In Film Art, No. 5, 2021, Sun Chengjian suggests that when a film is no longer a “Photo-realistic Image”, based on image reference indexicality, and there is no longer a specific referent in reality, then how will we define film? The digital technology revolution that is taking place nowadays has made the entire world digitally visualized through the process of digitalization and digital materialization. The widespread use of virtual production technology in films and “transmedia storytelling” through images is having a fundamental impact on camera language, the aesthetic paradigm, and even the construction of the film industry. From representation to creativity, the technical and aesthetic pursuits of virtual production aim to achieve an artistic effect through augmented reality or even surreality, without eliminating the traditional artistic function of films to reproduce reality.