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Laura Seay on Transitioning from Actor to Director

PremiumBeat sat down with actor-turned-director Laura Seay for first-hand insights on the challenges and rewards in making this transition.

@kennyvisualnaries Thanks @danceensemblesingapore and @shijicai...

@kennyvisualnaries Thanks @danceensemblesingapore and @shijicai for this opportunity to create visuals and exploring holographic projection for Mystique 奇迹:最终勇者追踪. Thanks @azpangesti @nickteokx for your creative work .. Ops team @hoirwin @ianpereirah @sjing05 @ranvierion for a smooth show run and @jonshihq @danielseehx for the pre production shoot and prep work … 🙏 lastly @lam.zen and his son for coming to the show , thanks for your kind words.
#contentcreation #multimediadirector #creative #holographicprojection #holographic #hologramart #holographicdance #motiontracking #visualart #avshow #traditionalchinesedance #projectionmappingart #projection_mapping_world #projectionart #millumin #panasoniclaserprojector #holomesh #hologrix

Daily Planet’s Michael Gabriele Tells a Story of the Brassy Power of Love in “Mariachi Boy”

CHICAGO—A boy enlists a tuba in a quixotic quest to woo the girl of his dreams in the heartwarming short film Mariachi Boy, directed by Michael Gabriele and produced by Daily Planet. Proving the timeless maxim that love conquers all, the film follows the boy as he repeatedly shows up in the front yard of ...

The post Daily Planet’s Michael Gabriele Tells a Story of the Brassy Power of Love in “Mariachi Boy” appeared first on Broadcast Beat - Broadcast, Motion Picture & Post Production Industry News and Information.

Snapbag® Triple Tube Solutions for Helios and Titan

February 28, 2022—DoPchoice adds smart solutions for tripling up on Astera’s game-changing Helios and Titan Tubes. Triple Tube Snapbags arrive fully-assembled in matching black pouches. They feature DoPchoice’s trademark metallic light-intensifying interiors which boost output over 50%. Three Astera tubes neatly fit within, ready to be secured with hook & loop straps. Thanks to DoPchoice’s ...

The post Snapbag® Triple Tube Solutions for Helios and Titan appeared first on Broadcast Beat - Broadcast, Motion Picture & Post Production Industry News and Information.

ZEISS Cinema Americas On-Site at SXSW

Austin Texas, March 13-16, 2022, Booth 433 Los Angeles, Calif: The ZEISS Cinematography Team will be attending and supporting this year’s South by Southwest Creative Industries Expo. Held at the Austin Convention Center March 13-16, ZEISS will participate in the southwest’s renowned entertainment industry gathering, previewing new tech at their exhibit booth, presenting a panel ...

The post ZEISS Cinema Americas On-Site at SXSW appeared first on Broadcast Beat - Broadcast, Motion Picture & Post Production Industry News and Information.

Visual Data Media Services Expands Leadership Team

Visual Data Media Services has expanded its team with the addition of three executives to key leadership roles:  Randy Tunila as CTO, Alina Tarkhanian as VP Client Services, and Derren Young as VP Human Resources.

The post Visual Data Media Services Expands Leadership Team appeared first on Broadcast Beat - Broadcast, Motion Picture & Post Production Industry News and Information.

@_aurelien.w VMF 2021 VideoMapping Festival #4 - Recall of the...

@_aurelien.w VMF 2021
VideoMapping Festival #4
- Recall of the technical installation -


#videomappingfestival #projectionmapping #projection #lille #villelille #christiedigital #millumin #image-pro #imagepro #garelilleflandre #iaelille #christieprojector #allenandheath #hkaudio #lightware #rencontresaudiovisuelles #VMF #videomappingeuropeancenter

@paolo.morvan Reprise des concerts avec la scénographie réalisée...

@paolo.morvan Reprise des concerts avec la scénographie réalisée pour @romain__muller en version augmentée sur la scène de la Bam !
Conception et construction réalisé avec @julesbouit
Artiste @romain__muller
Musicien @axel_tcy
Lumière : @thibault.grh
Son : @annevandebrouck

Coproduction @zikamine x @bliiida avec le soutient de la région Grand Est et de la @citemusicale
#scénographie #scenography #light #show #eventdesign #stagedesign #lightinstallation #lightshow #newmediaart #stagelighting #creativedirector #zikamine #romainmuller #bliiida
#millumin @millumin2

@_aurelien.w Projection beam 📽✨✨ #christiedigital...

