There has been new progress in the digital collection and utilization of cultural relics from the Forbidden City. On International Museum Day, May 18, the Palace Museum released 20000 high-definition digital images of cultural relics in its collection. As of now, the total number of cultural relics in the "Digital Heritage Library" has exceeded 100000, with over 33 million views, making it the most popular digital product on the official website of the Palace Museum. On the same day, relying on next-generation internet technologies such as digital twins, virtual broadcasting, and cloud audio and video creation, the "Palace Museum Tencent Joint Innovation Laboratory" was officially established. The innovation laboratory will integrate multi-dimensional data collection of cultural relics, accelerate the intelligent management of the entire process of digital resource collection, processing, and display of cultural relics, and improve digital quality and process efficiency. The report from the International Association of Museums shows that the COVID-19 has accelerated the pace of ancient cultural relics and museums embracing cutting-edge technology. Compared with before the epidemic, the online activities of museums have increased significantly, mainly reflecting the use of online collections, online exhibitions, online live broadcast of events and social media. Today, the public can log in to the "Yunyou Dunhuang" mini program on their mobile phones and enter the high-definition restored digital scripture collection cave, where they can view details such as murals, colored sculptures, and inscriptions up close. Not only that, the public can also "travel" to different historical nodes through role-playing, interact with multiple historical figures, and "experience" the past and present lives of the Buddhist scripture cave. The Sanxingdui Museum has once again been renovated, using 3D scanning technology to successfully match the top kneeling figure unearthed in Pit 3 with the bronze divine beast unearthed in Pit 8, allowing people to see the appearance of the cultural relic after crossing thousands of years. As the main platform and tool for carrying and disseminating cultural history, museums have become an "encyclopedia" for understanding the history and culture of a city, a region, and even a country. With the support of digital technologies such as naked eye 3D, holographic projection display, VR virtual reality, and tactile interaction, museums have made significant progress in cultural dissemination and sharing, enhancing public interactivity and experience, and improving public service efficiency. cutting-edge technology and traditional culture have achieved deep integration in museums. Years of practice in digitization have enabled digitization and museums to transcend the relationship between substance and use. The ancients wrote history on bamboo slips, silk, and paper, but all contemporary history is written in data. Le Shi may not last forever, and the casting of a tripod may not be passed down. Today, the way history is recorded, the way it is preserved, and even the depth and breadth of records have completely changed. Some of the guidelines that have been adhered to for generations in the field of cultural and cultural heritage have been broken, and the disappearance of ashes is no longer inevitable. Permanent preservation and sustainable utilization have become a reality. But is the digital significance of museums only here? Can we look forward to a more profound future? A few years ago, we lamented that technological development has given ancient cultural relics a modern face. Today, digitization has given museums a modern heart and a heart of data. Instead, offline exhibits have become the embodiment of data. From the inside out, what surprises and experiences will the newly renovated museum bring to people, making people look forward to it. Such changes are not isolated symptoms. Taking the relationship between literature and film and television as an example, with the rise of film and television media and the prosperity of visual culture