Virtual Production Market

Virtual Production Market by Offering (Hardware, Software, Services), Type (Pre-Production, Production, Post-Production), End User (Movies, Television Series, Commercial Advertisement, Online Videos), Region - Global Forecast to 2027

Report Code: SE 8136 Jul, 2022, by marketsandmarkets.com

[223 Pages Report] The Virtual Production Market size is projected to reach USD 5.1 billion by 2027 from an estimated USD 2.6 billion in 2022, at a CAGR of 14.5% from 2022 to 2027. Establishment of new virtual production studios and rising demand for visual effects in movies and television industries are among the factors driving the growth of the virtual production market.

Virtual Production Market

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Market Dynamics:

Driver: Increasing implementation of LED wall technology

LED walls for virtual production cinematography are a revolution in the audio-visual industry’s film and video productions market. They are distinguished by their excellent picture resolution which enables taking photographs on a professional film camera from just a few meters away. When LED displays are combined with camera tracking and virtual production technology tools, new and endless experiences are created, with the potential to generate real-time stage changes, manage light and color, create immersive worlds for performers and users, and minimize production times and costs. Digital projection and LED wall screens have been employed in recent years in most productions to build new virtual sets that replace chromas of the virtual production market.

LED video walls with high resolution are revolutionizing not only the film and video production industries, but also the events business. Digital projection and large-format LED video walls have been utilized in recent years to display pre-rendered content and build virtual sets that replace traditional chromas. When LED screens, virtual set extensions, camera tracking, and game engine technologies are combined, the possibilities of virtual production are limitless.

When the COVID-19 pandemic forced everyone into seclusion in their own houses, the LED technology came to the rescue by providing the facility to keep the world of the virtual production market and economy going. Due to the pandemic, cross-border training programs, performances, and ceremonies began to take place via virtual products technology. The primary performance takes place on a stage (locally), and the event is streamed online to those people all over the world who want to be a part of it.

Restraint: Lack of skilled professionals

Virtual production technology (VP) has experienced an unexpected boom during the pandemic. Globally, virtual production was the first port of call for many in film and episodic television. However, among the various issues raised by the sudden boom included scarce hands-on experience for the exceedingly high demand of the virtual production market.

The shifting of roles within the film production pipeline, as well as the introduction of roles from the games industry, introduces new creative and communication issues. Film sets operate in a very precise manner. As a result, communication is a two-way problem for skilled individuals adapting to games and vice versa: for those from the games segment, a virtual production shoot is simply a different esthetic, i.e., a different set of guidelines which are difficult to perceive if the individual's area of expertise is game rather than a virtual production stage. Similarly, another issue faced is that the individuals only understand 3D and game engines but not the technical side of the broadcast. Thus, a shortage of trained VP technicians with a combination of knowledge, creates a major restraint in the virtual production workflow and threatens to derail it of the virtual production market.

Opportunity: Rising trend in OTT platforms

The virtual production market for the over-the-top platform, often known as OTT, is expected to grow as access to entertainment becomes simpler. The ability to stream an endless library at any moment has accelerated the rise of OTT spaces. The advent of OTT platforms has led to disruptions in the entertainment industry. It has made movie watching more easy, accessible, and economical to a larger range of people. Anyone with a mobile phone and an internet connection can watch a movie from anywhere on the globe.

As stated by the Sony Group, key OTT players such as Netflix, Inc., Hulu, Amazon Prime Video, and Apple TV+ have been spending significantly to offer original content. For instance, the original content spends by these four companies have significantly increased over the years in virtual production technology. In 2017, the original content spend was valued at USD 1.17 billion and rose to USD 11.5 billion in 2021. Key OTT players have adopted various strategic developments which have led to the growth of the virtual production market. For instance, in November 2021, Netflix, Inc. acquired Scanline VFX (US) - a global visual effects company with studios in Munich, Stuttgart, Montreal, Vancouver, Seoul, Los Angeles, and London. The latter company has worked and is working on several Netflix content such as Don’t Look Up, The Gray Man, Slumberland, The Adam Project, and Stranger Things 4, among others. Thus, Netflix’s investment in Scanline's pipeline, infrastructure, and workforce and its continuous support to the pioneering work that Scanline's Eyeline Studios is doing in virtual production, aims to push the boundaries of the company’s possibilities.

Challenge: Problems faced in virtual production LED screens

The challenge for virtual production industry is determining how to include powerful technologies into filmmakers’ toolsets without disturbing their tried-and-tested procedures. New breakthroughs can transform the method of working, but if not vigilant, projects can suffer unprecedented delays, and basic problems such as moiré can easily consume a production budget in post-production adjustments.

Moiré, also known as aliasing, is a significant problem in virtual production technology that can manifest itself in a variety of ways. It is a complicated, repeated interference pattern created by a mismatch between the sensors of a digital camera. This problem is exacerbated while filming XR Virtual Production with an LED screen. Individual LED tiles are used to construct LED volumes. Each LED tile has a range of individual LED diodes, and the distance between them is referred to as the Pixel Pitch. The gap between the diodes forms the complicated repeated grid pattern with which the camera sensor grid collides, resulting in the unwanted moiré effect. Furthermore, pre-production decisions must account for the likelihood of unplanned moiré by leaving adequate space on the LED volume for camera and depth of focus changes. These constraints can severely limit certain camera motions and perhaps influence whether desired views can be obtained at all.

However, with the use of simple techniques such as focusing on the actors instead of the screen, shooting at a shallow depth of field, and repositioning the shot by increasing the distance, the moiré issue can be fixed.

By offering, software to capture larger share of virtual production market in 2021

In 2027, the software segment accounted for the larger share of the virtual production market. It is projected to grow at the highest CAGR during the forecast period. The dominance of the segment is attributed to the increasing demand for VFX and computer-generated imagery (CGI) in movies. Due to the advent of technology, the amalgamation of various other next-gen technologies such as ML, AI, augmented reality (AR), virtual reality (VR), extended reality (XR), deep learning, along with virtual production technology has bolstered growth.

Production phase in the virtual production market is projected to grow at the highest CAGR

The production phase in the virtual production market is projected to grow at the highest CAGR. The increasing usage of virtual production technology helps in focusing on front-loading projects; early evaluation and editing and decrease in the need for guesswork while filming. It also helps in a smoother phase and helps limit strained post-production expenses. This can majorly be attributed to the growth in the number of movies or shows that are made completely via the virtual production technology.

Television series is projected grow with the highest CAGR in the forecast period

The television series segment is projected to grow at the highest CAGR during the forecast period of the virtual production market. The increasing dominance of OTT platforms and their ability to reach a significant number of audiences are some of the factors for the fastest growth of the television series segment. As stated in the Theme Report 2021 published by the Motion Picture Association on online TV views in the US in 2021 were projected to be approximately ten times higher than online movie views of the virtual production market.