@_aurelien.w Projection beam 📽✨✨

#christiedigital #christieprojector #projectionmapping #videomapping #millumin #projector #beam #beamer #shootoniphone #iphone11pro #cherbourg

@we.lovents El concierto de navidad que se hacia todos los años...

@we.lovents El concierto de navidad que se hacia todos los años en la catedral de Almería este año no se pudo hacer por la COVID y nos propusieron trasladarla al Auditorio Maestro Padilla , usamos 2 proyectores barco y 2 Panasonic de 20.000lux , el software que usamos para el Mapping fue Millumin y para el sonido usamos el sistema Soundscape de d&b . Cuatro días intensos que merecieron muchísimo la pena. #millumin #soundscape #d&b #barco #projector #projection_mapping #mapping #panasonic #ocal #auditoriomaestropadilla #almeria #ayuntamientodealmeria

@pierremegos ODYSSEY -Live Cinema- one actor integrated in a...

@pierremegos ODYSSEY -Live Cinema- one actor integrated in a original movie.

 @blackmagicnewsofficial @millumin2

Director- Writer : Pierre Megos  
Stage Actors : Pierre Megos, Uiko Watanabe  
With the participation on movie of Selma Alaoui, Geoffrey Boissy, Lucie Debay, Fabien Dehasseler, Alessandro de Pascale, Adrien Desbons, Emilie Flamant, Amandine Laval, Julia Le Faou, Estelle Marion, Florence Minder, Séverine Porzio, Judith Ribardière, Audrey Riesen, Achille Ridolfi, Nathalie Rozanes, Tristan Schotte, Eline Schumacher, Sophie Senecaut, Martine Wijckaert  
Assistant : Alessandro de Pascale  
Composition : Thomas Turine   
Stage Lighting : Florence Richard  
Stage Video : Tonin Bruneton  
Director of Photography :  PalomaSermon-Daï  
Scale model Designer : Mathilde Roman  
Film Lighting : Maxime Dambly  
Sound recording : Marc Doutrepont   
VFX Editors :  Abdel El Asri, Pierre Megos, Zoilly Molnar  
Costumes and make-up : Emilie Jonet, Ansofie d’elft
Scenography : Christine Grégoire 
Production Stardust asbl, Coproduction Théâtre Varia, Théâtre de Liège, La Coop asbl et Shelter Prod With the support of Interreg V Euregio Meuse Rhin & Wallonia,, INg, tax-shelter du gouvernement fédéral de Belgique, Fédération Wallonie-Bruxelles / Service Théatre

. #art#artist
#filmmaker #filmmaking #film #cinematography #director #cinema #photography #movie #cinematographer #actor #movies #filmmakers #video #films #hollywood#videography #behindthescenes #producer #videographer #photographer #filmphotography #insta #videoproduction #filming #filmfestival #bhfyp #visualart

Found In Translation – Experiencing the process of machine translation

Found In Translation – Experiencing the process of machine translation
Found in Translation is an interactive, immersive installation where using their own spoken sentences, visitors viscerally experience the process of machine translation. Visualizations show how the machine learning model clusters words from different languages by semantic similarity, and translations are presented typographically and auditorily across 24 languages.

@peter_thedesigner ‘Federico hacia Lorca’ Dir: Miguel del...

@peter_thedesigner ‘Federico hacia Lorca’
Dir: Miguel del Arco
𝕍𝕚𝕕𝕖𝕠 𝕕𝕖𝕤𝕚𝕘𝕟 𝕓𝕪 𝕞𝕖
Teatros del Canal - Madrid
#Lorca #FedericoGarciaLorca #teatrosdelcanal #MigueldelArco #LaJoven #peterchamizo #Madrid #theatre #opera #designer #art #culture #pic #actor #actress #setdesigner #lightdesigner #millumin #stagedesigner #sytstouch #hashtags

Icons – Our cultural “imaginarium” of digital gestures

Icons – Our cultural “imaginarium” of digital gestures
Created by panGenerator, "Icons" is an exhibition exploring our shared cultural "imaginarium" of digital gestures, symbols, and artefacts, dragging them out onto a physical space, enabling audiences a direct, tactile confrontation and – also literally – a different visual perspective.

What digital did next: Digital Arts and Social Distancing

Par : Marco Savo

How digital arts can unlock value and opportunity in a socially distanced cultural sector?

