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PXL2000
Variant models3300 and 3305; PixelVision, Sanwa Sanpix1000, KiddieCorder, and Georgia
ManufacturerFisher-Price
Introduced1987; 39 years ago (1987)[citation needed]
Batteries6 AA batteries
Video shot in 1994 with a PXL2000

The PXL2000, or Pixelvision, was a toy black and white video camera, introduced by Fisher-Price in 1987 at the International Toy Fair in Manhattan, which could record sound and images onto Compact Cassette tapes.[1] It was on the market for one year with about 400,000 units produced.[2]: 20  After that one year, it was pulled from the market, but rediscovered in the 1990s by low-budget filmmakers who appreciated the grainy, shimmering, monochrome produced by the unit, and the way in which its lens allowed the user to photograph a subject an eighth of an inch away from the camera, and pull back to a long shot without manipulating a dial, while keeping as the background and the foreground in focus.[1] It is also appreciated by collectors, artists, and media historians, and has been used in major films and spawned dedicated film festivals.[2]

Development

[edit]

The PXL2000 was created by a team of inventors led by James Wickstead. He sold the invention rights to Fisher-Price in 1987 at the American International Toy Fair in Manhattan.[3]

Design

[edit]

The PXL2000 consists of a simple aspherical lens, an infrared filter, a CCD image sensor, a custom ASIC (the Sanyo LA 7306M), and an audio cassette mechanism. This is mounted in a plastic housing with a battery compartment and an RF video modulator selectable to either North American television channel 3 or 4. It has a plastic viewfinder and some control buttons.

The system stores 11 minutes of video and sound on a standard audio cassette tape by moving the tape at nearly nine times normal cassette playback speed. It records at roughly 16.875 inches (428.6 mm) per second, compared to a standard cassette's speed of 1.875 inches (47.6 mm) on a C90 CrO2 (chromium dioxide) cassette. In magnetic tape recording, the faster the tape speed, the more data can be stored per second. The higher speed is necessary because video requires a wider bandwidth than standard audio recording. The PXL2000 records the video information on the left audio channel of the cassette, and the audio on the right.[4]

In order to reduce the amount of information recorded to fit within the narrow bandwidth of the sped-up audio cassette, the ASIC generates slower video timings than conventional TVs use. It scans the 120 × 90 pixel CCD 15 times per second, feeding the results through a filtering circuit, and then to a frequency modulation circuit driving the left channel of the cassette head, as well as to an ADC, which creates the final image for viewing.[citation needed]

For playback and view-through purposes, circuits read image data from either a recorded cassette or the CCD and fill half a digital frame store at the PXL reduced rate, while scanning the other half of the frame store at normal NTSC rates. Since each half of the frame store includes only 10800 pixels in its 120 × 90 array, the same as the CCD, the display resolution was deemed to be marginal, and black borders were added around the picture, squashing the frame store image content into the middle of the frame, preserving pixels that would otherwise be lost in overscan. An anti-aliasing low-pass filter is included in the final video output circuit.[citation needed]

Marketing

[edit]

The market success of the PXL2000 was ultimately quite low with its targeted child demographic, in part due to its high pricing. Introduced at US$179 (equivalent to about $500 in 2024) and later reduced to $100 (equivalent to about $280 in 2024), it was expensive for a child's toy but affordable by amateur video artists. The PXL2000 was produced in two versions: model #3300 at $100[5][6] with just the camera and necessary accessories; and #3305 at $150[7] adding a portable black and white television monitor with a 4.5-inch (110 mm) diagonal screen. Extra accessories were sold separately, such as a carrying case.

It was also produced as Fisher-Price PixelVision, Sanwa Sanpix1000, KiddieCorder, and Georgia.[8]

Revival

[edit]

The PXL2000 has received a minor revival in popularity since the 1990s among filmmakers, due to its point-and-shoot simplicity and low-grade aesthetic. Because the unit is degradable and obsolete, its use is aligned with a certain romanticized mortality, unfit for serious mainstream appropriation. Erik Saks wrote this: "Each time an artist uses a PXL2000, the whole form edges closer to extinction."[2]: 93 