By 2027, Asia Pacific is projected to grow with the fastest CAGR in the forecast period

Virtual Production Market by Region

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Among all regions, the market in the Asia Pacific is expected to grow at the highest CAGR during the forecast period. China, South Korea, Japan, India, and the Rest of Asia Pacific have flourishing film and television industries. The continual adoption of virtual production technology in these industries along with the increasing number of virtual production studios play a significant role in the growth of the virtual production market in the region.

Key Market Players Companies

Adobe Inc. (US), NVIDIA Corporation (US), Sony Group (Japan), Autodesk Inc. (US), Technicolor (France), HTC Corporation (Taiwan), Vicon Motion Systems Ltd (UK), SideFX (Canada), Epic Games (US), Mo-Sys Engineering Ltd. (UK), are some of the key players in the virtual production companies.

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Scope of the Report

Report Metric

Detail

Market Size Availability for Years

2018–2027

Base Year

2021

Forecast Period

2022–2027

Forecast Units

Value (USD)

Segments Covered

By offering, type, end user, and region

Geographies Covered

North America, Europe, Asia Pacific, and Rest of the World

Companies Covered

Adobe Inc. (US), NVIDIA Corporation (US), Sony Group (Japan), Autodesk Inc. (US), Technicolor (France), HTC Corporation (Taiwan), Vicon Motion Systems Ltd (UK), SideFX (Canada), Epic Games (US), Mo-Sys Engineering Ltd. (UK), are some of the key players in the virtual production market.
A total of 26 players are covered.

This research report categorizes the virtual production market based on offering, type, end user, and region.

Virtual Production Market:

Based on Offering:

  • Hardware
  • Software
  • Services

Based on Type:

  • Pre-production
  • Production
  • Post-production

Based on End User:

  • Movies
  • TV series
  • Commercial ads
  • Online videos
  • Others (Events, Theatre, And Music Concerts)

Based on Region:

  • North America
    • US
    • Canada
    • Mexico
  • Europe
    • UK
    • Germany
    • France
    • Rest of Europe
  • Asia Pacific
    • China
    • Japan
    • South Korea
    • India
    • Rest of Asia Pacific
  • Rest of the World
    • Middle East & Africa
    • South America

Recent Developments

  • In May 2022, Mo-Sys Engineering Ltd. announced the launch of new Virtual Manufacturing courses to meet the rising need for educated technicians in the virtual production industry. This enhanced and comprehensive program has been meticulously crafted and is expected to be taught by the Mo-Sys' Academy.
  • In April 2022, HTC VIVE launched its first turnkey virtual production product, VIVE Mars CamTrack. It makes virtual production fast, easy, and affordable by consolidating the entire camera tracking workflow into a compact, plug-and-play module with professional-grade features. VIVE Mars CamTrack lets actors jump into any number of virtual backdrops in real-time during production, in many cases eliminating the need to shoot onsite and empowering filmmakers to unleash their full creative potential.
  • In May 2022, Technicolor partnered with Paramount Pictures and director Jeff Fowler to bring a fully computer-generated imagery (CGI) Sonic to life in Sonic the Hedgehog 2 in collaboration with Technicolor Creative Studios’ MPC.
  • In May 2022, Mo-Sys Engineering Ltd. formed a partnership with GMS International to make augmented reality and virtual production solutions available to South Korean cinematographers and broadcasters. The deal is expected to aid in meeting the rising demand for Virtual Production in Korea's dynamic media sector, which was one of the early users of the technology.

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TABLE OF CONTENTS

1 INTRODUCTION (Page No. - 28)
    1.1 STUDY OBJECTIVES
    1.2 MARKET DEFINITION
           1.2.1 INCLUSIONS AND EXCLUSIONS
    1.3 STUDY SCOPE
           1.3.1 MARKETS COVERED
                    FIGURE 1 VIRTUAL PRODUCTION MARKET SEGMENTATION
           1.3.2 GEOGRAPHIC SCOPE
           1.3.3 YEARS CONSIDERED
    1.4 CURRENCY CONSIDERED
    1.5 UNIT CONSIDERED
    1.6 LIMITATIONS
    1.7 STAKEHOLDERS

2 RESEARCH METHODOLOGY (Page No. - 32)
    2.1 RESEARCH DATA
           FIGURE 2 VIRTUAL PRODUCTION MARKET: RESEARCH DESIGN
           2.1.1 SECONDARY AND PRIMARY RESEARCH
           2.1.2 SECONDARY DATA
                    2.1.2.1 List of key secondary sources
                    2.1.2.2 Key data from secondary sources
           2.1.3 PRIMARY DATA
                    2.1.3.1 Breakdown of primaries
                               FIGURE 3 BREAKDOWN OF PRIMARIES
                    2.1.3.2 List of key primary interview participants
                    2.1.3.3 Key data from primary sources
                    2.1.3.4 Key industry insights
    2.2 FACTOR ANALYSIS
           2.2.1 SUPPLY-SIDE ANALYSIS
                    FIGURE 4 MARKET SIZE ESTIMATION METHODOLOGY: APPROACH 1 (SUPPLY-SIDE ANALYSIS) – REVENUE GENERATED BY COMPANIES FROM SALES OF PRODUCTS OFFERED IN VIRTUAL PRODUCTION MARKET
           2.2.2 DEMAND-SIDE ANALYSIS
                    FIGURE 5 MARKET SIZE ESTIMATION METHODOLOGY: APPROACH 2 (DEMAND-SIDE ANALYSIS)
    2.3 MARKET SIZE ESTIMATION
           FIGURE 6 VIRTUAL PRODUCTION TECHNOLOGY SIZE ESTIMATION METHODOLOGY: SUPPLY-SIDE ANALYSIS
           2.3.1 BOTTOM-UP APPROACH
                    FIGURE 7 MARKET SIZE ESTIMATION METHODOLOGY: BOTTOM-UP APPROACH
           2.3.2 TOP-DOWN APPROACH
                    FIGURE 8 MARKET SIZE ESTIMATION METHODOLOGY: TOP-DOWN APPROACH
           2.3.3 GROWTH PROJECTIONS AND FORECAST ASSUMPTIONS
                    TABLE 1 MARKET GROWTH ASSUMPTIONS
    2.4 MARKET BREAKDOWN AND DATA TRIANGULATION
           FIGURE 9 VIRTUAL PRODUCTION MARKET: DATA TRIANGULATION
    2.5 RESEARCH ASSUMPTIONS
           TABLE 2 KEY ASSUMPTIONS: MACROECONOMIC AND MICROECONOMIC ENVIRONMENT
    2.6 RISK ASSESSMENT
           TABLE 3 RISK ASSESSMENT: MARKET

3 EXECUTIVE SUMMARY (Page No. - 46)
    FIGURE 10 VIRTUAL PRODUCTION MARKET GROWTH PROJECTION IN REALISTIC SCENARIO
    FIGURE 11 SOFTWARE OFFERING SEGMENT TO ACCOUNT FOR LARGEST SHARE OF MARKET IN 2027
    FIGURE 12 PRODUCTION TYPE SEGMENT TO DRIVE GROWTH OF MARKET DURING FORECAST PERIOD
    FIGURE 13 TELEVISION SERIES END USER SEGMENT TO GROW AT HIGHEST CAGR IN MARKET FROM 2022 TO 2027
    FIGURE 14 ASIA PACIFIC TO BE FASTEST-GROWING MARKET DURING FORECAST PERIOD