Marco Savo from Audiovisual City and Kate Rolfe from The Revels Office have never met in person. Theirs is a true digital relationship born of the pandemic.

Cultural consultants who met over Zoom to explore where their world’s crossed-over, and how their mix of experience could help artists, freelancers, and the arts sector as a whole to combat this unsettling time.

Audiovisual City is a digital magazine that promotes and supports audiovisual artists and events worldwide. Connecting hundreds of digital artists from across the world, it is the go-to place for inspiration and information when it comes to the application of digital technologies in artistic expression.

The Revels Office is a cultural consultancy who specialises in finding new revenue for the arts, advising organisations on commercial opportunities and uniting them with funding partners who value the unique, high quality content that only the cultural sector can produce. Together with a network of consultants -The Catalyst Network – the team at The Revels Office manage a range of projects at the intersection between arts and commerce.

Together with a multi-disciplinary group of experts who all have touch-points with digital arts experiences, Audiovisual City and The Revels Office ran a workshop to explore what role digital arts projects could play in the future of arts organisations.

At a time when the sector is anxiously remodelling their core operations to survive months of low visitor numbers, reduced income through established business lines, and a new, uneasy socially distanced experience, we wanted to investigate what untapped value digital arts might offer.

We share with you here a summary of our findings, designed to inspire you at a critical time, to offer valuable ideas to consider in your re-modelling plans, and to decipher the role that digital can play in a sector based almost entirely on live and tangible experiences…

Case Study: Enjambre Cellular

Developed by Mónica Rikić, Enjambre Celular is a project created and designed specifically for the Medialab-Prado interactive façade.

It is a collective strategy game in which different levels and challenges must be overcome, based on the idea of a labyrinth. Controlled externally by passers-by, Enjambre Celular offers an example of a pandemic-proof artistic installation.

Case Study: Distances

Developed by Scenocosme, In this installation, two people in two separate physical spaces are filmed in real time by two devices.

They are invited to have contact virtually within the same image, bringing them together face to face. The head-to-head image created by the software is trying to constantly reduce the proxemic distance between the two people, creating unique and ephemeral meetings with the other and making a connection even when physically apart.

  • Distances Scenocosme Audiovisual Artists
  • Distances Audiovisual Artwork

Digital art vs digital design.

To make informed choices about the use of digital, it is important to understand the distinction of digital art as an artform in its own right, and digital design as a tool for engagement.

Put simply – do you need to move your live content online for commercial, audience or safety reasons, or do you want to create a new interpretation of your content that will explore your stories in an entirely new way? Neither choice is right or wrong, but it will impact the outcomes you achieve, as well as the process you go through.

“The importance of concept is key; you must start with your concept and then chose the technology to match”

Hayley Cantor

What digital art and digital design have in common is their ability to bridge between traditional cultural content and modern, digitally aware audiences, and allow people to fully interact with the arts.

No solution is quicker for overcoming an image of being elitist, static or uninteresting than a digital initiative, so long as it is done well, has a clear purpose and audience, and so long as it incorporates some kind of live and/or unique element that ensures the digital is not simply a mimic of the live experience.

While digital design is fantastic for bringing to life educational and historic content, and is arguably simpler for translating to an online platform, where digital arts stands out is in the sensorial, emotive experience that they can create, lasting longer in people’s memories and creating a sense of community and harmony even if you encounter the art alone.

Digital arts is the perfect solution for a hybrid cultural offering, connecting those experiencing it online and those there in person, allowing for smaller, safer groups to pass through it without losing the commercial, social and artistic benefits of scale.

Case Study: Virtual Archive.

Virtual Archive is a 3D, computer-generated environment open to interactive exploration by single users.

Via a VR headset, the user flies through a 3D data-point cloud formed, visualizing more than 1,700,000 documents present in SALT Research archive collections. Refik Anadol’s installation was displayed as an extension to the artist’s Archive Dreaming project.

  • Digital Archive - Audiovisual Artist
  • Digital Archive - Audiovisual Artwork

Case Study: Natural History Museum of Valparaisa.

In the Introductory Room at Natural History Museum of Valparaíso, Chile, visitors meet an installation of naturalistic illustrations of flora and fauna of the region, highlighting the work of Claudio Gay among others.

Developed by Delight Lab, this project was realised in partnership with the SUMO design and museum office for DIBAM.

