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Exclusive interview: Founder of GritWorld Xiaomao Wu: A Glimpse into the Future Virtual Digital World. 独家专访 | GritWorld创始人吴小毛:一窥未来的虚拟数字世界

August 21, 2018

“Oasis”, a digital utopia that will be everyone’s safe haven eventually, may be created by Dr. Xiaomao Wu’s GritWorld. From interaction between human and AI, to the digital world edited by better and more powerful engines, if you look at it in 10, 20 or even 50 years, you won’t know what kind of new creation it will breed.

“绿洲”,一个最终会让所有人将其当成避风港的数字乌托邦,可能就会起于吴小毛博士的“粒界(GritWorld)”科技,从人机交互,到通过更好更强大的引擎来编辑数字世界,如果你把眼光放到十年,二十年,甚至五十年之后,你不知道他将孕育出什么样的全新造物。

 

 

After watching “Ready Player One”, Dr. Wu might be the person who is closest to the creator of “Oasis” (James Donovan Halliday and Ogden Morrow) that I have ever known.

You see, many people are excited about thrilling and stimulating game plots and mechanisms, as well as unexpected adventures. However, there must be someone who must start from the basic 1 + 1 and lay the foundation, such as the future “USS Enterprise in StarTrek”, getting lost romantically in interstellar space might originate from Elon Musk’s “Falcon Heavy” rocket; the intelligence that has swept the world might originate from the toddler’s AI image recognition and unmanned vehicles (well, this is not a proper example), but “Oasis”, a digital utopia that will be everyone’s safe haven eventually, may be created by Dr. Xiaomao Wu’s GritWorld. From interaction between human and AI, to the digital world edited by better and more powerful engines, if you look at it in 10, 20 or even 50 years, you won’t know what kind of new creation it will breed.

Therefore, with much curiosity, we interviewed Dr. Wu after the “Future Congress” hosted by ZaoJiuTalk. The following is the interview:

 

吴博士可能是在我看过《头号玩家》后,见过的最接近“绿洲”创始人詹姆斯·哈勒迪和欧格顿·莫罗的人。

 

你看,很多人都为紧张刺激的游戏情节和机制,以及意想不到的冒险在激动万分,可总要有人从1+1开始做起,打好基础,比如未来的“企业号”在星际中迷航的浪漫,可能起于马斯克的“猎鹰”火箭;席卷天地的智能叛变有可能起源于现在蹒跚学步的AI图像识别和无人车(好吧这不是个恰当的例子),而“绿洲”,一个最终会让所有人将其当成避风港的数字乌托邦,可能就会起于吴小毛博士的“粒界(GritWorld)”科技,从人机交互,到通过更好更强大的引擎来编辑数字世界,如果你把眼光放到十年,二十年,甚至五十年之后,你不知道他将孕育出什么样的全新造物。

 

于是,我们怀着好奇,在造就“未来大会”之后采访了吴博士,下面是采访实录:

 

 

About Xiaomao Wu

Founder and CEO of GritWorld GmbH, former Project Director and Technical Director of Crytek Frankfurt

 

About Zaojiu Talk

Zaojiu is a platform which dedicates to provide a multidimensional perspective on the world. Through speeches, Zaojiu Talk provides the audience an immersive scene experience and at the same time, new ideas as well as wisdom.

 

关于吴小毛:

德国GritWorld创始人及CEO、前Crytek法兰克福项目总监及技术总监。

 

关于造就:

造就是一个致力于提供多维角度看待世界的内容平台。通过演讲品牌造就TALK为人们在体验沉浸式现场的同时,获得新知新智。

 

 

The Video Interview with Dr. Xiaomao Wu:

 

AVGChannel: Could you please introduce yourself and what kind of work/business are you doing?

AVGChannel:请您简单介绍一下自己,和您现在所从事的事业。

 

Dr. Wu: Hello everyone, I’m Xiaomao Wu, Founder of GritWorld. I have always been working on game technology and together with Hollywood, promoted the new technology of using games technology to make movies. I am now leading my team using both games and films together to work on human and computer interaction technology and some aspects of landing work.