4 PREMIUM INSIGHTS (Page No. - 50)
    4.1 ATTRACTIVE GROWTH OPPORTUNITIES FOR MARKET PLAYERS
           FIGURE 15 RISING DEMAND FOR VISUAL EFFECTS IN MOVIE PRODUCTION TO FUEL MARKET GROWTH DURING FORECAST PERIOD
    4.2 VIRTUAL PRODUCTION TECHNOLOGY, BY OFFERING
           FIGURE 16 SOFTWARE SEGMENT TO GROW AT HIGHEST CAGR DURING FORECAST PERIOD
    4.3 MARKET, BY TYPE
           FIGURE 17 POST-PRODUCTION SEGMENT ESTIMATED TO ACCOUNT FOR LARGEST SHARE OF GLOBAL VIRTUAL PRODUCTION MARKET IN 2022
    4.4 MARKET, BY COUNTRY
           FIGURE 18 MARKET IN CHINA TO GROW AT HIGHEST CAGR DURING FORECAST PERIOD
    4.5 VIRTUAL PRODUCTION MARKET, BY REGION
           FIGURE 19 NORTH AMERICA TO ACCOUNT FOR LARGEST SHARE OF GLOBAL MARKET IN 2027

5 MARKET OVERVIEW (Page No. - 53)
    5.1 INTRODUCTION
    5.2 MARKET DYNAMICS
           FIGURE 20 MARKET: DRIVERS, RESTRAINTS, OPPORTUNITIES, AND CHALLENGES
           5.2.1 DRIVERS
                    5.2.1.1 Growing demand for visual effects in movie and television industries
                    5.2.1.2 Increasing implementation of LED wall technology
                    5.2.1.3 Rising demand due to pandemic
                               FIGURE 21 DRIVERS AND THEIR IMPACT ON VIRTUAL PRODUCTION MARKET
           5.2.2 RESTRAINTS
                    5.2.2.1 Lack of skilled professionals
                    5.2.2.2 High capital expenditure for initial set-up
                               FIGURE 22 RESTRAINTS AND THEIR IMPACT ON VIRTUAL PRODUCTION TECHNOLOGY
           5.2.3 OPPORTUNITIES
                    5.2.3.1 Rising trend in OTT platforms
                               FIGURE 23 ORIGINAL CONTENT EXPENDITURE BY KEY OTTS (2017-2021)
                    5.2.3.2 Establishment of new virtual production studios
                               FIGURE 24 OPPORTUNITIES AND THEIR IMPACT ON MARKET
           5.2.4 CHALLENGES
                    5.2.4.1 Problems faced in virtual production LED screens
                               FIGURE 25 CHALLENGES AND THEIR IMPACT ON VIRTUAL PRODUCTION MARKET
    5.3 SUPPLY CHAIN ANALYSIS
           FIGURE 26 VIRTUAL PRODUCTION STUDIO : SUPPLY CHAIN
           TABLE 4 VIRTUAL PRODUCTION COMPANIES : ECOSYSTEM
    5.4 VIRTUAL PRODUCTION CINEMATOGRAPHY ECOSYSTEM
           FIGURE 27 ECOSYSTEM OF VIRTUAL PRODUCTION
    5.5 AVERAGE SELLING PRICES OF OFFERINGS OF KEY PLAYERS, BY HARDWARE
           5.5.1 AVERAGE SELLING PRICE TRENDS
                    TABLE 5 AVERAGE SELLING PRICES OF OVERALL VIRTUAL PRODUCTION HARDWARE SYSTEMS (USD THOUSANDS)
                    FIGURE 28 AVERAGE PRICE TRENDS: VIRTUAL PRODUCTION HARDWARE SYSTEMS
    5.6 TRENDS AND DISRUPTIONS IMPACTING CUSTOMERS
           5.6.1 REVENUE SHIFT AND NEW REVENUE POCKETS FOR VIRTUAL PRODUCTION TECHNOLOGY PLAYERS
                    FIGURE 29 REVENUE SHIFT IN VIRTUAL PRODUCTION MARKET
    5.7 KEY TECHNOLOGY TRENDS
           5.7.1 VFX
           5.7.2 CGI
    5.8 PORTER’S FIVE FORCES ANALYSIS
           TABLE 6 VIRTUAL PRODUCTION COMPANIES : PORTER’S FIVE FORCES ANALYSIS
           FIGURE 30 PORTER’S FIVE FORCES ANALYSIS
           5.8.1 THREAT OF NEW ENTRANTS : VIRTUAL PRODUCTION COMPANIES
           5.8.2 THREAT OF SUBSTITUTES
           5.8.3 BARGAINING POWER OF SUPPLIERS
           5.8.4 BARGAINING POWER OF BUYERS
           5.8.5 INTENSITY OF COMPETITIVE RIVALRY
    5.9 KEY STAKEHOLDERS AND BUYING CRITERIA
           5.9.1 KEY STAKEHOLDERS IN BUYING PROCESS : VIRTUAL PRODUCTION MARKET
                    FIGURE 31 INFLUENCE OF STAKEHOLDERS IN BUYING PROCESS FOR TOP THREE END USERS
                    TABLE 7 INFLUENCE OF STAKEHOLDERS ON BUYING PROCESS FOR TOP THREE END USERS (%)
           5.9.2 BUYING CRITERIA
                    FIGURE 32 KEY BUYING CRITERIA FOR TOP THREE END USERS
                    TABLE 8 KEY BUYING CRITERIA FOR TOP THREE END USERS
    5.10 CASE STUDIES
           5.10.1 EFFECTIVE USE OF VIRTUAL PRODUCTION FOR STREAMING BMW BERLIN MARATHON
           5.10.2 TRANSFORMATION OF LOCATION-BASED SHOOT TO VIRTUAL PRODUCTION STUDIO SHOOT
    5.11 TRADE ANALYSIS VIRTUAL PRODUCTION COMPANIES
           5.11.1 IMPORT SCENARIO
                    TABLE 9 IMPORT DATA, BY COUNTRY, 2017–2021 (USD MILLION)
           5.11.2 EXPORT SCENARIO
                    TABLE 10 EXPORT DATA, BY COUNTRY, 2017–2021 (USD MILLION)
    5.12 PATENT ANALYSIS, 2012–2022
                    FIGURE 33 NUMBER OF PATENTS GRANTED FOR VIRTUAL PRODUCTION PRODUCTS, 2012–2022
                    FIGURE 34 REGIONAL ANALYSIS OF PATENTS GRANTED FOR VIRTUAL PRODUCTION PRODUCTS, 2021
                    TABLE 11 LIST OF SOME PATENTS PERTAINING TO VIRTUAL PRODUCTION, 2020–2021
    5.13 KEY CONFERENCES AND EVENTS, 2022–2023
                    TABLE 12 VIRTUAL PRODUCTION MARKET: DETAILED LIST OF CONFERENCES & EVENTS
    5.14 TARIFF AND REGULATORY LANDSCAPE VIRTUAL PRODUCTION TECHNOLOGY
           5.14.1 REGULATORY BODIES, GOVERNMENT AGENCIES, AND OTHER ORGANIZATIONS
                    TABLE 13 NORTH AMERICA: LIST OF REGULATORY BODIES, GOVERNMENT AGENCIES, AND OTHER ORGANIZATIONS
                    TABLE 14 EUROPE: LIST OF REGULATORY BODIES, GOVERNMENT AGENCIES, AND OTHER ORGANIZATIONS
                    TABLE 15 ASIA PACIFIC: LIST OF REGULATORY BODIES, GOVERNMENT AGENCIES, AND OTHER ORGANIZATIONS
                    TABLE 16 ROW: LIST OF REGULATORY BODIES, GOVERNMENT AGENCIES, AND OTHER ORGANIZATIONS
           5.14.2 TARIFFS AND REGULATIONS
                    5.14.2.1 Tariffs
                    5.14.2.2 Regulations
                    5.14.2.3 Standards

