Issue link: http://digital.copcomm.com/i/1399888
14 cgw j u ly • a u g u s t • s e p t e m b e r 2 0 2 1 all agree that the future for digital humans looks promising. Presently, they are being used in visual media, but as real-time tech- nology develops further, such as text-to- voice and voice-to-face technologies, it will become highly customizable and its role will be further involved in our daily lives, predicts Kang. "Especially now, with the emergence of the Metaverse, the use of avatars will come our way very naturally. In the same way that heavy labor has been replaced by robots, it is expected that much of our emotional labor will be replaced in the future as well." Indeed, future applications of digital humans is a wide-open topic. At Giantstep, they're most interested in the Metaverse, inspired by sites like Zepeto, where social networks and virtual communities come together with custom avatars. However, the process remains difficult, and it still takes considerable time and effort to generate a high-quality digital human. But once the production is automated, Kang believes it will open the door to this kind of customiza- tion and diversity. Nichols is unsure whether people will want avatars that look realistic or not. But, realistic digital humans have big potential as research tools, to understand real humans better. For instance, PTSD research has found that avatars can break down barriers for better communication; the same holds true for those with autism. "For consumer experiences or entertain- ment, applications will be limited only to the creative minds working on behalf of the world's biggest brands to create unique con- sumer experiences," says Kang. "We could have digital human influencers, actors… whatever can be conceived." Giantstep also is exploring development of a platform for learning AI networks that can help project management, such as distributed processing for learning, progress control, and confirmation. Since releasing Vincent, the studio has received positive response from the industry and has received quite a few inquiries from brands, advertisers, and entertainment con- tent creators interested in exploring oppor- tunities. One of them is SM Entertainment, the largest entertainment company in Korea, which represents some of the best-known K-pop groups and artists, including aespa. "With aespa, we've helped create virtual avatars for each member of this new female K-pop group. SM Entertainment is redefining entertainment as we know it by extending their audience reach through the convergence of the real and virtual worlds," says Kang. Moreover, since Vincent, Giantstep has streamlined its production pipeline and increased efficiency in creating digital humans. It has hired more artists and technicians who can improve the quality of its work and further expand its capabilities. "Without Vincent, the ease with which we were able to make the concept around aespa work wouldn't have been possible," Kang adds. For Good or Otherwise The technologies discussed here can invoke fear and concern among the public. "But, ultimately, we're all, as humans, adjusting to what's new and possible, and reconfiguring certain things about what we believe and what we understand. And I think there's a lot of good and benefits to be seen from