吴小毛:大家好,我叫吴小毛,我是粒界科技(GritWorld)的创始人,我一直从事的是游戏技术,和好莱坞一起推动了用游戏技术制作影视的这种新技术的颠覆。我现在带领团队在利用游戏和影视结合来做人机交互方面的技术和落地的一些方面的工作。

 

AVGChannel: During your work in Crytek, what was the biggest gain? What kind of impact does it bring to your later work?

AVGChannel:在Crytek工作期间,您认为最大的收获是什么?对您后来的工作有什么影响?

 

Dr. Wu: When I was at Crytek, I had the chance to work with the world’s top game engineers and they gave me a lot of inspiration. At the same time, because of the quality of our games and also our pictures were at their best, that's why Hollywood thought of using game technology to make movies. So I have been working in this field for eight or nine years and I think the working experience at Crytek has helped me a lot.

吴小毛:我在Crytek的时候接触到了全球最顶级的游戏技术人员,然后这些技术人员给了我很多启发,同时由于我们的游戏品质,画面达到了极致,使得好莱坞认为可以利用游戏来制作影视,所以我在这个领域工作了八九年,现在我认为在Crytek的工作经验对我有巨大的帮助。

 

 

AVGChannel: Do you think that the engine will replace CG in the future as the mainstream of making effects of future film and television? Why?

AVGChannel:您是否认为,引擎在未来会取代CG成为未来影视特效的主流?为什么?

 

Dr. Wu: Certainly! In the future, film and television will be edited in real time like games, the light can be adjusted on set. Most of the film could be edited heavily on the spot. This is an irreversible trend.

吴小毛:一定会的!以后的影视一定是做游戏一样地实时编辑,在现场就可以进行光线调节,整部的影片可能大部分就在现场可以完成很多的剪辑,这是一定是不可逆转的趋势。

 

AVGChannel: In your work so far, what do you think is the hardest part besides technology? And how did you overcome it?

AVGChannel:在您至今为止的工作中,您认为技术之外最难的地方在哪里?又是如何克服的?

 

Dr. Wu: The hardest thing besides technology is when we are doing the cross-industry work. The experience is completely different in each field, its cognition (also different), so the most difficult thing to do is to break the perceived differences between industries. For example, in the case of games, it emphasizes real-time and there must be dynamic changes, it cannot be exactly the same; the film and television industry may require that every pixel which is determined must be 100% consistent, and you are not allowed to change it. So it is a totally different concept.

吴小毛:技术之外最难的是我们在做跨行业领域的时候,每个领域它的经验完全是不一样的,(对)它的认知(也是不同的),所以来突破大家对于这个(不同)行业之间的认知的差异是最难的一件工作。比如说以游戏为例,游戏强调实时性,要有动态变化,不能完全一样;影视会要求说我每个像素一旦确定就要百分之百吻合,而且我确定后的东西,你不能动我的东西,所以它是完全不一样的概念。

 

AVGChannel: Could you please give us a few examples of hard to solve problems which you have encountered in games or film and television?

AVGChannel:您能具体举几个在影视或游戏方面遇到过的难以解决的例子吗?

 

Dr. Wu: Well, the first one is the concept. As I said earlier, the film industry has strict requirements for the certainty of each thing. For games it is the reverse, that is, it can’t be certain. Once you confirm it, it will not be fun. This is the first one.

Second, the material (difference) between us, for example, a face or a texture of a film can reach 3-4G, and for the whole game it is only 3-4G, which is another difference.

Third, games are generally quite focused. For example, a Studio, or two or three company studios work together, but the film is usually transnational (or) trans-continents, and is a form of large-scale cooperation.

