generated by ChatGPT
This is my first experiment in building a Dream Scene in Unreal Engine.
The idea was inspired by the concept of fabricated memories in Blade Runner 2049. A memory does not necessarily need to reproduce reality perfectly. Sometimes, a few specific details — light, objects, sound, and atmosphere — are enough to make an artificial space feel believable, as if it had actually happened.
For my first Dream Scene, I chose my living room.
这是我第一次尝试在 Unreal Engine 中构建一个“造梦场景”。
这个想法受到《银翼杀手 2049》中“制造记忆”概念的启发。电影中的记忆并不一定需要完全复制现实，一些具体的细节——光线、物件、声音和氛围——就足以让一个被人为构建的空间开始变得可信，甚至让人觉得它曾经真实发生过。
我的第一个造梦场景，选择了我家的客厅。
https://www.instagram.com/s/aGlnaGxpZ2h0OjE3ODY5OTc1OTk1NTIwNzQy?story_media_id=3908375716949764532&stkn=MXJlYnh1c29kcXVqbA==
When I think about this space, what I remember most clearly is not the exact position of every piece of furniture, but the way sunlight enters the room.
During the day, sunlight passes through the window and the gaps between the plants outside, creating shifting patches of light and fragmented shadows across the floor, carpet, and sofa.
Rather than reproducing the living room perfectly, I wanted to reconstruct this particular moment — and my memory of it.
Some of the vegetation in the scene comes from scanned point-cloud data. Instead of turning everything into clean, solid geometry, I kept part of the fragmented and incomplete quality of the scan.
This imperfection became part of the scene itself, placing the space somewhere between reality, digital reconstruction, and memory.
当我回忆这个空间时，最清晰的并不是每一件家具的位置，而是阳光进入房间的方式。
白天，阳光会穿过窗户以及窗外植物之间的缝隙，在地板、地毯和沙发上留下不断变化的光斑与植物影子。
所以相比于准确地复制整个客厅，我更希望重现的是这个特定的瞬间，以及我对这个空间的记忆。
场景中的部分植物使用了扫描得到的点云数据。它们没有完全恢复成传统的实体模型，而是保留了一种破碎、不完整的状态。
这种不完整反而成为了场景的一部分——它介于真实空间、数字扫描和记忆之间。
The relationship between the window and sunlight became the most important part of the scene.
Instead of using a static texture for the plant shadows, I built a lighting system that connects the direction of the virtual sun with the light entering through the window.
As the sun angle changes, the direction of the incoming light, the position of the plant shadows, and the volumetric light change with it.
Sunlight is therefore no longer just a visual effect. It becomes a controllable parameter within the virtual environment.
整个场景中，我最关注的是窗户和阳光之间的关系。
我不希望地面上的植物影子只是一张固定的贴图，因此我建立了一套光照系统，将虚拟太阳的方向与进入窗户的光线绑定在一起。
当太阳角度发生变化时，进入室内的光线方向、植物投影的位置以及体积光的方向都会随之改变。
因此，阳光不再只是场景中的一个视觉效果，而成为了这个虚拟空间中一个可以被控制的参数
This is also where I want to take the scene next.
I don't want it to remain a static Unreal Engine environment. In future experiments, I want to connect the scene with TouchDesigner, MIDI, music, and other real-time inputs, turning it into a space for VJ and live visual performance.
The sun angle, shadows, volumetric light, colors, and even the digital vegetation could gradually become visual parameters controlled by sound or performance.
As these parameters begin to change, the space can slowly move away from its original reality:
A familiar living room → a reconstructed memory → a responsive dream space.
This is Dream Scene 01.
这也是我希望继续发展这个场景的原因。
我并不想让它最终停留在一个静态的 Unreal Engine 环境中。未来，我希望把它进一步连接到 TouchDesigner、MIDI、音乐以及实时输入，作为 VJ 和实时视觉实验的一部分。
太阳角度、光影、体积雾、颜色，甚至场景中的数字植物，都可以逐渐成为能够被声音或表演控制的视觉参数。
随着这些参数不断变化，这个空间也可以逐渐偏离最初的现实：
熟悉的客厅 → 被重构的记忆 → 可以实时响应的梦境
