“It turns out that being a Doctor Who is what it feels like to travel through time and space and never feel old.”
At the Voyage concert of Swedish band ABBA in London, band member Benny, who was standing on stage, lamented so.Coming back after a lapse of 40 years, the band, whose members are on average 75 years old, met fans again with a virtual concert more than half a month ago.
On July 16, Tencent Music’s first virtual music social platform TMELAND, together with Pepsi and TMElive, created an immersive virtual music performance, which is also the first immersive virtual 3D performance created by TMELAND.Earlier, singer Wang Feng also held a virtual concert: 8K, 3D, VR panorama Live, users must wear a VR all-in-one machine to enter the interface to watch and participate in an immersive experience.
Image source: QQ Music
This is a visual feast brought by technology, and it is also a true reproduction of the virtual concert under the blessing of technology. From virtual singers concerts such as Hatsune Miku and Luo Tianyi, to THE9 immersive virtual concert, and then to the virtual music carnival TMELAND, holographic projection technology and virtual concerts have already quietly emerged.
As virtual technology becomes more and more mature, virtual concerts are highly sought after, and virtual concerts based on 3D experience may further expand the imagination. Tencent Music (TME.N, stock price of $4.34, market value of $7.36 billion), iQiyi (IQ.O, stock price of $3.66, market value of $3.15 billion), Bilibili (BILI.O, stock price of $22.88, market value of $8.94 billion) ) and other major manufacturers have increased their layout, trying to seize the next new outlet of the entertainment ecology.
Live Singer “Virtual Show”
“The people on the stage are virtual projections? It looks too real, right?” “I still remember the shock that the holographic concert of the original sound of the future brought to me when I was young.” “The point is that there are still shadows of characters on the ground…” In the first familiar melody, fans waved their arms and screamed while shouting “shock”.
On the stage of ABBA’s Voyage virtual concert, the band members rejuvenated collectively with their shiny young shapes and lively and powerful dances under the blessing of virtual technology. A huge screen of 65 million pixels, coupled with neon flashing live light and shadow effects, fooled the eyes of the audience.
Projecting singers and audiences onto virtual people in virtual space, and bringing immersive experience through interactive XR, this is the magic of virtual concerts, and it is also a new ecology of entertainment performances under the background of epidemic catalysis and Metaverse fever.
“In the Metaverse, virtual concerts can provide a more realistic and immersive virtual environment, as well as more value-added auxiliary functions and strong interactive experiences. Compared with offline, more people can participate in the concerts of the Metaverse. This is a big trend.” Ji Zhihui, CEO of Shiyou Technology, who has more than 10 years of industry experience in the field of digital human virtual technology, said in an interview with the “Daily Economic News” reporter.
At the beginning of 2020, musician Travis Scott held a virtual concert in the online game “Fortnite”, and the number of real-time online users exceeded 10 million. This is the first time that a singer has held a concert in the game. A year later, Justin Bieber partnered with virtual concert service provider Wave to hold his first “interactive virtual concert”.
In China, virtual concerts are also in the ascendant. In the early days, Hatsune Miku, Luo Tianyi and others used holographic projection technology to create virtual concerts in a “broad sense”.
“Currently, there are two main types of the most common virtual concerts. One is the holographic concert, which is mainly the presentation of virtual people in offline scenes, such as the earliest Luo Tianyi’s 10,000-person holographic concert; the other is AR augmented reality technology. For example, Teresa Teng’s “appearance” New Year’s Eve concert.” said a person close to the virtual business of BilibIli.
Since this year, as more and more live singers, virtual singers, and offline performances have turned their attention to virtual concerts, more new forms of exploration have begun to emerge. In 2022, Tencent Music launched TMELAND, the first virtual music carnival in China, and the Mayday New Year’s Eve concert became the first TME live super live performance “held” in the TMELAND Metaverse. This Metaverse concert attracted over 10,000 people to watch, Audiences can also choose to dance and dance.
Feng Zheng, vice president of Shunwei Capital, told every reporter that Hatsune Miku and other holographic concerts show more of the virtual person itself, which is one of the more common forms of virtual concerts; and the virtual concert in “Fortress Night” , Tencent Music’s TMELAND has a 3D experience in the virtual world, which is a further exploration and attempt to the Metaverse concert.
Tencent, Sony, Warner test the water element universe
Virtual concerts that are strongly related to the Metaverse and get rid of the limitations of time and space have become the new form that music giants are most concerned about, and more and more platforms and companies are increasing their layout.
“The Metaverse is essentially an application of a game engine to provide a non-game service, which is related to real life. The intersection of the Metaverse and the concert is actually a very interesting point. Music is a particularly typical one that fits the Metaverse. Scene.” Feng Zheng thought.
At the end of 2020, Tencent Music reached a strategic cooperation with Wave, a virtual performance service provider, and made an equity investment in it. According to the cooperation agreement, the two parties will jointly explore the blue ocean market for virtual concerts, and Tencent Music will conduct exclusive broadcasts of Wave Show in China on all its platforms including QQ Music, Kugou Music, Kuwo Music and National K Song.