吴小毛:好,第一个是观念,我刚才说的,影视行业它对每个东西的确定性它要求很严格,游戏是反过来的,就是我不能有确定性,一确定它就不好玩了,这是第一个。

 

第二个我们之间的素材(差别),比如说影视的一张脸或一张贴图就能达到3-4G,而整个游戏也才3-4G,这是另外一个差别。

 

第三个游戏它一般都还是比较集中的,它是在比如说一个Studio,或者说两三个公司Studio合作,但是影视通常是跨国(或)跨洲,是一个大规模的合作的形式。

 

AVGChannel: Could you please disclose some projects that will soon be presented to the public? And the biggest highlight?

AVGChannel:您是否可以透露一些即将呈现给大家的项目?以及最大的亮点?

 

Dr. Wu: Many of our projects are now NDA, so I can only reveal the cooperation between us and SparklyKey Technology. Today, Director Leping Shen is also on the scene. They are already using in their entire process, our Gritworld technology to make all their IPs. There are many that will soon to be announced.

吴小毛:我们很多项目现在都是NDA,所以我只能透露的是我们和玄机科技的合作,今天沈乐平导演也在现场,他们已经全流程使用我们粒界的技术来制作他们所有的IP,还有很多马上揭晓。

 

 Products of SparklyKey

 

 

AVGChannel: Everyone wants to know about your technology in urban scanning, could you talk more about it?

AVGChannel:大家都很希望能了解您在城市扫描这方面的技术,能和我们聊聊吗?

 

Dr. Wu: Urban scanning technology is currently focused on accurate mapping, but the immediate problem brought about by accurate mapping is that its cost has risen sharply. However, our users largely do not demand such precise modelling, the precise modelling is only needed in some places. So the way we solve this problem is, firstly we need mass production, try to control costs while ensuring mass production, and since we have the ability to innovate, when we find any difficult problems we will use technology to transform it. Hence, our large-scale projects all make use of technology to make production highly effective and greatly increase production, making it eventually possible. It was possible to do it before, but nobody dares to imagine doing it, because the cost is too high and the cycle is too long.

吴小毛:城市扫描技术目前大家都侧重于精确测绘,而精确测绘带来的直接问题是它的成本急剧上升,而我们用户真正的需求并不需要那么精确的模式,它只是某些地方是需要一些精确的模式,所以我们解决这个问题的方式是,第一我们要大规模的量产,在保证量产的情况下尽量控制成本,而我们有技术革新的能力,所以我们发现有什么难题的时候我们就用技术把它改造了,所以我们这些落地的大规模项目都是用技术来使得生产力大大地提高,使它成为可能。以前是可以做的,但是大家完全不敢想象,因为成本太高,周期太长。

 

AVGChannel: Can you talk about your future combination of your current game engine technology and AR/VR technology? What ideas or visions do you have?

AVGChannel:您能谈下您现在游戏引擎技术未来和AR/VR技术的结合,您有哪些设想或愿景吗?

 

Dr. Wu: In fact, after the launch of VR, the game engine was recognized by everyone. The game engine is actually the core of the whole VR, AR and the whole human-computer interaction. The game technology must be an indispensable part to support the whole human-computer interaction, but this technology has no way to support film and television production well. We have changed the whole game technology after a few years to make it possible to make films, so we will find that it has huge differences, and the effort used is huge. If you let it transform human-computer interaction, you might spend ten or twenty years to do it, that is why we came up with the idea to build our own engine, so we do not need to consider these barriers, and the possibility of trying new technology is also higher.

吴小毛:其实游戏引擎在VR推出来之后,游戏引擎才被大家认识到,游戏引擎其实是整个VR、AR整个人机交互最核心的东西,游戏技术一定是支持整个人机交互不可缺少的一环,但是这个技术又没办法来很好地支撑影视制作,我们是把整个游戏技术经过几年的改造才让它可以做这个影视,所以我们会发现它有巨大的差异,而且付出的努力很大,如果你让它再去改造人机交互,可能就是(花)十几二十年(的时间),所以我们才会有这个想法来打造自己的引擎,就不需要考虑这些壁垒,而且尝试新技术的可能性也比较好。

 

 

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