  • Delight Lab - Museum Valparaiso - Audiovisual Artwork
  • Delight Lab - Museum Valparaiso - Audiovisual Artists

It’s time to set the price.

The price we have paid for the vast amounts of thrilling, comforting and informative digital content that has been dispersed throughout the global lock-down, is the expectation that digital means free.

Digital comes with development costs, artist costs and new software and/or infrastructure requirements, among other operational demands. Digital content is by no means free to create, and so why is it presented as free to consume? There are two ways of looking at this dilemma.

• Option 1 is to embrace the non-financial value that going digital presents: reaching new and much larger audiences, collecting insightful data, offering educational and social benefits, and adopting new methods in storytelling and human connection.

In this way there is still value, there are no barriers to audiences engaging with you, and you can use data and reach to collaborate with new funding partners, upsell products and services, and request donations wherever possible.

In this way we have seen a really positive response during the pandemic, with culture-lovers willingly paying for online experiences, seeing this as a charitable donation to save something they love rather than a charge for valuable entertainment. However this has not yet translated into a consistent approach that audiences and funders recognise, or indeed made up the huge gap in revenue that arts organisations face.

• Option 2 is to revaluate and recommunicate the value of the digital experience, and set up platforms that give organisations the option to charge.

Given the high value outlined by option 1, it seems reasonable that – just like the expectation to pay for the cinema or a gig – you will have to pay to participate in digital cultural experiences. This transactional view may not sit well alongside arts experiences that are traditionally free, such as museum-entry, but this demonstrates the opportunity presented by digital arts as opposed to digital design; by creating a new experience on a new platform, arts organisations can create something of value to their audiences (and new ones), one which better warrants a participation charge.

Ultimately this is an argument of supply and demand, but what we endorse is a collective reassessment of how and when to charge for digital experiences, thereby protecting arts organisations and artists from giving away valuable content for free, especially when for a time this might be one of their only viable sources of revenue.

Case Study: Fulldome Festival

The oldest full dome projection festival has been held virtually for the first time this year due to the pandemic, charging a ticket price for the online experience. A courageous decision from the organisers who decided to go full steam ahead, offering a 360 view of the festival using VR headsets.

Case Study: Mutek San Francisco, Nexus Experience

Mutek is one of the top audiovisual events worldwide, born in Montreal and then expanded through an international network. The San Francisco edition has been online this year with their ‘Nexus Experience’, hosting live AV performers on two stages, offering digital galleries, online workshops, and ‘viewing party’ film screenings. The event was free and open to donations, with 100% of the festival proceeds going directly to the artists.

  • MutekSF_Audiovisual_Event
  • Fulldome_Festival_Logo_Audiovisual_Event

Demystifying the digital process (and budget).

Digital arts experiences are impactful and memorable no matter what their size, from single exhibition displays through to city-wide festivals. While they can be huge and expensive, often a digital intervention is as cost-effective as a live experience due to the flexibility of the format, recouping investment costs over a far longer lifespan.

For those who want to consider digital as part of their future plans, digital arts producer Steph Clarke shares some considerations:

• Once a digital installation, artwork or exhibition is installed, it can often run 24/7 with minimal staffing and low running costs. Not only can this make valuable budget savings, it also accommodates far higher audience numbers over time, and can easily be adapted to allow for social distancing measures.

• Digital works can easily have their content re-purposed to suit different objectives. Content can be refreshed regularly to suit seasonality, adapted for VIP or stakeholder events, and used for advertising purposes if required.

• It is relatively easy to scale digital work depending upon size of venue or audience size, meaning this approach can be considered for a variety of projects, places and budgets.

• Digital can be used to extend and enhance audience engagement before and after the event/exhibition itself, through engagement online and via apps, creating more touchpoints with your intended audience and opportunities to capture insights and data.

• By digitalising the content for a digital installation, you are simultaneously archiving it too, preserving it for future generations and achieving important cost-savings.

• Given the huge range of digital formats available – apps, projection, light shows, VR, AR – there will always be a format suitable for your budget, timescale and objectives.

Case Study: 400 Conejos.

As part of the Bahidora 2018 festival, Medusa Lab created a unique experience for Ache Producciones and its client: Mezcal 400 conejos.

Attendees received a complimentary drink of mezcal prior entering the dome, and once inside they discovered the mezcal making process through an immersive, colour-filled experience using animations and 360 video.