Gerry Fialka, founder, organizer, and curator of the PXL THIS Film Festival

In 1990, Pixelvision enthusiast Gerry Fialka founded PXL THIS, a film festival dedicated to projects shot exclusively on the PXL2000.[9][10][11][12][1] The festival continues to occur annually in Los Angeles, California, usually at the Beyond Baroque Literary Arts Center[13] and the Echo Park Film Center,[14] with Fialka continuing as organizer and curator. Although the festival operates without a budget,[15] it still manages to tour many locations[2]: 7  including the San Francisco Cinematheque[13] and Boston's MIT campus.[2]: 7  Festival entries, oral history interviews, and other relevant materials donated by Fialka are being processed into the Performing Arts and Moving Image Archives at the University of California, Santa Barbara Library.[16] Recalling the PXL2000's initial promise of accessibility, Fialka's vision includes accepting submissions indiscriminately, juxtaposing the works of established artists with those of amateurs and children.[2]: 71 

PXL2000 cameras have been used occasionally in professional filmmaking, with camera modifications to output composite video, enabling it to interface to an external camcorder or VCR.[17]

Productions

[edit]

The PXL2000 was used by Richard Linklater in his 1990 debut film, Slacker. A roughly two-minute performance art sequence within the film is shot entirely in PixelVision.[citation needed]

Peggy Ahwesh's Strange Weather (1993), which follows several crack cocaine addicts in Florida, was shot entirely on a PXL2000. This video relies heavily on the camera's portability to maintain an intimate presence.[citation needed]

Video artist Sadie Benning is among the most critically acclaimed pioneers of the PXL2000, one of which was given to them by their father James Benning around the age of 15. Benning's early video diary works gained popularity in the artist market, earning them a lasting reputation as an innovator, with an important presence in video art.[18]

Michael Almereyda used the camera for several of his films. Another Girl Another Planet (1992) and his short Aliens (1993) were shot with it entirely, it was used for point of view shots of the title character in Nadja (1994), and it was used by the title character to make video diaries in Hamlet (2000).[citation needed]

The camera has been used for several music videos, including "Mote" by Sonic Youth and "Black Grease" by the Black Angels.[citation needed]

Artist John Humphrey's 2003 video, Pee Wee Goes to Prison was shot on a PXL2000, employing a cast of dolls and other toys to stage the imaginary trial, incarceration, and eventual pardoning (by newly-elected president Jesse Ventura) of Pee-wee Herman for the sale of Yohimbe.[citation needed]

The PXL2000 was used by the characters Maggie (Anne Hathaway) and Jamie (Jake Gyllenhaal) in the 2010 film, Love & Other Drugs, although the black and white footage from the camera is shown at full film resolution.[19]

In 2018, Toronto filmmaker Karma Todd Wiseman used a PXL2000 to shoot key scenes, processing the footage with enhanced monochrome. The custom PXL2000 camera was fitted with windshield mount suction cups and painted with the red and white paint scheme of the Canadian flag.[citation needed]

The PXL2000 was used[20] by the characters Melody and Jess during the show Archive 81.

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

PXL2000

View on Grokipedia
from Grokipedia
The PXL-2000, also known as Pixelvision, is a lightweight toy introduced in 1987 that records low-resolution black-and-white video onto standard audio cassette tapes using a proprietary high-speed mechanism. Designed primarily for children aged eight and older, it features a simple plastic body, a fixed-focus tiny lens, and monaural audio capture, producing grainy, imagery at a resolution of approximately 120 by 90 pixels and a frame rate of 15 frames per second. The device allows for about five minutes of recording per side of a 90-minute cassette, powered by six AA batteries that last roughly seven minutes of continuous use, and outputs for playback on standard televisions via an . Priced at around $100 to $180 at launch, it was marketed as an affordable alternative to bulky camcorders but proved temperamental due to its noisy tape drive and short battery life. Despite its commercial failure—leading to discontinuation after just one year and sales of around 400,000 units—the PXL-2000 gained a in the among experimental filmmakers and video artists for its distinctive lo-fi aesthetic, which emphasized raw, intimate close-ups and a compressed, ghostly visual style that challenged conventional cinematic norms. Pioneered by artists like , who used it starting in 1988 to create personal works such as Jollies (1990) exploring queer identity and adolescence, the camera became a staple in indie and scenes. Notable integrations include sequences in Richard Linklater's (1991), Michael Almereyda's Nadja (1994) and (2000), and even Sonic Youth's "Silver Rocket" , highlighting its role in subverting high-production values. Today, surviving units are sought-after collectors' items, often fetching hundreds of dollars, and retrospectives like the Film Society of Lincoln Center's "Flat Is Beautiful: The Strange Case of Pixelvision" in 2018 underscore its enduring legacy in media arts.