6 VIRTUAL PRODUCTION MARKET, BY OFFERING (Page No. - 79)
    6.1 INTRODUCTION
           FIGURE 35 VIRTUAL PRODUCTION COMPANIES, BY OFFERING
           FIGURE 36 SOFTWARE TO DOMINATE VIRTUAL PRODUCTION CINEMATOGRAPHY IN 2027
           TABLE 17 VIRTUAL PRODUCTION STUDIO, BY OFFERING, 2018–2021 (USD MILLION)
           TABLE 18 MARKET, BY OFFERING, 2022–2027 (USD MILLION)
           TABLE 19 MARKET, BY HARDWARE OFFERING, 2018–2021 (THOUSAND UNITS)
           TABLE 20 VIRTUAL PRODUCTION CINEMATOGRAPHY , BY HARDWARE OFFERING, 2022–2027 (THOUSAND UNITS)
    6.2 HARDWARE
           6.2.1 SIGNIFICANT DEMAND FOR SPECIALIZED HARDWARE IN VIRTUAL PRODUCTION MARKET
                    TABLE 21 VIRTUAL PRODUCTION HARDWARE OFFERINGS, BY COMPANY
                    TABLE 22 VIRTUAL PRODUCTION CINEMATOGRAPHY FOR HARDWARE, BY REGION, 2018–2021 (USD MILLION)
                    TABLE 23 VIRTUAL PRODUCTION TECHNOLOGY FOR HARDWARE, BY REGION, 2022–2027 (USD MILLION)
    6.3 SOFTWARE
           6.3.1 SOFTWARE SEGMENT DOMINATES MARKET
                    TABLE 24 VIRTUAL PRODUCTION SOFTWARE OFFERING, BY COMPANY
                    TABLE 25 VIRTUAL PRODUCTION COMPANIES FOR SOFTWARE, BY REGION, 2018–2021 (USD MILLION)
                    TABLE 26 VIRTUAL PRODUCTION MARKET FOR SOFTWARE, BY REGION, 2022–2027 (USD MILLION)
    6.4 SERVICES
           6.4.1 VIRTUAL PRODUCTION SERVICES TO PLAY CRUCIAL ROLE IN PRE-PRODUCTION AND POST-PRODUCTION STAGES
                    TABLE 27 VIRTUAL PRODUCTION SERVICES, BY COMPANY
                    TABLE 28 MARKET FOR SERVICES, BY REGION, 2018–2021 (USD MILLION)
                    TABLE 29 MARKET FOR SERVICES, BY REGION, 2022–2027 (USD MILLION)

7 VIRTUAL PRODUCTION MARKET, BY TYPE (Page No. - 89)
    7.1 INTRODUCTION
           FIGURE 37 MARKET, BY TYPE
           FIGURE 38 STEPS IN UTILIZATION OF VIRTUAL PRODUCTION, BY TYPE
           FIGURE 39 POST-PRODUCTION SEGMENT TO ACCOUNT FOR LARGEST SHARE OF VIRTUAL PRODUCTION MARKET IN 2027
           TABLE 30 MARKET, BY TYPE, 2018–2021 (USD MILLION)
           TABLE 31 VIRTUAL PRODUCTION COMPANIES, BY TYPE, 2022–2027 (USD MILLION)
    7.2 PRE-PRODUCTION
           7.2.1 PRE-PRODUCTION SERVICES HELP ACHIEVE RIGHT VISION
    7.3 PRODUCTION
           7.3.1 DIFFERENT STRATEGIES OF KEY PLAYERS EXPECTED TO ACCELERATE PRODUCTION SEGMENT
    7.4 POST-PRODUCTION
           7.4.1 POST-PRODUCTION SEGMENT TO ACCOUNT FOR LARGEST MARKET SHARE

8 VIRTUAL PRODUCTION MARKET, BY END USER (Page No. - 95)
    8.1 INTRODUCTION
           FIGURE 40 MARKET, BY END USER
           FIGURE 41 MOVIES END USER SEGMENT TO LEAD VIRTUAL PRODUCTION MARKET IN 2027
           TABLE 32 MARKET, BY END USER, 2018–2021 (USD MILLION)
           TABLE 33 MARKET, BY END USER, 2022–2027 (USD MILLION)
    8.2 MOVIES
           8.2.1 MOVIES SEGMENT TO ACCOUNT FOR LARGEST MARKET SHARE
                    TABLE 34 VIRTUAL PRODUCTION TECHNOLOGY FOR MOVIES, BY REGION, 2018–2021 (USD MILLION)
                    TABLE 35 VIRTUAL PRODUCTION CINEMATOGRAPHY FOR MOVIES, BY REGION, 2022–2027 (USD MILLION)
    8.3 TELEVISION SERIES
           8.3.1 ADVENT OF OTT PLATFORMS CREATES OPPORTUNITIES FOR MARKET PLAYERS
                    TABLE 36 VIRTUAL PRODUCTION MARKET FOR TELEVISION SERIES, BY REGION, 2018–2021 (USD MILLION)
                    TABLE 37 VIRTUAL PRODUCTION CINEMATOGRAPHY FOR TELEVISION SERIES, BY REGION, 2022–2027 (USD MILLION)
    8.4 COMMERCIAL ADVERTISEMENTS
           8.4.1 CREATIVE RESULTS AT LOWER BUDGETS TO HELP ATTRACT USERS
                    TABLE 38 VIRTUAL PRODUCTION COMPANIES FOR COMMERCIAL ADVERTISEMENTS, BY REGION, 2018–2021 (USD MILLION)
                    TABLE 39 VIRTUAL PRODUCTION TECHNOLOGY FOR COMMERCIAL ADVERTISEMENTS, BY REGION, 2022–2027 (USD MILLION)
    8.5 ONLINE VIDEOS
           8.5.1 POPULARITY OF ON-DEMAND VIDEO CONTENT TO BOOST ONLINE VIDEOS SEGMENT
                    TABLE 40 VIRTUAL PRODUCTION MARKET FOR ONLINE VIDEOS, BY REGION, 2018–2021 (USD MILLION)
                    TABLE 41 MARKET FOR ONLINE VIDEOS, BY REGION, 2022–2027 (USD MILLION)
    8.6 OTHERS
           TABLE 42 MARKET FOR OTHERS, BY REGION, 2018–2021 (USD MILLION)
           TABLE 43 MARKET FOR OTHERS, BY REGION, 2022–2027 (USD MILLION)