  • Medusa Lab - 400 Conejos - Audiovisual Artwork
  • Medusa Lab - 400 Conejos - Audiovisual Artist

Case Study: Pinata Tweet.

Piñata was a project made by MID for +Castro agency and the SAKE production company. The piñatas were installed as part of a collaboration with Trident Senses at Benicàssim International Festival.

The interactive piñatas are controlled via Twitter messages sent by the audience. Every tweet contained #TridentSensesPinata, which activated a device that inflated the piñata. As messages accumulated, eventually the piñata exploded over the audience!

  • MID - Pinata Tweets - Audiovisual Artists
  • MID - Pinata Tweets - Audiovisual Artwork

Audiovisual City and The Revels Office plan to now work together.

We aim to connect arts organisations with digital artists and commercial partners, creating inspirational and viable projects in a time of pandemic.

Together we will champion the skills, value and authenticity that digital art and digital tools can bring those looking to find new audiences and new revenue. Get in touch to discuss how these ideas could be applied to your own organisation –

This article was written by Kate Rolfe from The Revels Office and Marco Savo from Audiovisual City with contributions from Hayley Cantor (Audiovisual City Creative Director, Multidisciplinary Graphic Designer and VJ), Sean Carroll (Business Improvement Project Manager), Nicola Casperson (Brand Marketing, Events and Place-Making Consultant), Steph Clarke (Digital Arts Producer), Marta Minguell Colomé (New Media Artist, VJ and Photographer), Amy O’Brien (Events Producer), and Mónica Rikic (New Media Artist). Collectively our experience includes roles at the National Gallery, Natural History Museum, Secret Cinema, Battersea Power Station, Westfields, and London’s Philharmonia Orchestra.


The post What digital did next: Digital Arts and Social Distancing appeared first on Audiovisualcity.

Philips already sold over 5,000 PicoPix Max pico projectors on IndieGogo

Par : pico

Philips recently announced the PicoPix Max, a premium and relatively large but still portable Android-powered pico projector that features a Full-HD native image, 800 lumens and a battery life of up to 3 hours. Our friend Charbax posted a nice video showing a prototype device, and Philips says on the video that it already sold over 5,000 such projects on IndieGogo!


LEV Matadero Madrid del 17 al 20 de octubre 2019

Par : volatil

LE.V. Festival llega a su 13ª edición en Gijón del 2 y el 5 de mayo y, como novedad, estrena su programación en el centro madrileño de creación contemporánea, Matadero,  del 17 al 20 de octubre. L.E.V o el Laboratorio de Electrónica Visual tendrá lugar en ambas ciudades. Además, el line up del festival, se potenciará con propuestas concretas deslocalizadas denominados LEVents.

Os dejamos con el resumen visual de la edición anterior en Gijón.

Como viene siendo habitual, nos ofrecen shows audiovisuales singulares, directos, conciertos, instalaciones, workshops y residencias artísticas. En Matadero Madrid, el festival se centra en experiencias inmersivas, directamente relacionadas con la realidad virtual, instalaciones de sonido envolvente, en definitiva, las nuevas narrativas nacidas de la mezcla de todos estos lenguajes actuales.

L.E.V. Festival desarrollará su propio laboratorio de experimentación, innovación y descubrimiento en Matadero Madrid durante cuatro días. El público podrá acceder a un circuito de experiencias únicas, y acercarse así a la creación audiovisual más experimental.

Propuestas que no queremos perdernos en LEV Matadero 2019.

«EXALAND» es una performance audiovisual que utiliza los “controladores portátiles” de Remidi para interactuar con sonidos e imágenes a través de una proyección en vídeo audiorreactiva y un vídeo audiorreactivo de realidad virtual 360° en los dispositivos móviles del público es un colectivo artístico que emplea proyectos transmedia para investigar las estéticas y los idiomas derivados de la afirmación de la realidad digital.internacional.

El músico, productor y artista contemporáneo estadounidense James Ferraro estrenará en L.E.V. Matadero una composición de música generativa inspirada en Requiem for Recycled Earth, la primera parte de su gran obra épica Four Pieces of Mirai. Ferraro construye una alegoría filosófica sobre el declive de la civilización y muestra un presente distópico bajo el manto de una partitura poética y contemplativa.

