Roy­ole Moon 3D Mo­bile The­ater Face time.

PRICE $800

Sound & Vision - - CONTENS - by Rob Sabin

QUICK STORY: BACK IN THE MID ’90s, I was the edi­tor of a gad­get re­view mag­a­zine. As long as a prod­uct was geeky enough and ran on AC or bat­ter­ies, it was fair game for a test. This led me to bring home a va­ri­ety of doo­dads that had noth­ing to do with au­dio/video— a self-clean­ing lit­ter box, a sports radar gun, et al. One day I walked in with what was claimed to be a “per­sonal air con­di­tioner,” ba­si­cally a black bean­bag neck wrap that had an imbed­ded metal cool­ing strip; the idea was that ap­ply­ing the band to your neck would keep you chilled in hot weather.

When I tried it on for my wife, she walked by dis­mis­sively with­out even paus­ing. “That’s a good look for you,” she said.

About a week later, I turned up with one of the first rudi­men­tary at­tempts at the prod­uct we’re re­view­ing here, a pair of vir­tual home the­ater glasses. By na­ture, these are clunky de­vices that hang on to your face with a big head­band. I put them on to show my wife, un­able to see her re­ac­tion. This time, she paused in front of me and, I can only as­sume, spied me through raised eye­brows. “That’s great, honey,” she dead­panned. “Now all you need is that neck thing and you can be a to­tal

loser.”

Putting aside the, um, fash­ion state­ment you’re bound to make wear­ing some­thing like this, the manufacturer of those glasses— Sony—wasn’t wrong in want­ing to cre­ate a truly im­mer­sive, por­ta­ble home the­ater ex­pe­ri­ence. But the tech­nol­ogy at the time didn’t per­mit the re­quired dis­play res­o­lu­tion, nor were we all car­ry­ing mo­bile smart­phones and tablets to serve as video source com­po­nents. It was a mat­ter of years be­fore the time was right to prop­erly bring the con­cept to fruition. Now, some­one has. I’ll spoil the sus­pense and tell you here that the Roy­ole Moon 3D Mo­bile The­ater is a thor­oughly thought-out, wellex­e­cuted piece of kit that was clearly con­ceived with the videophile and au­dio­phile in mind. And it works.

Roy­ole is likely un­known to our read­ers, but the firm’s web­site sug­gests it is as much tech­no­log­i­cal think-tank as tra­di­tional man­u­fac­tur­ing con­cern. The com­pany was founded by Stan­ford en­gi­neer­ing grads in 2012 with rep­re­sen­ta­tion in Fre­mont, Cal­i­for­nia, Hong Kong, and Shen­zhen, China (known to­day as a world­wide man­u­fac­tur­ing hub).

Its stated mission is “to im­prove the way peo­ple in­ter­act with and per­ceive the world,” and its re­search is fo­cused pri­mar­ily on de­vel­op­ing “next-gen­er­a­tion hu­man-ma­chine in­ter­face tech­nolo­gies and prod­ucts such as ad­vanced flex­i­ble dis­plays, flex­i­ble sen­sors, and smart de­vices.” Com­pany firsts in­clude the in­tro­duc­tion in 2014 of the world’s thinnest full-color AMOLED (ac­tive ma­trix or­ganic light emit­ting diode) flex­i­ble dis­play and a curved car dash­board based on flex­i­ble screen and sen­sor tech­nol­ogy that it showed at CES in 2016. Roy­ole has com­mit­ted a $1.7 bil­lion in­vest­ment for a flex­i­ble dis­play fac­tory in Shen­zen to sup­ply screens to the in­dus­try. Along with the Moon, which Roy­ole in­tro­duced in 2015, the com­pany has one other con­sumer prod­uct called the Rowrite Smart Writ­ing Pad, which dig­i­tally cap­tures hand­writ­ten draw­ings and notes from a tra­di­tional pa­per-and-ink tablet.

Por­ta­ble Pro­jec­tion

Given that it’s easy to­day to board an air­plane or com­muter train with a pair of head­phones and an ipad loaded with a movie or TV episode, you may won­der why any­one would need home the­ater glasses. It’s a mat­ter of per­spec­tive, both fig­u­ra­tively and lit­er­ally. When you wear glasses like this, you are pre­sented with the equiv­a­lent of sit­ting rel­a­tively close to a large pro­jec­tion screen, with your pe­riph­eral vi­sion es­sen­tially filled by the im­age. Roy­ole sug­gests that the Moon pro­vides the equal of an 800-inch curved screen (about 66 feet) viewed from about an equal dis­tance away. That’s close to stan­dard IMAX ter­ri­tory. The ex­pe­ri­ence is akin to watch­ing my 92-inch pro­jec­tion screen from a fairly tight 10 feet away, if not closer.

