## 3 Results
### Case Studies in the Spanish Market
However, this restructuring necessitates a well-organized framework to facilitate communication with external Digital Content Creation (DCC) applications, primarily for tasks such as modeling, texturing, animation, and effects. A critical aspect of this transition involves the use of file formats like Alembic or USD to enable seamless iteration and fluid communication between software applications. Another significant evolution in the filmmaking process is the increasing demand for compositing in fully animated movies. This arises from the necessity to address issues that cannot be re-rendered due to constraints such as budget or time limitations. In the context of a movie running on a real-time game engine, corrections and adjustments are made instantaneously, aligning with the director's vision. Consequently, the storage and management of data within the network undergo changes, as there is no longer a need to export render layers or AOVs for each frame during the compositing phase. Instead, by simply hitting play on the game engine, the final result can be observed, and only the ultimate versions of frames, stored as EXR or DPX files, need to be retained. This shift in the revision process introduces a more interactive approach. In traditional pipelines, directors typically review changes in a cinema setting with supervisors and the production team, hoping for the desired modifications in subsequent revisions. Contrastingly, in a real-time pipeline, adjustments are made swiftly, as exemplified in the interview [36]: \"[...] _1 don't approach it shot by shot or element by element. Instead, I hit play and pause on the shot that, for some reason, doesn't seem to be working. 1 then adjust the lights and play it again. Rather than stopping at that particular shot, 1 proceed to the next one, only to discover that the cut doesn't quite fit. So, I make some modifications and fine-tune it a bit. Afterward, 1 adjusted the camera. [...]\"_. This innovative approach to 3D animation aligns more closely with the methods employed by live-action directors, allowing for real-time adjustments based on what is observed. In contrast, the traditional approach required meticulous planning and execution due to the high costs associated with frequent changes. Additionally, the real-time environment facilitates the use of smaller teams [36]. Q4--VPX in the future? The future of virtual production (VPX) envisions the establishment of extensive film studios featuring a blend of real and virtual elements. The onset of the COVID-19 pandemic accelerated the integration of VPX into the film industry by two or three years, promptingfilmmakers worldwide to swiftly adopt and adapt to these technologies due to travel restrictions and health concerns [52]. To facilitate crew training, starting with smaller, faster projects such as TV spots, music videos, or short films is recommended [48]. Anticipated Changes:  
Emergence of New Narratives: VPX is expected to bring forth new types of narratives, enhancing production times and overall outcomes. The accessibility of these technologies for home use is likely to spur the emergence of innovative concepts. This methodology is poised to replace the traditional approach involving chroma keys and rendering [52]. Unreal Engine's Role: Unreal Engine [57], in collaboration with the Virtual Production Hub, has introduced a versatile pipeline for virtual production. Four major changes in comparison to traditional linear pipelines were identified, spanning pre-production, shooting, and post-production. Notably, departments like Art, Previz, Virtual Art, and VEX collaborate in the early stages of pre-production to develop tools and techniques for a more compelling story. Real-time rendering engines, such as Unreal Engine, serve as hubs for Digital Content Creation (DCC) applications during pre-production, allowing seamless asset development for use throughout the filmmaking process [58].