9 VIRTUAL PRODUCTION MARKET, BY REGION (Page No. - 104)
    9.1 INTRODUCTION
           FIGURE 42 VIRTUAL PRODUCTION COMPANIES, BY REGION
           FIGURE 43 NORTH AMERICA ESTIMATED TO ACCOUNT FOR LARGEST SHARE OF VIRTUAL PRODUCTION MARKET IN 2022
           TABLE 44 MARKET, BY REGION, 2018–2021 (USD MILLION)
           TABLE 45 MARKET, BY REGION, 2022–2027 (USD MILLION)
    9.2 NORTH AMERICA
           FIGURE 44 SNAPSHOT OF VIRTUAL PRODUCTION MARKET IN NORTH AMERICA
           TABLE 46 MARKET IN NORTH AMERICA, BY COUNTRY, 2018–2021 (USD MILLION)
           TABLE 47 MARKET IN NORTH AMERICA, BY COUNTRY, 2022–2027 (USD MILLION)
           TABLE 48 MARKET IN NORTH AMERICA, BY OFFERING, 2018–2021 (USD MILLION)
           TABLE 49 MARKET IN NORTH AMERICA, BY OFFERING, 2022–2027 (USD MILLION)
           TABLE 50 MARKET IN NORTH AMERICA, BY END USER, 2018–2021 (USD MILLION)
           TABLE 51 VIRTUAL PRODUCTION TECHNOLOGY IN NORTH AMERICA, BY END USER, 2022–2027 (USD MILLION)
           9.2.1 US
                    9.2.1.1 Presence of largest film industry
                               TABLE 52 VIRTUAL PRODUCTION COMPANIES IN US, BY OFFERING, 2018–2021 (USD MILLION)
                               TABLE 53 MARKET IN US, BY OFFERING, 2022–2027 (USD MILLION)
                               TABLE 54 VIRTUAL PRODUCTION MARKET IN US, BY END USER, 2018–2021 (USD MILLION)
                               TABLE 55 VIRTUAL PRODUCTION CINEMATOGRAPHY IN US, BY END USER, 2022–2027 (USD MILLION)
           9.2.2 CANADA
                    9.2.2.1 Consistent demand for larger virtual production studios
                               TABLE 56 MARKET IN CANADA, BY OFFERING, 2018–2021 (USD MILLION)
                               TABLE 57 MARKET IN CANADA, BY OFFERING, 2022–2027 (USD MILLION)
                               TABLE 58 MARKET IN CANADA, BY END USER, 2018–2021 (USD MILLION)
                               TABLE 59 MARKET IN CANADA, BY END USER, 2022–2027 (USD MILLION)
           9.2.3 MEXICO
                    9.2.3.1 Growing Mexican film and the television industry
                               TABLE 60 VIRTUAL PRODUCTION TECHNOLOGY IN MEXICO, BY OFFERING, 2018–2021 (USD MILLION)
                               TABLE 61 VIRTUAL PRODUCTION MARKET IN MEXICO, BY OFFERING, 2022–2027 (USD MILLION)
                               TABLE 62 MARKET IN MEXICO, BY END USER, 2018–2021 (USD MILLION)
                               TABLE 63 VIRTUAL PRODUCTION CINEMATOGRAPHY IN MEXICO, BY END USER, 2022–2027 (USD MILLION)
    9.3 EUROPE
           FIGURE 45 SNAPSHOT OF MARKET IN EUROPE
           TABLE 64 VIRTUAL PRODUCTION COMPANIES IN EUROPE, BY COUNTRY, 2018–2021 (USD MILLION)
           TABLE 65 MARKET IN EUROPE, BY COUNTRY, 2022–2027 (USD MILLION)
           TABLE 66 MARKET IN EUROPE, BY OFFERING, 2018–2021 (USD MILLION)
           TABLE 67 VIRTUAL PRODUCTION MARKET IN EUROPE, BY OFFERING, 2022–2027 (USD MILLION)
           TABLE 68 MARKET IN EUROPE, BY END USER, 2018–2021 (USD MILLION)
           TABLE 69 VIRTUAL PRODUCTION TECHNOLOGY IN EUROPE, BY END USER, 2022–2027 (USD MILLION)
           9.3.1 UK
                    9.3.1.1 Increased spending on film and high-end television production
                               TABLE 70 MARKET IN UK, BY OFFERING, 2018–2021 (USD MILLION)
                               TABLE 71 MARKET IN UK, BY OFFERING, 2022–2027 (USD MILLION)
                               TABLE 72 VIRTUAL PRODUCTION MARKET IN UK, BY END USER, 2018–2021 (USD MILLION)
                               TABLE 73 MARKET IN UK, BY END USER, 2022–2027 (USD MILLION)
           9.3.2 GERMANY
                    9.3.2.1 Ranks second in European virtual production market
                               TABLE 74 VIRTUAL PRODUCTION CINEMATOGRAPHY IN GERMANY, BY OFFERING, 2018–2021 (USD MILLION)
                               TABLE 75 VIRTUAL PRODUCTION COMPANIES IN GERMANY, BY OFFERING, 2022–2027 (USD MILLION)
                               TABLE 76 MARKET IN GERMANY, BY END USER, 2018–2021 (USD MILLION)
                               TABLE 77 MARKET IN GERMANY, BY END USER, 2022–2027 (USD MILLION)
           9.3.3 FRANCE
                    9.3.3.1 Increased production and investments in French cinema
                               TABLE 78 VIRTUAL PRODUCTION MARKET IN FRANCE, BY OFFERING, 2018–2021 (USD MILLION)
                               TABLE 79 MARKET IN FRANCE, BY OFFERING, 2022–2027 (USD MILLION)
                               TABLE 80 MARKET IN FRANCE, BY END USER, 2018–2021 (USD MILLION)
                               TABLE 81 VIRTUAL PRODUCTION TECHNOLOGY IN FRANCE, BY END USER, 2022–2027 (USD MILLION)
           9.3.4 REST OF EUROPE
                    TABLE 82 MARKET IN REST OF EUROPE, BY OFFERING, 2018–2021 (USD MILLION)
                    TABLE 83 MARKET IN REST OF EUROPE, BY OFFERING, 2022–2027 (USD MILLION)
                    TABLE 84 VIRTUAL PRODUCTION MARKET IN REST OF EUROPE, BY END USER, 2018–2021 (USD MILLION)
                    TABLE 85 VIRTUAL PRODUCTION COMPANIES IN REST OF EUROPE, BY END USER, 2022–2027 (USD MILLION)
    9.4 ASIA PACIFIC
           FIGURE 46 SNAPSHOT OF VIRTUAL PRODUCTION MARKET IN ASIA PACIFIC
           TABLE 86 VIRTUAL PRODUCTION TECHNOLOGY IN ASIA PACIFIC, BY COUNTRY, 2018–2021 (USD MILLION)
           TABLE 87 MARKET IN ASIA PACIFIC, BY COUNTRY, 2022–2027 (USD MILLION)
           TABLE 88 MARKET IN ASIA PACIFIC, BY OFFERING, 2018–2021 (USD MILLION)
           TABLE 89 MARKET IN ASIA PACIFIC, BY OFFERING, 2022–2027 (USD MILLION)
           TABLE 90 MARKET IN ASIA PACIFIC, BY END USER, 2018–2021 (USD MILLION)
           TABLE 91 VIRTUAL PRODUCTION CINEMATOGRAPHY IN ASIA PACIFIC, BY END USER, 2022–2027 (USD MILLION)
           9.4.1 CHINA
                    9.4.1.1 China to dominate market in Asia Pacific during forecast period
                               TABLE 92 VIRTUAL PRODUCTION COMPANIES IN CHINA, BY OFFERING, 2018–2021 (USD MILLION)
                               TABLE 93 MARKET IN CHINA, BY OFFERING, 2022–2027 (USD MILLION)
                               TABLE 94 VIRTUAL PRODUCTION MARKET IN CHINA, BY END USER, 2018–2021 (USD MILLION)
                               TABLE 95 MARKET IN CHINA, BY END USER, 2022–2027 (USD MILLION)
           9.4.2 JAPAN
                    9.4.2.1 Ranks second in Asia Pacific virtual production market
                               TABLE 96 VIRTUAL PRODUCTION TECHNOLOGY IN JAPAN, BY OFFERING, 2018–2021 (USD MILLION)
                               TABLE 97 MARKET IN JAPAN, BY OFFERING, 2022–2027 (USD MILLION)
                               TABLE 98 MARKET IN JAPAN, BY END USER, 2018–2021 (USD MILLION)
                               TABLE 99 MARKET IN JAPAN, BY END USER, 2022–2027 (USD MILLION)
           9.4.3 SOUTH KOREA
                    9.4.3.1 Rising OTT adoption to boost market
                               TABLE 100 MARKET IN SOUTH KOREA, BY OFFERING, 2018–2021 (USD MILLION)
                               TABLE 101 MARKET IN SOUTH KOREA, BY OFFERING, 2022–2027 (USD MILLION)
                               TABLE 102 VIRTUAL PRODUCTION COMPANIES IN SOUTH KOREA, BY END USER, 2018–2021 (USD MILLION)
                               TABLE 103 VIRTUAL PRODUCTION MARKET IN SOUTH KOREA, BY END USER, 2022–2027 (USD MILLION)
           9.4.4 INDIA
                    9.4.4.1 Increasing collaborations to launch new virtual production studios to boost market
                               TABLE 104 VIRTUAL PRODUCTION CINEMATOGRAPHY IN INDIA, BY OFFERING, 2018–2021 (USD MILLION)
                               TABLE 105 VIRTUAL PRODUCTION TECHNOLOGYIN INDIA, BY OFFERING, 2022–2027 (USD MILLION)
                               TABLE 106 MARKET IN INDIA, BY END USER, 2018–2021 (USD MILLION)
                               TABLE 107 VIRTUAL PRODUCTION MARKET IN INDIA, BY END USER, 2022–2027 (USD MILLION)
           9.4.5 REST OF ASIA PACIFIC
                    TABLE 108 MARKET IN REST OF ASIA PACIFIC, BY OFFERING, 2018–2021 (USD MILLION)
                    TABLE 109 MARKET IN REST OF ASIA PACIFIC, BY OFFERING, 2022–2027 (USD MILLION)
                    TABLE 110 VIRTUAL PRODUCTION COMPANIES IN REST OF ASIA PACIFIC, BY END USER, 2018–2021 (USD MILLION)
                    TABLE 111 VIRTUAL PRODUCTION MARKET IN REST OF ASIA PACIFIC, BY END USER, 2022–2027 (USD MILLION)
    9.5 REST OF THE WORLD (ROW)
           TABLE 112 MARKET IN REST OF THE WORLD, BY REGION, 2018–2021 (USD MILLION)
           TABLE 113 MARKET IN REST OF THE WORLD, BY REGION, 2022–2027 (USD MILLION)
           TABLE 114 MARKET IN REST OF THE WORLD, BY OFFERING, 2018–2021 (USD MILLION)
           TABLE 115 VIRTUAL PRODUCTION MARKET IN REST OF THE WORLD, BY OFFERING, 2022–2027 (USD MILLION)
           TABLE 116 MARKET IN REST OF THE WORLD, BY END USER, 2018–2021 (USD MILLION)
           TABLE 117 VIRTUAL PRODUCTION TECHNOLOGY IN REST OF THE WORLD, BY END USER, 2022–2027 (USD MILLION)
           9.5.1 SOUTH AMERICA
                    9.5.1.1 Growing film industry to boost adoption of virtual production
                               TABLE 118 MARKET IN SOUTH AMERICA, BY OFFERING, 2018–2021 (USD MILLION)
                               TABLE 119 MARKET IN SOUTH AMERICA, BY OFFERING, 2022–2027 (USD MILLION)
                               TABLE 120 VIRTUAL PRODUCTION MARKET IN SOUTH AMERICA, BY END USER, 2018–2021 (USD MILLION)
                               TABLE 121 VIRTUAL PRODUCTION COMPANIES IN SOUTH AMERICA, BY END USER, 2022–2027 (USD MILLION)
           9.5.2 MIDDLE EAST & AFRICA
                    9.5.2.1 Middle East & Africa to account for larger share of market in Rest of the World
                               TABLE 122 VIRTUAL PRODUCTION TECHNOLOGY IN MIDDLE EAST & AFRICA, BY OFFERING, 2018–2021 (USD MILLION)
                               TABLE 123 MARKET IN MIDDLE EAST & AFRICA, BY OFFERING, 2022–2027 (USD MILLION)
                               TABLE 124 VIRTUAL PRODUCTION MARKET IN MIDDLE EAST & AFRICA, BY END USER, 2018–2021 (USD MILLION)
                               TABLE 125 VIRTUAL PRODUCTION CINEMATOGRAPHY IN MIDDLE EAST & AFRICA, BY END USER, 2022–2027 (USD MILLION)