In other words, the same highly im­mer­sive qual­ity we at­tribute to the front pro­jec­tion/cinema ex­pe­ri­ence is ap­par­ent in spades here and is made all the more so by the ad­di­tion of some good-qual­ity ear­phones.

The Moon is packed with whizbang tech­nol­ogy and thought­ful fea­tures. The dual dis­plays are AMOLEDS that de­liver 1080p res­o­lu­tion to each eye, via a claimed 3,000 pix­els per inch of device size. Since they’re OLED, they’re said to pro­vide ex­cel­lent con­trast and fast im­age re­sponse time, some­thing that was quickly borne out in my au­di­tions.

The unit plays both 2D and 3D con­tent, au­to­mat­i­cally de­tect­ing the type. It is Wi-fi ca­pa­ble and in­cludes a browser that lets you con­nect to your stream­ing ser­vices, and it has an HDMI in­put for at­tach­ing to tra­di­tional video source com­po­nents and game con­soles, or to mo­bile de­vices via an adapter (not sup­plied). Al­ter­na­tively, you can load con­tent di­rectly onto the Moon’s 32 gi­ga­bytes of in­ter­nal mem­ory from a hard drive, or via down­load from one of the video ser­vices. For play­back of au­dio, the in­te­grated closed-back head­phones use 1.6-inch dy­namic poly­eth­yl­ene (my­lar) driv­ers and are as­sisted by ac­tive noise can­celling (un­de­feat­able) when­ever the unit is switched on.

In­dus­trial de­sign and build qual­ity are ex­cel­lent. The head­band and earcups, and the vi­sor ring that sur­rounds your eyes, are well padded and en­cased in a sup­ple leather-like ma­te­rial. To pro­vide ven­ti­la­tion and pre­vent fog­ging, there are air vents in the vi­sor, and its cush­ion is per­fo­rated. Con­struc­tion is mostly of high-im­pact molded plas­tic, but the Moon has a solid feel, and metal parts are used in key ar­eas of stress, such as the click-ac­tion slid­ers that fit the head­band and vi­sor to your face. The device comes in three color schemes: black with brown ear- and eye­pads (as with my sam­ple), white with black pads, and gold with black pads. The head­band folds down to the top of the vi­sor for fit­ting the Moon into its sup­plied travel bag. Nit­pick: The thin felt bag pro­vides nei­ther any real pro­tec­tion for the Moon nor any place to safely store the bat­tery, charger, or ca­bles in a way that would not po­ten­tially bring them into con­tact with the lenses. That was a dis­ap­point­ment given the ob­vi­ous re­quire­ment and the prod­uct’s price point.

As al­luded to, a sup­plied bat­tery pack feeds power to the Moon. It’s about the same size if a bit thicker and heav­ier than the av­er­age smart­phone. There are three con­nec­tors. A mi­cro-usb port ac­cepts the

sup­plied wall charger, but it also al­lows hook-up to a com­puter for file trans­fers to the in­ter­nal mem­ory, or con­nec­tion to a USB source via a sup­plied mi­cro Usb-to-type A USB don­gle. (The Moon is An­droid based and al­lows sim­ple drag-and-drop file trans­fers from Win­dows PCS; Mac users require An­droid file trans­fer soft­ware.) The same don­gle can be used to con­nect a mouse to the Moon to as­sist nav­i­ga­tion of its onscreen user in­ter­face and browser (more on that be­low); this was ex­cep­tion­ally handy for in­putting pass­words for Wi-fi and video ser­vices. (Blue­tooth is on board for con­nec­tion of a wireless key­board as well, but not for au­dio-only streams from mo­bile de­vices; a promised firmware up­date will even­tu­ally en­able this ca­pa­bil­ity.) A sec­ond con­nec­tor is a mi­cro-hdmi port that takes a stan­dard HDMI ca­ble via a sup­plied don­gle. Fi­nally, a pro­pri­etary jack ac­cepts the 4-foot cord from the head­set.

Roy­ole claims 5 hours of bat­tery life for its power pack. I typ­i­cally got around 4 hours of con­tin­u­ous use on a sin­gle 2-hour charge—still more than enough to get through most fea­ture films. Four tiny LEDS on the bat­tery in­di­cate charge level, and dur­ing view­ing you get an onscreen

warn­ing when you’re down to 10 per­cent power. Note that the bat­tery pack can get very hot to the touch in ex­tended use, some­thing Roy­ole warns about in the man­ual. It needs ven­ti­la­tion and won’t do well in a pocket or en­closed in a carry bag.

