Last August, in the Prism Entertainment Holographic Theater at the bank of the West Lake, a“Teresa Teng”dressed in a red skirt sang her classical songs such as I Only Care about You and Sweetness. The fans under the stage exclaimed, "It’s so alike. Isn’t it Teresa Teng herself?"

The “return through time and space” has benefited from the application of holographic virtual technology. In sci-fi blockbusters, we often see the main character waves a hand gently when a virtual 3D display screen appears before us. The contents on the screen can be changed freely, with lifelike and shocking effects. This is “holographic projection”.

Prism Entertainment, founded two years ago, is committed to presenting top-level IP and original culture through holographic virtual technology and creating a “super immersive” cultural experience of virtual reality at 360° for the customers. The holographic theater built by it is the first one in China to successfully apply three technologies, namely real-time motion capture, immersive stage building and virtual digital modeling.

“At present we are exploring the combination of holographic technology with the three aspects, education, tourism and culture.” Xu Min, founder of Prism Entertainment, said, the 3D large-scale holographic parent-kid interaction show created by them, “Super Wing--Bird’s Nest”, had won a lot of praises since it was staged at the end of last year. The model forebodes that more new industrial concepts and voices will be delivered and the cultural inheritance will be broadened through the combination of holographic technology with every field such as tourism, culture, entertainment, education and traffic.

It was reported that Prism Entertainment has started the creation of Dream Back to Southern Song Dynasty, a holographic drama of cultural tourism. Xu Min disclosed that the length of the drama is about 70 minutes. The script has been basically finished. Now the drama has entered the stage of picture production. It’s expected to be staged in the first quarter of next year.

Executive Editor: Ke YE

Translation: Ke YE, Wenjin CHEN