Un sistema de música generativa interpretada en directo con acompañamiento de flauta y oboe y en formato audiovisual producto de la colaboración de Ferraro con el artista digital Maotik, que ha sido compuesta específicamente para ser sentida y escuchada por el sistema de sonido Soundscape que se instalará en la Nave 16.

Pedagogy es el nuevo proyecto de Nate Boyce y Eli Keszler. Nate Boyce es un músico y artista visual que lleva más de una década exponiendo sus vídeos, esculturas y performances por todo el mundo. Eli Keszler es un artista, compositor y percusionista de Nueva York. Su música, sus instalaciones y sus obras visuales se han expuesto en numerosos museos a nivel internacional. El dúo trabaja en las fronteras de la hard fusion, el metal, la electrónica y las percusiones industriales.

Nkisi es el seudónimo de Melika Ngombe Kolongo, que utiliza su actividad como productora, músico, DJ y comisaria para canalizar sus constantes investigaciones en el campo del sonido como herramienta de comunicación más allá de lo puramente lingüístico. Actualmente trabaja en Initiation, un proyecto que cuestiona de forma radical y visceral el formato de concierto audiovisual, en colaboración con el artista visual Charlie Hope.

Marta Verde es artista visual y programadora creativa. Su trabajo se construye a través del uso de software y/o hardware personalizado y específico para cada conjunto visual, lo que le permite manipular todo el contenido en tiempo real y explorar los límites del ruido visual, la repetición y el vínculo entre lo orgánico y lo electrónico. También le hará las visuales a Héctor Sandoval (50% de Exium), que tras veinte años y más de cien trabajos publicados a lo largo de su carrera, crea un nuevo proyecto llamado Tensal.

La nueva sección Vortex de L.E.V. Matadero está centrada en proyectos nacidos en la intersección entre cine, arte y tecnología, el videojuego y la creación electrónica.

Vortex prestará especial atención a propuestas de creadores canadienses a través de un Focus Quebec que integrará propuestas como Eternity Be Kind, una experiencia colectiva de la artista Myriam Bleau y el avatar digital LaTurbo Avedon que propone un futuro distinto de representación en lo musical y en lo personal navegando entre el hyperpop, el simbolismo mítico y los toques barrocos; Membrane, de Push 1 stop & Wiklow, una obra de creación generativa, a medio camino entre la performance y la instalación audiovisual, que, a modo de trampantojo, redefine la percepción del espacio y la luz; y la performance retrofuturista Imaginary Optics I & II de Maxim Corbeil-Perron que, a través anaglifos estereoscópicos (las gafas 3D de toda la vida), creará una poderosa experiencia envolvente.

LaTurbo Avedon es un avatar y una artista creada en el espacio virtual. Su trabajo gira en torno a la autoría y la identidad no físicas. Myriam Bleau es una compositora, artista digital e intérprete radicada en Montreal que crea sistemas audiovisuales que van más allá de la pantalla, como instalaciones sonoras e interfaces musicales para performances. LaTurbo Avedon interpreta la música de Myriam Bleau en una performance audiovisual multiplataforma.

No queremos perdernos ni un solo directo de los que ofrece VORTEX. Aquí algunos vídeos para que se os pongan los dientes largos. En otro artículo profundizaremos un poquito más sobre todos los directos de esta sección.

El acceso al subconsciente a través de los sentidos será el germen de Infiltrate Live av, el nuevo proyecto audiovisual de Shoeg.



La entrada LEV Matadero Madrid del 17 al 20 de octubre 2019 aparece primero en Vjspain Comunidad Audiovisual, Mapping, Vj, Diseño Interactivo.

Philips PicoPix Max

Par : pico
Projector type: 
1920x1080, 800 lumens, max image 120"

The PicoPix Max is a premium and relatively large but still portable pico projector that features a Full-HD native image, 800 lumens, up to 3 hours of battery life, HDMI and USB-C connections and a built in Android-based media player with 16Gb of storage and a microSD slot.

Philips PicoPix Max photo

The PicPix Max is available through IndieGogo, at a 50% discount (around $450 for backers, full price will be around $900). Philips already received over $600,000 from early backers.

Propview smart projector

Par : pico
Projector type: 
854x480, 100 lumens
Buy now link: 
Buy now at

The Propview is a uniquely-shaped pico projector that is based on Android OS (v6) and includes an internal media player. It is a DLP (854x480) pico projector with 100 Lumens.

Propview smart projector photo

The Propview smart projector is now shipping for $249.99.