Development

Conception and Invention

The PXL-2000 was invented in the mid-1980s by James C. Wickstead, founder of James Wickstead Design Associates (JWDA), a firm established in 1968 specializing in and toys. Wickstead, with a background in electronics engineering including work on hardware and interactive toys like the Animatron, sought to create an affordable for children that democratized video recording without the complexity of professional equipment. Motivated by the rising popularity of portable audio devices like the and a desire to counter dominance by encouraging creative storytelling, he envisioned a simplified, toy-grade device using existing, low-cost components to prioritize accessibility over high fidelity. Wickstead collaborated with co-inventor Thomas Heidt at JWDA to develop early prototypes, starting from pencil-and-paper concepts that integrated a black-and-white (CCD) imager sourced from and a fixed-focus aspherical lens. These prototypes emphasized , with via CCD integration time adjustments and no manual focusing or zoom, aiming for a "crude yet powerful" aesthetic inspired by black-and-white cinema like Ingmar Bergman's films. Initial testing focused on for young users, validating the core innovation of adapting standard audio cassettes—ubiquitous and inexpensive—for linear video storage through a custom (ASIC) and modified cassette drive mechanism. This approach allowed recording at a reduced of 15 frames per second and low resolution (approximately 120 by 90 pixels), producing a distinctive, pixelated output suitable for applications. A pivotal technical advancement was the high-speed tape transport system, which accelerated the cassette at 16.875 inches per second—over nine times the standard audio rate of 1.875 inches per second—to accommodate video bandwidth using frequency modulation on chromium dioxide tapes. This enabled about 11 minutes of footage total on a C90 cassette (approximately 5 minutes per side), balancing cost and functionality while avoiding the expense of dedicated video tape formats. The innovations were protected under U.S. Patent 4,875,107, filed in 1986 and issued on October 17, 1989, which detailed the camcorder's signal processing, rate conversion via a "ping-pong" digital memory buffer, and playback compatibility with standard televisions. Early phases prioritized iterative testing for reliability and child safety, confirming the design's viability as a non-professional tool before Wickstead licensed the rights to Fisher-Price for commercialization.

Partnership with Fisher-Price

In 1987, inventor James Wickstead, through his firm James Wickstead Design Associates, sold the rights to his prototype toy camcorder concept to at the American International Toy Fair in . , recognizing the potential for an affordable children's video device, entered a consulting and licensing partnership with Wickstead's team to engineer and produce the camera. Under this collaboration, refined the prototype to meet toy market standards, emphasizing simplicity, durability, and low cost by leveraging standard audio cassettes for recording to avoid expensive video tape mechanisms. The company reduced production costs through manufacturing partnerships, such as with Corporation in , targeting a retail price under $200 to appeal to families, though initial pricing reached $179 due to currency fluctuations. Branded as a creative tool for children aged 8 and older, the PXL-2000 was positioned as an accessible entry into , complete with child-friendly controls and packaging that highlighted its playful, educational value. Manufacturing commenced in 1987 shortly after the Toy Fair acquisition, with overseeing to capitalize on the growing trend. Approximately 400,000 units were produced over the following year, reflecting an ambitious but short-lived commitment to the product line. Production and sales were discontinued in 1988 amid challenges in meeting toy affordability expectations, leading to the camera's rapid withdrawal from shelves. Key decisions in the partnership included developing variants to broaden appeal, such as the basic PXL-2000 model (catalog #3300) and the Deluxe Camcorder System (#3305), which bundled a 4.5-inch black-and-white TV monitor and accessory cartridges for $150. For international markets, Fisher-Price licensed rebranding efforts, including the Sanwa Sanpix1000 in , to adapt the product for regional distribution while maintaining core toy specifications.

