RETROSPECTIVE RECORD · PREPARED 16 SEPTEMBER 2026The archive · 100 retrospective records ↗
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Pulse Evolution's own SEC filing names Pepper's ghost, not a hologram

The company's 10-K reports the Billboard Music Awards act used what it calls a Pepper's Ghost illusion, and describes the ensuing patent dispute.

Historical event
May 18, 2014
First source published
October 10, 2014
Site publication
September 18, 2026
Visual for this record: Pulse Evolution's own SEC filing names Pepper's ghost, not a hologram
Visual published by i.ytimg.com, shown for identification of the record. Credit: i.ytimg.com · source page ↗ Rights: owner-review-pending. Source

What the company's own annual report documents

Pulse Evolution Corporation's 10-K annual report, filed with the SEC on 10 October 2014, states that its predecessor produced a computer-generated and animated human likeness of the late entertainer Michael Jackson that appeared in a live performance at the Billboard Music Awards on May 18, 2014. The filing gives an audience figure as evidence of the production's reach: approximately 11 million television viewers during the initial ABC network broadcast, followed by more than 51 million online views through YouTube and Vevo. That figure is the basis the company gives for its pivot toward producing computer-generated human likeness for entertainment and other industries.

A company naming its own mechanism, for once

Unlike the press releases examined elsewhere in this archive for similar shows, this filing is unusually direct about the underlying technique. It states the industry is referred to by many as the virtual performance industry, built on a century-old projection technique the filing itself calls a Pepper's Ghost illusion. That is a securities filing, not marketing copy, and a company has more reason to be precise in a document it must stand behind to regulators. The description matches the reflection method documented in stage-projection patents such as US7883212B2: an inclined, partially reflective screen showing a virtual image built from a projected source, correct only within a defined viewing zone, not a wavefront-reconstructed hologram.

What the dispute over the method actually concerned

The same filing discloses litigation: Hologram USA, Inc., Musion Das Hologram Limited and Uwe Maass filed an amended complaint alleging that the defendants infringed the plaintiffs' patent rights by using the plaintiffs' projection illusion system to project the visual imagery the company had developed. Crucially, the filing adds that the plaintiffs have not alleged that the company's core business, the production of visual effects or human animation imagery, infringes their intellectual property rights. The claim concerned only the projection delivery method, not the digital likeness itself. That distinction, drawn by the company under legal obligation to describe the dispute accurately, separates two things coverage of these shows regularly conflates: making a digital human, and displaying it on a stage.

Filed under legal obligation rather than written to promote a show, this document is more forthcoming about mechanism than any press release in this batch. It names the technique, gives real audience numbers, and draws a boundary, content versus delivery, that most coverage of these performances still blurs.

Sources & reading trail

Company's own annual report naming the Billboard Music Awards performance date, audience figures, the term Pepper's Ghost illusion, and the related patent litigation.

Source published: 10 October 2014 · Retrieved: 16 September 2026

Patent documentation of the reflective-screen mechanism family the filing itself refers to as a Pepper's Ghost illusion.

Source published: 8 February 2011 · Retrieved: 16 September 2026

Primary documents establish the record; the mechanism reading and the demo questions are Presence Atlas editorial analysis. This retrospective draft does not imply the site published on the event date.

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Sources & reading trail

The documents above establish the record. The reading and the questions are this publication’s editorial analysis, written after the fact.

Published September 18, 2026, not on the date of the event described.