10 COMPETITIVE LANDSCAPE (Page No. - 142)
     10.1 VIRTUAL PRODUCTION OVERVIEW
     10.2 MARKET EVALUATION FRAMEWORK
               TABLE 126 OVERVIEW OF STRATEGIES DEPLOYED BY KEY VIRTUAL PRODUCTION COMPANIES
             10.2.1 PRODUCT PORTFOLIO
             10.2.2 REGIONAL FOCUS
             10.2.3 MANUFACTURING FOOTPRINT
             10.2.4 ORGANIC/INORGANIC STRATEGIES
     10.3 MARKET SHARE ANALYSIS, 2021
               TABLE 127 VIRTUAL PRODUCTION TECHNOLOGY : MARKET SHARE ANALYSIS (2021)
     10.4 FIVE-YEAR COMPANY REVENUE ANALYSIS
               FIGURE 47 FIVE-YEAR REVENUE ANALYSIS OF TOP FIVE PLAYERS IN VIRTUAL PRODUCTION MARKET, 2017 TO 2021
     10.5 KEY COMPANY EVALUATION QUADRANT
             10.5.1 STARS
             10.5.2 EMERGING LEADERS
             10.5.3 PERVASIVE PLAYERS
             10.5.4 PARTICIPANTS
                       FIGURE 48 VIRTUAL PRODUCTION MARKET: COMPANY EVALUATION QUADRANT, 2021
     10.6 COMPANY FOOTPRINT
               TABLE 128 VIRTUAL PRODUCTION COMPANIES FOOTPRINT
               TABLE 129 COMPANY-WISE OFFERING FOOTPRINT
               TABLE 130 COMPANY-WISE END USER FOOTPRINT
               TABLE 131 COMPANY-WISE REGION FOOTPRINT
     10.7 COMPETITIVE SCENARIOS AND TRENDS
             10.7.1 PRODUCT LAUNCHES
                       TABLE 132 PRODUCT LAUNCHES, JANUARY 2021 AND JANUARY 2022
             10.7.2 DEALS
                       TABLE 133 DEALS, JANUARY 2021 AND JANUARY 2022
             10.7.3 OTHERS
                       TABLE 134 CONTRACTS AND EXPANSIONS, JANUARY 2020 AND JANUARY 2022

