It was a monumental start to the calendar year for Montreal-based wireless lighting specialist, PixMob, delivering audience immersion at the Olympic Winter Games Milano Cortina before turning around just 48 hours later for Bad Bunny’s record-breaking Super Bowl LX Halftime Show.
“It’s incredible to see our products on the biggest live shows in the world,” reflected CCO and Partner Jean-Olivier ‘J-O’ Dalphond, speaking to TPi following what he described as the most successful month in the company’s 20-year history.
Staged at Milan’s San Siro Stadium, the Winter Games marked PixMob’s third Olympic collaboration, following the success of Paris 2024 and Sochi 2014. Central to the production was the company’s MVT ‘Human Video Screen’ system, with more than 65,000 audience members equipped with LED wristbands, effectively transforming the crowd into a dynamic visual canvas.
PixMob’s technology extended beyond the audience. Fourteen modular light boxes, populated by performers, were integrated into the scenography, triggering synchronised effects alongside the wristbands. The result was a cohesive visual environment, supporting performances from Andrea Bocelli, Mariah Carey, and other international artists. “We’re incredibly proud of how the team used the audience as a constant visual texture,” Dalphond said, buoyantly. “It becomes more than an effect – it’s part of the storytelling.”
That philosophy has underpinned PixMob’s evolution over the past two decades. From early experimentation with audience-driven lighting to large-scale Human Video Screen deployments, the company’s technology has featured in more than 10,000 events worldwide, including eight Super Bowls, FIFA tournaments, the Eurovision Song Contest, Formula 1 and global tours for artists like Beyoncé and Coldplay, and others. “It’s humbling when you step back and look at the scale,” he said, earnestly. “It also highlights how collaborative this industry is. These moments only happen because of the teams behind them.”
Founded in Quebec in 2006, PixMob first gained international traction through projects combining LED technology with live performance, notably the launch of Microsoft Kinect alongside Cirque du Soleil. What began as a design-led studio has since evolved into a fully integrated technology manufacturer. However, the journey has been far from linear. “In the early days, it was about survival and invention,” Dalphond recalled. “We were creating bespoke experiences, which was exciting but difficult to scale. That mindset of pushing boundaries is still very much part of who we are.”
Today, PixMob positions itself as a creative enabler, with a growing emphasis on service and reliability. “The technology has to work – every time,” he stated. “We’re currently scaling our production teams to meet demand, but ultimately, we’re there to support the creative vision. Whether it’s the Olympics or a Halftime Show, the stakes are high.”
At the time of writing, the company works with more than 35 professional sports teams, while also expanding into permanent installations. Its NOVA LED armrest system, deployed at Intuit Dome in Los Angeles, removes the need for batteries through a hardwired solution, allowing for continuous, interactive fan engagement. “What differentiates us is vertical integration,” Dalphond explained. “We design, manufacture and control every element of the product lifecycle. That gives us the flexibility to adapt quickly and deliver.”
Earlier this year, PixMob also featured its Aura Light Stick [pictured] at the Academy Awards, or the Oscars to you and I, in a strategic move inspired by the widespread use of light sticks in Asian markets. “We wanted to bring our own approach to that format and launch it on a global stage,” he said. “It was a big moment for us.”
While high-profile events remain a core focus, J-O is equally energised by working with emerging artists and new markets. “Sometimes the most interesting applications come from smaller or less established acts,” he noted. “That’s where you often see the most creative use of our technology in the field.”
PixMob currently employs around 200 staff globally, with manufacturing spread across multiple territories, including Asia and the Americas. This distributed model has enabled the company to remain agile in the face of industry challenges. “COVID-19 was the toughest period we’ve faced, but we adapted,” J-O recalled. “We pivoted into contact tracing solutions for film and event productions, and importantly, we didn’t lose anyone from the team.”
That ability to evolve continues to shape PixMob’s long-term strategy, particularly as it explores the role of AI in live production. “We see AI as a tool to support creativity,” J-O added. “Programming is often time-intensive, so anything that gives designers more time to focus on the creative is a positive. For us, it’s about enabling more shows, and better shows.”
Looking ahead, global growth remains firmly on the agenda, alongside a continued focus on enhancing collective audience experiences. In Europe, PixMob has recently merged with CrowdLED. “Their product is so good that we want to scale that for events below the threshold of what we can serve. It’s harder for us to serve smaller events and still supply the production teams with the infrastructure to control without a member of PixMob to operate,” he explained, citing the motive behind this partnership.
Curious to further “explore and experiment” with ways for audiences to “come together” and “serve production teams” by providing technology to enhance the human experience, J-O is excited by the prospect of life in 2046. “We see ourselves as a global-first company. Twenty years from now, I would like to have an office on every continent to make our solutions accessible and affordable,” he concluded. “Live events bring people together in a way nothing else can. That shared experience, that collective energy, is what drives everything we do.”
Words: Jacob Waite
Photos: PixMob