Design

Hardware Components

The PXL-2000 features a simple aspherical lens made from a single piece of acrylic, measuring 2.75 mm in and 1.5 mm thick, which provides fixed focus from 1 inch to infinity at an f/5.6 . Positioned behind the lens is an filter, implemented as a blue-tinted glass optical component that blocks wavelengths above approximately 650 nm to prevent interference with image capture. The optical system includes a basic for framing shots, integrated into the lightweight body designed specifically for children's use, emphasizing and ease of one-handed operation. At the core of the imaging system is a (CCD) , which converts incoming light into electrical signals for processing. This sensor interfaces with a custom (ASIC), the LA 7306M, a VLSI chip that handles signal filtering, , and to prepare the video data for recording. The recording mechanism utilizes a standard audio cassette transport, adapted to run at approximately nine times the normal playback speed (1 7/8 inches per second) to accommodate both video and audio tracks on the tape. This setup enables the PXL-2000 to capture and store footage directly onto compact audio cassettes without requiring specialized media. The device's body is constructed from lightweight plastic, weighing approximately 1.7 pounds (0.78 kg) to ensure portability for young users, with dimensions of approximately 2.5 x 9 x 8.5 inches (64 x 229 x 216 mm). It lacks advanced features such as zoom or color recording, aligning with its toy-oriented that prioritizes over professional capabilities. Power is supplied by six AA batteries, providing roughly seven minutes of continuous operation per set, while connectivity is limited to an RCA video output and for direct playback on standard televisions. The overall construction includes a , tape compartment, and basic control buttons, all encased to withstand typical child handling.

Recording and Image Characteristics

The PXL-2000 recorded video using a linear scanning method on standard audio cassettes, employing a (CCD) image sensor with a resolution of 120 × 90 pixels to capture black-and-white footage at a frame rate of 15 frames per second. The system moved the tape at approximately nine times the normal audio playback speed of 1 7/8 inches per second (about 16.875 inches per second), enabling roughly 5 minutes of recording per side on a C-90 cassette. This high-speed transport was necessary to achieve sufficient bandwidth for video signals on the audio tape's limited , resulting in a total recording capacity of about 10 minutes on such a cassette. Audio was integrated as monaural sound recorded on the opposite stereo channel from the video signal, allowing simultaneous capture of video and audio without separate tracks. However, the audio exhibited low fidelity due to the tape's compression and the mechanical constraints of the transport system, often accompanied by a noticeable motor hum and potential crosstalk interference from the adjacent video signal. The resulting visual style, known as "Pixelvision," featured a distinctive lo-fi aesthetic characterized by , , and distortion, stemming from the low resolution and fixed-focus aspheric lens. In low-light conditions, the imagery became particularly grainy and blurry, as the simple CCD sensor struggled with noise and slow refresh rates, though it maintained compatibility with broadcast standards for display. Black borders framed the image to account for the non-square pixels and scanning limitations. For playback, the tapes required a standard VCR or television equipped with an , outputting the signal on channels 3 or 4 after conversion from the low-bandwidth format to full video. The PXL-2000 itself could serve as a basic player when connected via its RF output, but optimal viewing often necessitated a compatible VCR to handle the tape speed and demodulate the signals accurately.

Marketing and Sales

Promotional Strategy

Fisher-Price launched the PXL-2000 in 1987, targeting children aged 8 and older and it as an easy-to-use "movie maker" designed for capturing home videos with minimal setup. The campaign emphasized the device's and accessibility, allowing young users to record and playback footage directly on standard audio cassettes without complex controls. The initial retail price was approximately $110 for the basic model and $179 for the deluxe model (including a small TV monitor), with prices later reduced to around $100 for the basic version to make it more affordable for families. Advertising efforts featured demonstrations at the American International Toy Fair in New York, where the product was first unveiled, along with television commercials that showcased children engaging in playful to highlight fun and creative expression. These promotions often bundled the camera with blank audio cassettes to encourage immediate use and included tie-ins like a contest with for children to imitate celebrities. Internationally, the PXL-2000 saw rebranded marketing efforts, including distribution in under the name Sanwa Sanpix 1000 and in European markets as the KiddieCorder, adapting the promotion to appeal to amateur filmmakers beyond just children. These variations maintained the core messaging of affordability and ease but tailored packaging and availability to local toy and electronics retailers.

