數字虛擬人天妤。受訪者供圖
天妤，一個沉睡千年的“飛天”少女，在神秘空間“元鏡”中被喚醒后，回想起千年前之事。原來，她曾擅自介入人間紛爭，致使洞窟受損、壁畫脫落。如今蘇醒，她決定重回人間，收集碎片、復原壁畫，讓人們的生活歸於正途、重獲幸福。在收集碎片的過程中，她經歷了一段段故事，體會到滄海桑田間，文化延綿不絕，而人世間的美好情感也讓她得到成長……
A young girl who sleeps for a thousand years, wakes up in the mystical mirror, remembers what happened a thousand years ago. Before, she intervened without permission, causing the caves to fall and the murals to fall off. Now awakening, she decided to return to the earth, collecting fragments, reconstructed murals, and returning people's lives to the right path and happiness. During the process of collecting the fragments, she went through a period of story, and was able to go to the sea of the sea, culture, and the beautiful emotions of the world that made her grow.
這聽上去像一部影視劇、一部動漫，或者一個游戲。事實上，天妤，是以敦煌飛天為靈感來源打造的虛擬數字人，她衣袂飄飄，妝造典雅，一出場便驚艷眾人。她的世界承載著中華優秀傳統文化，而她的旅途將乘著科技的東風“出海”。
It sounds like a cinematography, a moving game, or a game. In fact, the sky is a virtual digital man inspired by a brilliant flying sky, whose clothes, make-up and grace make-up surprise everyone when she comes out. Her world embraces the traditional culture of China, and her journey is “out of the sea” by the wind of technology.
有人說，如果將元宇宙比作駛向未來的飛船，那麼虛擬數字人是第一張船票。而在文化領域，虛擬數字人也因其不設限的特質而擁有無限可能。
Some say that if the meta-cosmos is compared to a future ship, the virtual number is the first ticket. And in the cultural domain, the virtual number man has an unlimited possibility because of his unlimited qualities.
“她”從傳統文化中來
she's from traditional culture
天妤的世界觀搭建以中華傳統文化為主要背景，其妝造設計，由天娛數科元夢工作室與敦煌服飾文化研究暨創新設計中心合作完成，靈感主要來源於壁畫中飛天的形象，還融合了天女、伎樂人等的服飾特色。
The world view of the sky is based on the Chinese tradition and is designed in collaboration with the Renaissance Studio and the Renaissance Cultural Research and New Design Centre. The inspiration is derived mainly from the image of the sky in the mural, and it combines the decorative features of the girl, the choreographer, and so on.
天娛數科元夢工作室總經理鄭屹呈說，現在虛擬數字人很多，但被大家記住的其實不多，而能被持續認知的就更少了，“有的是這一陣很火，或者說‘出道即巔峰’，但要持續輸出有難度”。
According to the Director-General of the Renaissance Studio, there are a large number of virtual numbers, but few are remembered, and even fewer are recognized as sustainable, “some of these moments are hot, or `events are peaks', but it is difficult to continue to produce”.
如何解決這個問題？首先，顏值很重要。
How do we solve this problem? First of all, the value is important.
鄭屹呈介紹，天妤的發型設計是“雙環望仙髻”，簪花是用金、銀、銅等金屬材料制成多種樣式的金鈿﹔頭上戴的嵌鬆石花釵、珍珠流蘇花鈿等飾品，是在史料基礎上，參考唐代出土文物設計而成﹔妝容上使用的黛眉、斜紅、蓮花形花鈿、桃花妝容，則是還原了新疆吐魯番阿斯塔那墓出土的唐代女俑妝容……
As you can see, the hairdresser is designed to be a “double-looking fairy” made of various forms of gold from metal materials such as gold, silver and copper; the ornaments on the head, such as molten bouquets, pearls and roses, are made from historical foundations, from the designs of Tang's earthen artifacts; and the beads, slashed reds, roses and peaches used in the makeup, are made from the face of the Tang dynasty, which is the face of a girl who has given soil to the grave of Astana in Xinjiang.