Philips PicoPix Micro

Par : pico
Projector type: 
854x480, 150 lumens

Philip's PicoPix Micro is a 150 lumens DLP WVGA pico projector that features a built-in media player, HDMI and USB connectivity.

Philips PicoPix Micro photo

Philips did not yet detail the price or shipping date of the PicoPix Micro.

Philips PicoPix Nano

Par : pico
Projector type: 
100 lumens, max image 60"

Philip's PicoPix Nano is said to be the world's smallest plug-and-play pico projector (at least according to Philips). The DLP projector has a brightness of 100 lumens, a built-in media player (with an SD card slot) and a battery that lasts for 80 minutes.The projector supports wireless mirroring for easy streaming from smartphones.

Philips PicoPix Nano photo

Philips did not yet detail the price or shipping date of the PicoPix Nano.


Par : pico
Projector type: 
854x480, 500 lumens
Buy now link: 
Buy now at

The WOWOTO A5 Pro is a 500 lumens DLP 850x480 Android-based pico projector that features an internal media player and HDMI connectors.

WOWOTO A5 Pro photo

The WOWOTO A5 Pro is now shipping for $249.

CINEMOOD Portable Movie Theater

Par : pico
Projector type: 
35 lumens, max image 150"
Buy now link: 
Buy now at

The CINEMOOD is a cube-shaped 35-lumens pico projector that is aimed specifically for kids - with low blue light output and 25 videos and show episodes pre-loaded.

CINEMOOD Portable Movie Theater photo

The CINEMOOD is now shipping for $299.99.

AAXA P7 Mini

Par : pico
Projector type: 
1920x1080, 600 lumens, max image 120"
Buy now link: 
Buy now at

The AAXA P7 Mini projector offers a portable Full-HD (1920x1080) LED projector with a high brightness of 600 lumens. It includes a large 10,000 mAh battery that can last for 90 minutes (450 lumens). It also includes a built-in media player.

AAXA P7 Mini photo

The AAXA P7 mini is now shipping for $399.99.

Canon Rayo S1

Par : pico
Projector type: 
854x480, 100 lumens

Canon's first pico projector, the Rayo S1, is a WVGA (854x480) 100 lumens DLP pico projector that is based on Android OS. The Rayo S1 features built-in Wi-Fi and Bluetooth, 4GB Of internal storage, a USB host reader and an onboard touchpad. The battery lasts for 2 hours.

Canon Rayo S1 photo

Canon says it will start shipping the Rayo S1 in May 2019 for around $259.99.

The Piqo Projector

Par : pico
Projector type: 
1920x1080, 200 lumens, max image 240"

The Piqo Projector is an Android-based projector that features a Full-HD 200 lumens projector, 16 GB of internal memory and 5 hours of video playback.

Piqo Projector photo

The Piqo Projector is available currently through a crowdfunding campaign, it is supposed to start shipping in May 2019 and will cost $700 (current early-bird price is set at $329). For more information, click here.

Optoma LV130

Par : pico
Projector type: 
800x480, 300 lumens, max image 80"
Buy now link: 
Buy now at

The Optoma LV130 is a high-brightness (300 lumens) DLP WVGA projector that has a large 6,700 mAh battery (for up to 4.5 hours operation). The LV130 supports HDMI input (MHL 2.2).

Optoma LV130 photo

The Optoma LV130 is now shipping for $385.

Anker Nebula Capsule II

Par : pico
Projector type: 
1280x720, 200 lumens

The Nebula Capsule II is a soda-can shaped pico projector and smart speaker that features an 1280x720 200 lumens DLP pico-projector, an Android TV 9 OS, 8W speaker and a battery that lasts for 3 hours of video playback.

Anker Nebula Capsule II photo

The Nebula Capsule II launched on October 2018 via a kickstarter campaign.

Viewsonic M1

Par : pico
Projector type: 
854x480, 250 lumens, max image 100"
Buy now link: 
Buy now at

The Viewsonic M1 is a DLP (854x480) pico projector that supports a very high brightness (250 lumens) and a large battery (6 hours of use). It can connect via HDMI or USB to a wide range of devices. It also includes an internal media player and dual Harman Kardon speakers. It is relatively large and heavy for a pico projector, at 690 grams.

Viewsonic M1 photo

The Viewsonic M1 is now shipping for $300. (Note: affiliated link to Amazon).