11 COMPANY PROFILES (Page No. - 157)
     11.1 KEY COMPANIES
(Business Overview, Products Offered, Recent Developments, and MnM View (Key strengths/Right to Win, Strategic Choices Made, and Weaknesses and Competitive Threats))*
             11.1.1 ADOBE INC.
                       TABLE 135 ADOBE INC.: BUSINESS OVERVIEW
                       FIGURE 49 ADOBE INC.: COMPANY SNAPSHOT
                       TABLE 136 ADOBE INC.: PRODUCTS OFFERED
                       TABLE 137 ADOBE INC.: PRODUCT LAUNCHES
                       TABLE 138 ADOBE INC.: DEALS
             11.1.2 NVIDIA CORPORATION
                       TABLE 139 NVIDIA CORPORATION: BUSINESS OVERVIEW
                       FIGURE 50 NVIDIA CORPORATION: COMPANY SNAPSHOT
                       TABLE 140 NVIDIA CORPORATION: PRODUCTS OFFERED
                       TABLE 141 NVIDIA CORPORATION: PRODUCT LAUNCHES
             11.1.3 SONY GROUP
                       TABLE 142 SONY GROUP: BUSINESS OVERVIEW
                       FIGURE 51 SONY GROUP: COMPANY SNAPSHOT
                       TABLE 143 SONY GROUP: PRODUCTS OFFERED
                       TABLE 144 SONY GROUP: PRODUCT LAUNCHES
                       TABLE 145 SONY GROUP: DEALS
                       TABLE 146 SONY GROUP: OTHERS
             11.1.4 AUTODESK, INC.
                       TABLE 147 AUTODESK, INC.: BUSINESS OVERVIEW
                       FIGURE 52 AUTODESK, INC.: COMPANY SNAPSHOT
                       TABLE 148 AUTODESK, INC.: PRODUCTS OFFERED
                       TABLE 149 AUTODESK, INC.: DEALS
             11.1.5 TECHNICOLOR
                       TABLE 150 TECHNICOLOR: BUSINESS OVERVIEW
                       FIGURE 53 TECHNICOLOR: COMPANY SNAPSHOT
                       TABLE 151 TECHNICOLOR: PRODUCTS OFFERED
                       TABLE 152 TECHNICOLOR: DEALS
                       TABLE 153 TECHNICOLOR: OTHERS
             11.1.6 HTC CORPORATION
                       TABLE 154 HTC CORPORATION: BUSINESS OVERVIEW
                       FIGURE 54 HTC CORPORATION: COMPANY SNAPSHOT
                       TABLE 155 HTC CORPORATION: PRODUCTS OFFERED
                       TABLE 156 HTC CORPORATION: PRODUCT LAUNCHES
             11.1.7 VICON MOTION SYSTEMS LTD
                       TABLE 157 VICON MOTION SYSTEMS LTD: BUSINESS OVERVIEW
                       FIGURE 55 VICON MOTION SYSTEMS LTD: COMPANY SNAPSHOT
                       TABLE 158 VICON MOTION SYSTEMS LTD: PRODUCTS OFFERED
                       TABLE 159 VICON MOTION SYSTEMS LTD: PRODUCT LAUNCHES
                       TABLE 160 VICON MOTION SYSTEMS LTD: DEALS
                       TABLE 161 VICON MOTION SYSTEMS LTD: OTHERS
             11.1.8 SIDEFX
                       TABLE 162 SIDEFX: BUSINESS OVERVIEW
                       TABLE 163 SIDEFX: PRODUCTS OFFERED
                       TABLE 164 SIDEFX: PRODUCT LAUNCHES
             11.1.9 EPIC GAMES
                       TABLE 165 EPIC GAMES: BUSINESS OVERVIEW
                       TABLE 166 EPIC GAMES: PRODUCTS OFFERED
                       TABLE 167 EPIC GAMES: PRODUCT LAUNCHES
             11.1.10 MO-SYS ENGINEERING LTD.
                       TABLE 168 MO-SYS ENGINEERING LTD.: BUSINESS OVERVIEW
                       TABLE 169 MO-SYS ENGINEERING LTD.: PRODUCTS OFFERED
                       TABLE 170 MO-SYS ENGINEERING LTD.: PRODUCT LAUNCHES
                       TABLE 171 MO-SYS ENGINEERING LTD.: DEALS
             11.1.11 PERFORCE SOFTWARE, INC.
                       TABLE 172 PERFORCE SOFTWARE, INC.: BUSINESS OVERVIEW
                       TABLE 173 PERFORCE SOFTWARE, INC.: PRODUCTS OFFERED
                       TABLE 174 PERFORCE SOFTWARE, INC.: DEALS
             11.1.12 THE WALT DISNEY COMPANY
                       TABLE 175 THE WALT DISNEY COMPANY: BUSINESS OVERVIEW
                       FIGURE 56 THE WALT DISNEY COMPANY: COMPANY SNAPSHOT
                       TABLE 176 THE WALT DISNEY COMPANY: PRODUCTS OFFERED
                       TABLE 177 THE WALT DISNEY COMPANY: PRODUCT LAUNCHES
     11.2 OTHER PLAYERS
             11.2.1 DNEG
                       TABLE 178 DNEG: COMPANY OVERVIEW
             11.2.2 TILTLABS
                       TABLE 179 TILTLABS: COMPANY OVERVIEW
             11.2.3 PLANAR SYSTEMS, INC.
                       TABLE 180 PLANAR SYSTEMS, INC.: COMPANY OVERVIEW
             11.2.4 VIRSABI
                       TABLE 181 VIRSABI: COMPANY OVERVIEW
             11.2.5 PRODUCTION RESOURCE GROUP, LLC
                       TABLE 182 PRODUCTION RESOURCE GROUP, LLC: COMPANY OVERVIEW
             11.2.6 DIMENSION
                       TABLE 183 DIMENSION: COMPANY OVERVIEW
             11.2.7 RECODE XR STUDIO
                       TABLE 184 RECODE XR STUDIO: COMPANY OVERVIEW
             11.2.8 VÛ TECHNOLOGIES
                       TABLE 185 VÛ TECHNOLOGIES: COMPANY OVERVIEW
             11.2.9 80SIX LTD.
                       TABLE 186 80SIX LTD.: COMPANY OVERVIEW
             11.2.10 ROE VISUAL
                       TABLE 187 ROE VISUAL: COMPANY OVERVIEW
             11.2.11 BORIS FX, INC.
                       TABLE 188 BORIS FX, INC.: COMPANY OVERVIEW
             11.2.12 INSTA360
                       TABLE 189 INSTA360: COMPANY OVERVIEW
             11.2.13 360RIZE
                       TABLE 190 360RIZE: COMPANY OVERVIEW
             11.2.14 WÇTÂ FX
                       TABLE 191 WÇTÂ FX: COMPANY OVERVIEW