顏值在線后，天妤的人設也必須立住，於是就創造了開頭所講述的那個故事。在這樣一條主線情節下，天妤形成了一面端庄溫和、一面恣意洒脫的性格，而她尋找碎片途中的經歷，則可以承載各類傳統文化元素。
When the value is on the line, the human being must also stand and create the story that was told at the beginning. Under such a main thread, the cynicism forms a gentle and dissipated character, and her journey to find the fragments carries with it elements of traditional culture.
比如，不同的故事情境會搭配不同的妝容。天妤的仿妝一度成為短視頻平台熱點，由她發布的“鳳凰妝”視頻，觀看人數達6000萬人次。這些低門檻、高趣味的互動，也讓天妤有了親和力。
For example, different stories can be made with different makeups. For one time, the make-up of skyscrapers became a hot spot for short-film platforms, where she released her "Oil-Agriculture" video to view 60 million people. These low-door, interesting interactions also make the skyscrapers feel friendly.
自4月上線以來，以天妤收集壁畫碎片為故事線索的《千壁尋蹤》系列短劇及番外，已累計更新內容30條，同時，天妤在全網已擁有500余萬粉絲，視頻播放量超過3億。在海外，天妤在TikTok等多個海外平台上線后，粉絲量已突破10萬，播放量超過120萬。“天妤仿妝”還引起了海外美妝達人的競相模仿。
Since April, when we got online, a series of shorts of the "Standing the Walls" series, which is based on the collection of mural fragments, has been updated with 30 pieces. At the same time, Tianjing already has more than 5 million fans and over 300 million videos on the Internet. In overseas, as many overseas platforms such as TikTok have been online, the amount of silk has passed over 100,000, with more than 1.2 million playing.
就這樣，天妤婷婷裊裊地從中華傳統文化中走來，作為一個虛擬數字人，她將傳統之美與科技之美融合，也開啟了傳統文化通向元宇宙、通聯海外的一扇門。
As such, Ting-Ting has come from the Chinese tradition and, as a virtual digital person, she combines the beauty of tradition with the beauty of technology and opens a door to the meta-cosm, to connect abroad.
有“人設”，更要有“文化人設”
has "people's" and more "cultural people's"
現在，除了短視頻平台，我們可以在各種場合看到天妤的身影：北京地鐵1號線多個地鐵站的心理健康宣傳海報、《倩女幽魂》手游、智能汽車及國潮美妝的跨界聯動…… Now, in addition to the short video platform, we can see the image of the sky in a variety of venues: the mental health promotion poster at the multi-trail station on line 1 of the Beijing subway, the cross-border movement of the "Smart of the Woman", the smart car and the country's tidal make-up. 鄭屹呈認為，和真人相比，虛擬數字人可以完成常態條件下真人完成不了的創意。比如，拍攝一個在賽博朋克風格的壁畫世界的故事，真人可以加特效，但就會覺得違和，而天妤天然屬於那個世界﹔再比如，直播電商，虛擬數字人可以從歷史中穿越而來，打個響指就變裝，這是真人無法辦到的。 It is argued that virtual digitalists can accomplish what they cannot do under normal conditions, as compared to real people. For example, they can add special effects to a story of a world painted in Saberpunk style, but they can feel disconcerted and natural to the world; and, for example, live electricity providers, virtual digital beings can travel through history, and they can change their fingers, which is impossible for real people to do. 鄭屹呈坦言，傳統的虛擬數字人目前有兩個痛點：一是在制作方面，成本高、周期長、精度差﹔二是在互動方面，無法實現超寫實、沉浸式實時互動。