe socially distant gig as a failure both financially, and experientially.
    Even with many countries throwing musicians and venues a financial lifeline in the form of emergency funding, musicians, venues, record labels and audiences are all looking for a way to experience live music again, or at least the closest thing to it. With reality proving disappointing, virtual reality has now been elevated to a position where audiences can be brought much closer to the real thing.
    While the concept has been played with in the past, it was almost always as a curiosity rather than a viable alternative to true live performances. There were many reasons for this. The technology was expensive and only had a niche appeal outside of the video games industry, the concerts that were available were not plentiful enough or high quality enough to justify the expense for any but the most hardcore music tech fans, and the technology itself wasn’t quite there, even a few years ago.
    But now? Since more affordable VR hardware launched a few years ago, content providers have been clamouring for new ways to delight the eyes and ears of a much broader potential audience. Understandably, content providers have turned to the larger-than-life on-stage spectacle of live concerts to fill this niche.
    Virtual concerts feature heavily in the recent global launch of the XRSPACE MANOVA Headset, as a way to showcase exactly how far the technology has come. In Taiwan on July 24th, 15 selected fans of Taiwanese singer and songwriter, Bii, physically attended a “live” concert using XRSPACE’s standalone VR headsets, with additional hundreds of virtual attendees watching through their own VR headset remotely. Again on Aug 28th, another virtual concert with Taiwanese singers Julia Wu, Kimberley Chen and CHING G SQUAD performed and live-streamed to even more audiences through the 5G network provided by Chunghwa Telecom and to XRSPACE MANOVA Headset. Compared to the somewhat disappointed return to live gigs seen elsewhere around the world, these VR concerts proved to be hugely successful, turning what from the outside might look like a solitary experience to a shared experience during a time where such things are a rarity in most of the world.
    Apart from the advantages of not being stuck behind tall people and it being much easier to make your way to the bathroom than with real live concerts – VR has the ability to deepen the fans’ relationship with the artist by giving them the experience of live performances when they can’t physically be there in person. Fans at VR concerts not only have the best seat in the house, virtual props and interactions with other fans and performers generate the next best experience to physical concerts. VR done well is truly a new medium that is now able sit alongside film, TV, books and even live events. It is a distinct experience that happens to be as close to real life events as we can get right now. When people have been stuck inside forgoing social interaction for weeks or months on end it is very good at convincing the mind that it has been somewhere else.
    The technology may have been overhyped for years (or more accurately, decades) but, with advancements in graphical quality, more intuitive control schemes and the utility that stand-alone headsets offer, we are finally at a point where mass adoption is possible. And concerts are just the tip of the iceberg for live VR. Pro basketball in the USA is already broadcasting one game a week in VR, with other sports set to follow suit.
    The technology, the content and the audience are all there, with the pandemic acting as a catalyst for greater adoption – which leads to more content becoming available, which leads to even great adoption. Even if VR concerts don’t go on to permanently replace live events, their ability to offer a unique experience to music lovers who can’t be physically present at concerts should mark them out as an important part of the future of the music industry. Both as a potential revenue stream for record labels and artists, and as something unique and existing for music fans themselves.

     

    Hypebot
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