*Details on Business Overview, Products Offered, Recent Developments, and MnM View (Key strengths/Right to Win, Strategic Choices Made, and Weaknesses and Competitive Threats) might not be captured in case of unlisted companies.

12 APPENDIX (Page No. - 217)
     12.1 DISCUSSION GUIDE
     12.2 KNOWLEDGESTORE: MARKETSANDMARKETS’ SUBSCRIPTION PORTAL
     12.3 CUSTOMIZATION OPTIONS
     12.4 RELATED REPORTS
     12.5 AUTHOR DETAILS

The study involved four major activities in estimating the size of the virtual production market. Exhaustive secondary research has been carried out to collect information on the market, the peer markets, and the parent market. Both top-down and bottom-up approaches have been employed to estimate the total market size. Market breakdown and data triangulation methods have also been used to estimate the market for segments and subsegments.

Secondary Research

Revenues of companies offering virtual production have been obtained from the secondary data available through paid and unpaid sources. The revenues have also been derived by analyzing the product portfolio of key companies, and these companies have been rated according to the performance and quality of their products.

In the secondary research process, various sources have been referred to for identifying and collecting information for this study on the virtual production market. Secondary sources considered for this research study include government sources; corporate filings (such as annual reports, investor presentations, and financial statements); and trade, business, and professional associations. Secondary data has been collected and analyzed to arrive at the overall market size, which has been further validated through primary research.

Secondary research has been mainly used to obtain key information about the supply chain of virtual productions to identify key players based on their products and prevailing industry trends in the virtual production market by technology, device type, vertical, and region. Secondary research also helped obtain market information- and technology-oriented key developments undertaken by market players to expand their presence and increase their market share.

Primary Research

Extensive primary research has been conducted after understanding and analyzing the current scenario of the virtual production market through secondary research. Several primary interviews have been conducted with the key opinion leaders from demand and supply sides across four main regions—North America, Europe, Asia Pacific, and Rest of the World. Approximately 25% of the primary interviews have been conducted with the demand-side respondents, while approximately 75% have been conducted with the supply-side respondents. The primary data has been collected through questionnaires, emails, and telephonic interviews

After interacting with industry experts, brief sessions were conducted with highly experienced independent consultants to reinforce the findings from our primaries. This, along with the in-house subject matter experts’ opinions, has led us to the findings as described in the remainder of this report. The breakdown of primary respondents is as follows:

Virtual Production Market  Size, and Share

To know about the assumptions considered for the study, download the pdf brochure

Market Size Estimation

The bottom-up approach has been employed to arrive at the overall size of the virtual production market from the revenue of key players and their market shares

Virtual Production Market  Size, and Share

To know about the assumptions considered for the study, Request for Free Sample Report

In the top-down approach, the overall size of the virtual production market has been used to estimate the size of the individual markets (mentioned in the market segmentation) through percentage splits obtained from secondary and primary research.

To analyze the size of specific market segments, the size of the most appropriate immediate parent market has been used to implement the top-down approach. The bottom-up approach has been implemented for the data extracted from the secondary research to validate the market size obtained.

The market share of each company has been estimated to verify the revenues used in the bottom-up approach earlier. The overall size of the parent market and individual markets have been determined and confirmed in this study through the data triangulation method and validation of data through primaries. The data triangulation method utilized in this study has been explained in the next section.

Virtual Production Market  Size, and Share

Data Triangulation

After arriving at the overall size of the virtual production market from the estimation process explained earlier, the global market has been split into several segments and subsegments. Data triangulation and market breakdown procedures have been employed, wherever applicable, to complete the overall market engineering process and arrive at the exact statistics for all segments and subsegments. The data has been triangulated by studying various factors and trends from the demand- and supply-sides. Along with this, the market size has been validated using both, the top-down and bottom-up approaches

Report Objectives

  • To describe and forecast the size of the virtual production market based on offering, type, and end user in terms of value
  • To describe and forecast the size of the market based on hardware offering in terms of value and volume
  • To describe and forecast the size of various segments of the market for four main regions, namely, North America, Asia Pacific, Europe, and the Rest of the World (RoW), in terms of value
  • To provide detailed information regarding the drivers, restraints, opportunities, and challenges influencing the growth of the market
  • To study the complete value chain and related industry segments and perform a value chain analysis of the market landscape
  • To strategically analyze micromarkets1 with respect to individual growth trends, prospects, and their contributions to the overall market
  • To analyze opportunities for the stakeholders by identifying high-growth segments in the market
  • To strategically profile the key players and provide a detailed competitive landscape of the market
  • To analyze strategic approaches adopted by the leading players in the market including product launches/developments and acquisitions

Available Customizations:

With the given market data, MarketsandMarkets offers customizations according to the specific requirements of companies. The following customization options are available for the report:

  • Detailed analysis and profiling of additional market players based on various blocks of the supply chain.
Report Code
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