“我們以AI為技術支點，借助面部表情實時驅動技術、光線智能追蹤與分布式智能雲端渲染等3項輔助智慧功能，實現了高精度模型在直播中的低延時與人場高度融合的結合，完成了行業首個超400萬面高精度模型的實時互動直播。” To be honest, traditional virtual digitalists now have two pains: in terms of production, high costs, long cycles, poor accuracy; and in terms of interactivity, there is no overwritten, immersed real-time interaction. “We use AI as a technical support point, using facial expressions as a real-time driver, optical intelligence tracking and distributed intelligent cloud rendering function to assist wisdom, which brings the high-precision model to a high degree of integration with the human field at a low time of live time, and we complete the first high-precision model of the industry to live live live interactively. 近日，清華大學新聞與傳播學院元宇宙文化實驗室發布《元宇宙發展研究報告3.0版》，其中專為虛擬數字人設有章節。數據顯示，2021年，虛擬數字人核心產業規模為336億元，年均增長率為31%，由此預估，2025年產業規模為998億元。 In recent days, the College of Journalism and Broadcasting at Qinghua University has published a report on the development of the Won-Cosmos, version 3.0, which features chapters specifically for virtual digital people. According to the data, in 2021, the core product of virtual digital people was 33.6 billion yuan, an average annual growth rate of 31 per cent, which is expected to be 998 billion yuan in 2025. 報告指出，生產有價值的虛擬數字人，應當打造擬人化、故事化的虛擬IP﹔而挖掘IP價值和衍生能力的核心在於：自身的人設打造，讓虛擬人富有“生命性”的故事內核，豐富的故事引發受眾的情感投射，以流行文化解碼年輕潮流，衍生出虛擬人在用戶心中的“主角光環”，賦予虛擬人特殊的人格魅力。 The report states that it is important to create virtual digital figures of value that are humanized, storytelling, and that the core of the discovery of IP values and derivatives lies in the creation by their own people of the inner core of the “life-rich” story of virtual human beings, a rich story that inspires emotional projection, the youth flow of popular cultural decoupling, the creation of the “heavy ring” in the user's mind, and the special personality of virtual human beings. 關於賦予虛擬數字人文化價值，清華大學新聞與傳播學院教授、元宇宙文化實驗室主任沈陽認為：第一，如果是真身復刻某個文化名人，那麼其外表特征、氣質、性格等，都應該符合歷史資料的描述﹔第二，從虛擬數字人的形貌、表情，到所說的內容、所處的虛實相生的環境，以及與環境交互產生的一系列情節，都要圍繞其文化人設來展開，要有穩定的價值觀。 With regard to the cultural value given to virtual digital individuals, Shenyang, a professor at the School of Journalism and Broadcasting at Qinghua University and director of the eco-cosmology laboratory, argued that, first, if a cultural celebrity is actually involved, his or her appearance, temperament, character, etc., should be consistent with historical narratives; and secondly, from the shape and face of a virtual digital person, to what he or she says, to where he or she is, to what he or she is, to what he or she is, and to what he or she has interacted with the environment. “她們”來了 > 沈陽認為，用虛擬數字人來做文化推廣，是一種值得嘗試的新手段。“在元宇宙中，屬於不同文明的虛擬數字人，可以實現跨國界、跨文化的對話，這對實現人類命運共同體的理想非常有幫助。”沈陽說，“從技術方面，可以繼續提升虛擬數字人的行為骨骼系統，使她（他）通過舞蹈等肢體行為，實現跨語言的交流，這是跨文化傳播領域非常值得嘗試的。” Shenyang believes that using virtual digital people for cultural promotion is a new means to be tried out. “In the meta-cosm, virtual digitals belonging to different civilizations can achieve cross-national and cross-cultural conversations that are very useful for realizing the vision of a common human destiny.” Shenyang said, “Technologically, it is possible to continue to upgrade the virtual digital person's behavioral bone system so that she/he can actually communicate across the language through limbs such as dance, which is very worthwhile in cross-cultural broadcasting.” 