Every time reporters noticed, as the game developers with the most popular virtual performance platforms “Fortnite” and “Roblox”, Epic and Roblox also have giants such as Tencent and Sony behind them.
In 2012, Tencent acquired a 48.4% stake in Epic for over $300 million. In 2020, Sony and Lego also invested in Epic successively; Roblox received financing from Warner Music in early 2021, and successively reached cooperation with BMG and Sony Music.
In addition to music giants who love virtual concerts, long and short video platforms and even the game industry have also entered the virtual concert market. In 2021, iQIYI will launch the virtual performance product “Cloud Performance”, and its THE9 “City of Virtual Reality” immersive live-streamed virtual concert will travel through different spaces with the help of XR technology. It is reported that the total investment of the product exceeds 100 million yuan.
Image source: QQ Music
As early as 2016, Bilibili took the lead in exploring virtual singer concerts , and in 2021, combined with the virtual idol project VirtuaReal , it created several large-scale concerts. In 2020, “Summer Chorus Pro Max” created a virtual city scene; At the same time, it also invested in Lategra, a Japanese virtual studio technology provider.
“After the concept of the Metaverse became popular, it can be clearly felt that in the past two years, many large factories and capital have joined. For example, many companies that used to do animation and games, after they have the ability to create virtual scenes, will also incubate corresponding virtual performances.” The above-mentioned people who are close to the virtual business of BilibIli are deeply touched by the entry of many companies.
Ji Zhihui also has a deep understanding. Talking about the changes in the industry in recent years, he said: “The relationship between supply and demand in the market has changed significantly. Many years ago, we have had relatively mature virtual technology, but there are relatively few customers. , mainly concentrated in the radio and television industry. But now with the explosion of the Metaverse, virtual people and virtual concerts, customers are widely distributed in various industries. “
However, in the opinion of the above-mentioned people who are close to the virtual business of BilibIli, the entry of many companies into virtual concerts is a process of making the cake bigger. The industry is still in a healthy competition environment, and there are already many subdivided competitions for different groups of people. Roads appear, platform companies are not crowded into the same track.
Based on 3D experience or new opportunities
As a leading technology company that continues to invest in technology in the field of AI and leads innovation, Huawei has launched a new upgrade plan for “Digital Human”. Some analysts believe that the current Metaverse track is crowded, but there are still many bottlenecks in the real world that no one can ignore: First, the cost problem; second, the interaction problem of “anthropomorphic” scenes; Combine scenarios and applications.
This is also the problem faced by virtual concerts. In the early days of virtual concerts, the market had limited understanding of virtual technology, and the market did not agree with it. Compared with the natural fan base of offline concerts, the business model of virtual concerts still uses the offline model, which still needs some exploration. and try.
Swedish band ABBA’s Voyage concert Photo credit: Video screenshot
Judging from the overall market situation, virtual concerts have not yet formed a market scale, and both platforms and technologies are in the early trial stage.
“At present, virtual concerts are more bound to the existing offline or online forms. In live broadcasts or virtual scenes, replacing real people with virtual people is more of an upgrade of the original concert form. The cost and cycle are relatively high.” Ji Zhihui observed.
Every time the reporter learned from a practitioner, although each company has different requirements for the fineness of digital people and virtual scenes, the cost is uneven. But compared to an ordinary offline concert that costs millions, a holographic concert similar to Luo Tianyi’s 10,000-level concert costs tens of millions of yuan. Such a high input cost determines the current scarcity of high-quality virtual concerts in frequency.
During the interview, both investors, industry insiders and practitioners believed that in the future, virtual concerts will be closer to the virtual world of the Metaverse. Technology, cost, and operation are the keys to exploration. The future growth potential of virtual concerts is still being discussed. optimistic.
In fact, from holographic concerts to virtual music carnival TMELAND; from virtual singers to digital people of real singers, with the blessing of technology, virtual concerts are becoming more and more cool and there are more and more interactive scenes.
Ji Zhihui said frankly that virtual concerts are still a blue ocean, and their market size will be larger than traditional concerts in the future. “At present, virtual concerts are more transferred from offline to online. In the future, with the expansion of virtual space and the extension of virtual consumption, concerts in the Metaverse will meet more new needs, and its growth will be certain in the future. It’s fast, and it will become a battleground on the content side.”
As an investor, Feng Zheng pays more attention to the exploration of new possibilities for virtual concerts in the virtual world in the future compared to the existing attempts in the market. In his opinion, virtual concerts under the holographic projection technology and AR augmented reality technology, which are currently sought after in the market, have already existed. This kind of concerts are more inclined to virtual human beings, and in the future, the industry is more worthy of exploration and opportunities. It is a virtual concert based on 3D experience similar to TMELAND.
“Concerts in the Metaverse place more emphasis on the exploration of interactive scenarios in virtual spaces, rather than focusing on whether it is online or not. It is more about the consumption of a space rather than the consumption of information. In the future The scene must develop towards the virtual, 3D experience space, it has value.” Feng Zheng said.
Posted by:CoinYuppie，Reprinted with attribution to:https://coinyuppie.com/8k-3d-vr-all-in-one-is-such-a-metaverse-concert-the-future/
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