Commercial Performance

The PXL-2000 achieved sales of approximately 400,000 units during its single year on the market in , falling short of expectations for a major line launch by the company. Despite promotional efforts to position it as an affordable entry into video recording, the camera's initial prices of $110 (basic) to $179 (deluxe)—later reduced to around $100—proved too high for many budget-conscious families seeking toys. Several factors contributed to the device's underwhelming reception among its target child demographic. Consumers perceived the black-and-white, low-resolution footage as inferior in quality compared to the emerging color camcorders dominating the market, such as VHS-based models that offered sharper, more vibrant recordings. Additionally, technical issues like frequent tape jamming due to unreliable drive mechanisms frustrated users, exacerbating the sense of unreliability in a product marketed for simplicity. Fisher-Price discontinued the PXL-2000 in 1988 amid shifting consumer preferences toward higher-end video technology and broader economic pressures, including rising production costs from currency fluctuations. Retrospectively, analyses highlight how the high initial pricing alienated price-sensitive buyers even after discounts, underscoring a mismatch between the toy's innovative but niche appeal and mainstream market demands.

Revival and Cultural Impact

Rediscovery by Independent Artists

In the early , following its commercial discontinuation in 1988, the PXL-2000 experienced a resurgence among underground and artists who were captivated by its raw, distorted black-and-white imagery. This aesthetic, characterized by grainy textures and shimmering distortions, arose from the camera's technical constraints, including its low 100-line resolution and use of audio cassettes for recording. Artists acquired the obsolete through yard sales, markets, and secondhand sources, often for as little as $25, transforming it into an accessible tool for experimental video work. Prominent filmmakers such as Peggy Ahwesh and Richard Linklater were instrumental in elevating the PXL-2000's status within independent circles. Ahwesh, who began incorporating the camera into her practice in the early 1990s, embraced its lo-fi qualities for creating intimate, atmospheric pieces that blurred documentary and narrative boundaries. Linklater similarly adopted it for low-budget endeavors, leveraging its unpolished look to capture authentic, spontaneous visuals in line with his DIY filmmaking approach. These creators, along with pioneers like Sadie Benning—who started using the device as early as 1987 and gained wider recognition in the 1990s—demonstrated how the PXL-2000 enabled personal, subversive expression without the barriers of professional equipment. This adoption aligned closely with the burgeoning indie film movement of the , which emphasized grassroots production and a deliberate rejection of Hollywood's glossy, high-production values. The PXL-2000's simplicity and affordability resonated with artists seeking to subvert mainstream media realism, fostering a "poor medium" that prioritized raw authenticity over technical perfection. In this context, the camera became a symbol of cultural resistance, appealing to those in , experimental, and subcultural scenes who valued its ability to convey distorted, dreamlike realities. The device's popularity spread primarily through word-of-mouth within tight-knit artistic communities, including underground screenings and informal networks in cities like New York and , cultivating a dedicated by the mid-1990s. This organic dissemination highlighted the PXL-2000's role in democratizing , encouraging a wave of low-budget, DIY projects that sustained its relevance long after its initial market failure.

PXL THIS Film Festival

The PXL THIS Film Festival was founded in 1991 by curator and experimental filmmaker Gerry Fialka in Venice, California, as a dedicated showcase for moving-image works created using the Fisher-Price PXL 2000 toy camcorder. This event emerged amid the artistic rediscovery of the discontinued camera by independent creators seeking low-fi, accessible tools for experimental expression. From its inception, the festival emphasized non-competitive screenings of short films, drawing submissions from filmmakers worldwide and highlighting the camcorder's raw, pixelated aesthetic without entry fees or formal rules. Over its evolution, PXL THIS has become an annual staple in , transitioning from in-person events at venues like Beyond Baroque to hybrid formats incorporating online premieres, especially since the . The program typically features around 36 films per edition, ranging from amateur to professional works, alongside occasional workshops led by on experimental techniques. By 2025, marking its 35th year, the festival continues to operate with live online screenings, such as the November 16 premiere via , while maintaining its roots in the area. The festival has significantly impacted the PXL 2000 community by fostering global submissions from regions including , , and beyond, encouraging collaborations among artists like Sonic Youth's and filmmaker Chris Metzler. It has promoted preservation efforts through of analog tapes, ensuring the survival of ephemeral footage from personal and artistic archives. Materials from the festival, including films and related documents, are preserved in the Gerry "PXL THIS" and Fialka Interview Archive at the Library, supporting ongoing scholarly access to this niche cinematic history.