沈陽也指出，目前絕大多數的虛擬數字人還有很多亟待改進的地方，比如多輪對話問答、表情動作捕捉、靈魂認知系統等。此外，目前虛擬數字人的成本較高，需要通過技術進步進一步降低成本。 Shenyang also pointed out that the majority of virtual digital people currently have much to change, such as multiple rounds of interviews, emoticons, soul recognition systems, and so on. Moreover, the cost of virtual digital people is now high, requiring technological advances to reduce costs. 《元宇宙發展研究報告3.0版》還有一個有趣的發現，比如，虛擬數字人的女性佔比72%，公眾對於女性虛擬人的心力投入與關注度明顯高於男性。 Another interesting finding, such as the fact that 72 per cent of virtual digital people are women, is that public commitment to and attention to women virtuals is clearly higher than that of men. 深耕中華傳統文化的天妤，也有“好姐妹”。2022年，虛擬數字人開始在文博領域出現，它是她，且是她們。 There are also “good sisters” in the ancient Chinese culture. In 2022, virtual digital people began to appear in the realm of Mandarin, hers and theirs. 今年7月，中國國家博物館首個虛擬數字人艾雯雯，通過短視頻和觀眾見面。“艾”通“AI”、也通“愛”，“雯”通“文”。艾雯雯擁有一套完整的人設：女，出生於2000年5月4日，身高168厘米，籍貫國博木偶劇場，愛好讀書、書法、唱歌、古琴、羽毛球。 In July of this year, the first virtual digitalist in the Chinese National Museum met via short video and viewers. “Ai” and “Ai” and “I'm” and “I'm” have a complete set of human facilities: a woman, born on 4 May 2000, 168 centimetres tall, and a puppet theatre in China, who loves reading books, books, singing, ancients, badmintons. 艾雯雯身穿的“新青年”T恤，字樣來源於國博館藏陳獨秀創辦的《新青年》封面﹔而另一身漢代少女形象，則參考了“中國古代服飾文化展”中相關服飾和妝容。青春無敵的艾雯雯從校園來到中國國家博物館，走進展覽部門、走進藏品庫房、走進展廳，逐步進入工作角色。在“古代中國”展廳，她與館藏文物產生了神奇感應，由此獲得了“讓文物活起來”的獨特能力。而觸發艾雯雯和文物感應的耳釘，創意來源於國博館藏“海晏河清尊”。 “New Youth” T-shirts, dressed from the cover of The New Youth, created by the National Museum, by Chen Xiu Xuan, while the image of another Han Dynasty refers to the dress and make-up of the Chinese Cultural Exhibition of the Ancient Fashion. The young Abbot comes from the schoolyard to the Chinese National Museum, walks into the exhibition department, walks into the vault, walks into the exhibition hall and moves into the working role. In the “Ancient China” exhibition hall, she and the museum have developed a magical sense of the object, which gives her the unique ability to “let the object live.” 文夭夭，名字取自《詩經·周南·桃夭》中的“桃之夭夭，灼灼其華”。她梳著雙髻丸子頭，化著唐代花鈿妝，穿著淡雅長裙，腰間還系著花鳥鏤空香薰球。這樣一個“國風少女”，在今年“5·18國際博物館日”，正式入職中國文物交流中心，被授予“文博虛擬新聞官”的稱號。未來，文夭夭將在各大博物館提供講解、導演、直播等服務，還將作為文博界的虛擬宣傳大使，跟隨展覽出海，傳播中華文化。 She's combing her head, wearing Tang Dynasty, wearing a lasagna skirt, and wearing a lasagna lasagna in her waist. This year's 5-18 International Museum Day, a young girl of the national wind, officially admitted to the Chinese Heritage Exchange Centre, has been given the title “Virtual News Officer of the City.” In the future, she will provide speech, guided performances, live broadcasts, etc., at the Great Museums, and will also serve as a virtual propaganda ambassador for the world of literature, following the sea and spreading the Chinese culture. 元宇宙來了，“她們”來了。 Here comes the Yuan cosmos, here comes the "they". 分享讓更多人看到 
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