Shaun the Sheep: Immersive Experience

拟议活动：我们的目标是提供世界一流的研究创新(即技术、方法和创意应用)，将Aardman高端动画作品(Shaun The Sheep)的交付从目前线性的、预渲染的最终用户产品(例如基于电视/影院屏幕的)转变为非线性、实时、响应和空间沉浸的体验；一种可以被广大(家庭)观众欣赏的中国(不需要耳机、手套或预渲染动画)，同时认可中国在实现该作品时的文化背景和价值观。理论基础和研究/行业背景：动漫市场日益受到媒体消费和发行模式变化的挑战。这项创新将专注于为家庭娱乐市场开发共享体验，将把基于屏幕讲故事的被动观察者转变为主动参与者。我们将创造一种新颖的数字-物理空间体验，体现游戏的精神、精神和参与性，建立在互动、响应和沉浸的基础上。全球游戏观众估计在22亿至26亿(英国)之间，其中相当一部分在中国，我们相信这个项目将催化开发变革性的方法，让动画观众参与到新颖的、更具参与性的体验中。研究目的：本研究将家庭娱乐市场中三个重要的知识领域联系起来，可以用一个简单的等式来表示：观众+动画+空间+游戏技术=叙事、互动、空间体验。为了促进这一点，该项目将结合来自动画、建筑、创意媒体艺术、戏剧艺术、工程学、人工智能和机器人以及游戏领域的研究和创意实践专业知识。将沉浸式空间与实时视听内容相结合具有优先权，主要是在媒体艺术装置中，然而，我们以观众为中心、空间沉浸式和响应式的讲故事方法与我们过去可能称为的“沉浸式电影”有很大的不同。此外，由于应用了准智能系统(由人工智能支持)，我们正在为Aardman和更广泛的动画行业开发新的领域。通过将电影/动画的“可扩展性”与身临其境的体验的“亲切感”和响应性相结合，我们正在寻求重新定义“混合现实”一词(指没有耳机、手套和手机的家庭体验)，提供一个可扩展的概念，可以在创意行业内外产生重大影响。研究问题和方法：我们的研究在以下六个领域提出了基于实践的关键研究问题：WP1故事和概念实现；WP2动态内容创作；WP3游戏和交互设计；WP4人工智能和感官；WP5目标受众；WP6空间整合-所有这些都需要一种独特的、跨学科的方法论方法。

Proposed Activity:Our aim is to deliver a world-first in research innovation (i.e. technical, methodological, creative application) that will transform the delivery of Aardman's high-end animation work (Shaun the Sheep) from a currently linear and pre-rendered end-user product (e.g. TV/cinema screen-based) into a non-linear, real-time, responsive, spatially immersive experience; one that can be enjoyed by a wide (family) audience in China (without the need for headsets, gloves or pre-rendered animation) whilst recognising China's cultural context and values in the realisation of this work. Rationale and Research/Industry Context:The animation market is increasingly challenged by changes in media consumption and modes of distribution. This innovation will focus on the development of shared experiences for the family entertainment market that will turn the passive observers of screen-based storytelling into active participants. We will create a novel digital-physical spatial experience that embodies the spirit, ethos and participatory nature of games, built around interaction, responsiveness and immersion. With the global games audience estimated between 2.2 and 2.6 billion (UKIE), and a significant number of these in China, we believe that this project will catalyse the development of transformative approaches to engaging animation audiences in novel, and more participatory, experiences.Research Aim:This research links three significant domains of knowledge in the family entertainment market which can be expressed as a simple equation: Audience + Animation + Space + Games Technology = narrative, interactive, spatial experiences. Facilitating this, the project will combine research and creative practice expertise from the fields of animation, architecture, creative media arts, theatrical arts, engineering, AI and robotics as well as gaming.Combining immersive spaces with real-time audio-visual content has precedence, predominantly within media art installations, however, our audience-focussed, spatially immersive, and responsive approach to storytelling differs substantially from what we might have called in the past "immersive cinema". Furthermore, due to the application of a quasi-intelligent system (supported by AI) we are developing new territories for Aardman and the wider animation sector.By combining the "scalability" of film/animation with the "intimacy" and responsiveness of immersive experiences, we are seeking to redefine the term "mixed reality" (as a family experience with no headsets, no gloves and no mobile phones), providing a scalable concept that could generate significant impact within and beyond the creative industry sector. In the context of this project, we are calling our approach "responsive cinema".Research Questions & Methodology:Our research raises critical practice-based research questions in the following six areas: WP1 Story & Conceptional Realisation; WP2 Dynamic Content Creation; WP3 Game & Interaction Design; WP4 AI & Sensoring; WP5 Target Audience; WP6 Space Integration - all of which will require a uniquely tailored, interdisciplinary methodological approach.