Productions and Legacy

Notable Films and Media Uses

The PXL-2000 camera found prominent use in Richard Linklater's 1991 film , where a approximately two-minute sequence was captured entirely with the device, leveraging its grainy, low-resolution footage to evoke a raw, dreamlike quality that integrated seamlessly into the film's episodic structure of Austin's countercultural scene. Similarly, Peggy Ahwesh's 1993 experimental video Strange Weather, co-directed with Margie Strosser, was shot exclusively on the PXL-2000, documenting the lives of users in through intimate, handheld close-ups that amplified the camera's lo-fi immediacy and distorted visuals to blur lines between documentary realism and abstract narrative. Ahwesh employed on-set improvisations, allowing subjects to interact naturally with the unobtrusive , which contributed to the work's sense of unfiltered and emotional proximity. In short films, the PXL-2000 enabled personal and confessional storytelling, as seen in Sadie Benning's 1990s works such as Flat Is Beautiful (1998), where the filmmaker used the camera's and monochrome output for stop-motion animations and diaristic explorations of and identity, creating surreal, abstract visuals through rapid cuts and overlaid audio. Benning's technique often involved in-camera via the device's 10-minute cassette limit, fostering a fragmented aesthetic that mirrored themes of isolation and self-expression. The camera's distinctive pixelated, low-fidelity aesthetic has appeared in television, notably in the 2022 Netflix series , where footage emulating PXL-2000 recordings—characterized by heavy grain and cassette artifacts—was used in key episodes to depict found tapes from the , enhancing the horror narrative's sense of unearthed, analog unease. In music videos for underground acts, artists have harnessed its surreal distortions for abstract effects, such as in experimental clips that pair distorted black-and-white imagery with soundtracks to evoke a sense of analog decay. Broader applications include artist installations from the 1990s onward, like Ben Coonley's Moonley (circa 2010s), which synchronized dual PXL-2000 cameras side-by-side to produce rudimentary 3D video projections onto cassette tapes, exploring and spatial through the format's inherent limitations. Documentaries have occasionally incorporated PXL-2000 sequences for retroactive historical texture, such as in short-form works revisiting subcultures, where the camera's fixed wide-angle view and audio-video sync facilitated immersive, low-budget reconstructions of everyday . These uses underscore the PXL-2000's enduring appeal for evoking dreamlike or effects via its unrefined resolution.

Collectibility and Modern Adaptations

The PXL-2000's limited production of approximately 400,000 units has contributed to its status as a sought-after collectible, with working examples commanding prices between $200 and $500 on secondary markets like , fueled by for its quirky 1980s design and growing interest among vintage electronics enthusiasts. Non-functional units for parts or restoration often sell for under $150, reflecting the device's and the challenges of maintaining operational condition after decades. Owners frequently encounter issues such as tape mechanism failures caused by deteriorated rubber belts and battery corrosion from alkaline leakage, which can damage internal circuits if not addressed promptly. Community-driven repair resources, including detailed disassembly guides and belt replacement tutorials, enable hobbyists to restore functionality without specialized tools. Innovations like 3D-printed replacement parts for components such as mounts and internal brackets have further supported preservation efforts within maker communities. Contemporary adaptations extend the PXL-2000's usability through DIY modifications, including the addition of RCA output jacks to bypass cassette recording and feed video directly into digital devices like DVRs for higher-quality capture. Specialized mod kits, such as those offering adjustable light controls and audio bleed options, allow users to customize the camera for modern workflows while preserving its characteristic low-fidelity output. Software tools emulating the Pixelvision's grainy, 120x90 resolution and 15 fps style—often via glitch filters in programs like —enable artists to recreate its aesthetic digitally without physical hardware. These enhancements have sustained interest in the device for experimental video projects that blend analog imperfections with current technology. In 2025, ongoing restorations showcase step-by-step revivals of corroded or seized units, demonstrating their viability for new recordings and inspiring a new generation of tinkerers. The legacy persists through events like the PXL THIS 35 film festival in November 2025, featuring new works shot on the device. Museum exhibits and media discussions continue to underscore the PXL-2000's role in shaping lo-fi , with its raw, imperfect visuals influencing trends in and nostalgic content creation.

