One or two white lasers, joined by a single red, green or blue one, fired into a floating cluster of twenty-six glass prisms in 3D — roof pentaprisms like the one folding an SLR viewfinder, plain pentaprisms, triangular bars and cubes — every ray traced on the CPU each frame with every interface obeyed: at each glass face a ray splits into a Fresnel reflection and a refraction fanning into a smooth sixteen-wavelength rainbow by deliberately exaggerated Cauchy dispersion, total internal reflection traps light inside, and a pentaprism’s silvered faces and roof fold a beam twice and send it out at a right angle. The prisms are drawn as cut crystal — clear faceted bodies catching a dark studio’s few hard lights, the view through every facet traced inside the solid wavelength by wavelength so the lights seen through it spread into rainbows washing across whole faces, glowing with whatever laser light is trapped inside them, and each face a laser’s fan leaves by lit with that fan’s rainbow, violet end to red — and the thousands of segments are projected through a slowly orbiting perspective camera, and any ray that comes straight down the lens dazzles it with a soft flare. Every beam blooms. It runs in 16-beat phrases: calm, with one beam and drifting prisms; a build, with one beam and prisms kicked spinning on the beat; a frenzy, with two beams and harder kicks; and a drop to one roof pentaprism and one beam, the camera dollying onto its exit axis to stare into the folded beam. The pointer carries a beam; press to seal the cluster inside a mirror ball, firing two beams in and kicking every prism spinning, so light that would have escaped bounces back through the glass again and again.