References

  1. https://www.indiewire.com/features/craft/pixelvision-pxl-2000-fisher-price-toy-experimental-film-camera-lincoln-center-series-1201991348/
  2. https://www.filmpinsociety.com/blogs/intermission/pixelvision
  3. https://museumoffailure.com/exhibition/fisher-price-video-recorder
  4. https://cmsw.mit.edu/wp/wp-content/uploads/2016/10/146381064-Andrea-McCarty-Toying-With-Obsolescence-Pixelvision-Filmmakers-and-the-Fisher-Price-PXL-2000-Camera.pdf
  5. https://www.prnewswire.com/news-releases/fisher-price-pxl-2000-toy-camcorder-invented-by-james-wickstead-design-associates-continues-to-delight-film-world-94260469.html
  6. https://patents.google.com/patent/US4875107A/en
  7. https://scienceandfilm.org/articles/3150/pixelvision
  8. https://www.nytimes.com/2000/01/22/nyregion/simple-black-white-children-s-toy-reborn-avant-garde-filmmaking-tool.html
  9. https://www.artforum.com/columns/nick-pinkerton-on-a-pixelvision-film-series-at-film-society-239973/
  10. https://fisherprice.fandom.com/wiki/PXL-2000
  11. https://encyclopedia.pub/entry/32403
  12. https://pxl2k.com/product/ir-filter/
  13. https://www.radiomuseum.org/r/fisherpric_pxl_2000_camcorder_3300.html
  14. https://collection.sciencemuseumgroup.org.uk/objects/co8459322/fisher-price-pixelvision-pxl-2000-camcorder
  15. https://imperfectcinema.com/wp-content/uploads/2011/02/pxl2000_high.pdf
  16. https://www.chicagotribune.com/1987/11/06/fisher-prices-pxl2000-camcorder-really-is-childs-play/
  17. https://www.v4development.com/blog/the-pxl2000-the-fascinating-story-of-fisher-price-s-iconic-toy-camera-1
  18. https://thisoldtoy.com/l_fp_set/toy-pages/3000s/3305-pxl2000deluxecamcord.html
  19. https://www.youtube.com/watch?v=gshG12svtyg
  20. https://www.youtube.com/watch?v=ecgQSn_V3jY
  21. http://www.bentstruments.com/sanpix-1000.html
  22. https://www.labguysworld.com/FisherPrice_PXL-2000.htm
  23. https://rhizome.org/editorial/2013/apr/23/shimmering-analog-memory-artists-films-pixelvision/
  24. https://desistfilm.com/pixelvision-the-affinities-with-the-low-res-materiality-of-the-world/
  25. https://www.filmlinc.org/daily/pixelvision-thomas-beard/
  26. https://www.argonautnews.com/arts_and_events/pxl-this-one-of-la-s-longest-running-film-fests-spotlights-experimental-cinema/article_b2f84e35-3c3d-4dc2-bcf5-a85274499cf5.html
  27. https://hyperallergic.com/415245/pxl-this-a-toy-camera-film-festival-returns-to-los-angeles/
  28. https://www.sfcinematheque.org/wp-content/uploads/2009/02/Invention_PN2_10PXL.pdf
  29. https://expcinema.org/site/en/directory/pxl
  30. https://www.facebook.com/events/d41d8cd9/pxl-this-35-toy-camera-film-festival/1037078408336628/
  31. https://www.library.ucsb.edu/special-collections/gerry-fialka-pxl-and-fialka-interview-archive-pa-mss-245
  32. https://www.filmlinc.org/films/program-3-nocturne-strange-weather/
  33. https://www.filmlinc.org/series/flat-beautiful-strange-case-pixelvision/
  34. https://www.salon.com/2022/01/25/archive-81-netflix-videotape/
  35. https://microscopegallery.com/ben-coonley-moonley/
  36. https://www.ebay.com/itm/316896805285
  37. https://johnhumphrey.com/pxl/Modifying_Repairing_the_PXL_2000_Colten_Com.pdf
  38. https://www.youtube.com/watch?v=8Q5elOi61k8
  39. https://www.yeggi.com/q/pxl%2B2000/
  40. http://www.bentstruments.com/pxl-2000.html
  41. https://www.youtube.com/watch?v=aGJNUUtYAEc
  42. https://www.ebay.com/itm/167643347871
  43. https://www.youtube.com/watch?v=Q9GGjCU8x9c
  44. https://expcinema.org/site/en/call/pxl-35
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