The con­trols are ex­tremely well thought out and sim­ple to use. Be­sides the large power on/off switch on the bat­tery pack (whose sur­round glows blue when the Moon is pow­ered up) there are just two me­chan­i­cal but­tons on the vi­sor unit. One is a small 2D/3D but­ton un­der the vi­sor in case the device fails to au­to­mat­i­cally rec­og­nize your 3D con­tent. At the bot­tom of the right earcup is a Home but­ton that will take you back to the Moon’s so­phis­ti­cated onscreen user in­ter­face.

The home screen you see when you first boot up of­fers a hor­i­zon­tal row of icons that al­low ac­cess to things like net­work and dis­play settings, in­put se­lec­tions, stored con­tent, etc. You scroll hor­i­zon­tally through the icons with a for­ward or back­ward swipe on the right earcup that’s picked up by a touch sen­sor. Tap once to en­ter and nav­i­gate the sub­menus with an up/down swipe as needed; tap twice to back your way out; or hit the Home but­ton twice to re­turn to the main menu. Af­ter a short learn­ing curve, I was

zipping around just fine. You can swipe the same touch sen­sor for trans­port con­trol (play/pause, track for­ward/back) of con­tent played from the in­ter­nal hard drive.

Vol­ume changes are han­dled with an­other cir­cu­lar touch sen­sor em­bed­ded be­hind a curved re­cess around the right earcup’s perime­ter; in the pho­tos, that’s the space be­tween the gold in­ner ring (on the black model) and the earcup’s outer edge. My fin­ger found and rode the sen­sor per­fectly ev­ery time, and the Moon re­sponded in­stantly with a cir­cu­lar graphic su­per­im­posed over my con­tent that vis­ually tracked the change as vol­ume rose or fell. Very easy, and very cool.

Setup

En­gi­neer­ing a pair of ex­pen­sive home the­ater glasses that doesn’t in­stantly gen­er­ate buyer’s re­morse the mo­ment you place them on your face takes se­ri­ous ef­fort across a range of de­sign cri­te­ria. Even be­fore you can worry about the video or au­dio qual­ity, a prod­uct like this has to be com­fort­able and stay firmly in place for long pe­ri­ods of view­ing. Then, it needs to al­low fine po­si­tion­ing and sharp fo­cus of the eye­pieces to min­i­mize the po­ten­tial for headache or eye fa­tigue. Be­yond this, con­trols should be ac­ces­si­ble and easy to use so the unit is not a bur­den to op­er­ate. If you get those things right, you’ve got a shot at ad­ding top-notch video and au­dio to de­liver the ul­ti­mate in-your-face the­ater ex­pe­ri­ence.

I’ll is­sue a strong warn­ing to start out here so po­ten­tial buy­ers won’t be sur­prised: The Moon head­set is fairly heavy—just un­der 1.5 pounds—and starts out with the po­ten­tial to be un­com­fort­able, par­tic­u­larly be­cause the bridge of your nose must help sup­port the glasses. For­tu­nately, it ad­justs to your face with two ef­fec­tive mech­a­nisms. First, the well-padded head­band has 1.5 inches of height ad­just­ment on ei­ther side and can be swung for­ward or back nearly 180 de­grees, al­low­ing you to find the ex­act an­gle to al­low your nog­gin to best sup­port the glasses and take the pres­sure off your nose. This won’t likely be di­rectly atop the crown of your head at the spot a reg­u­lar head­phone band might fall, but more for­ward to­ward the fore­head. Find­ing the sweet spot didn’t fully elim­i­nate the nose pres­sure for me but re­duced it to where I could go movie-length pe­ri­ods with­out dis­com­fort that would have en­cour­aged me to aban­don view­ing. The oc­ca­sional mi­nor ad­just­ment was all that was needed if the vi­sor started to slip down a bit.

Sim­i­larly, a pair of slid­ers al­low fine-tun­ing of the dis­tance be­tween the front vi­sor and the earcups. Given that these are closed-back, sealed head­phones de­signed to lock out en­vi­ron­men­tal noise, it’s crit­i­cal to po­si­tion them di­rectly over your pinna and fully iso­late the ear. Once ad­justed, the head­band and earcup slid­ers work to­gether to keep the Moon firmly in place.

With the Moon com­fort­ably sit­u­ated on your head, there are two op­ti­cal tweaks per­formed with a pair of thumb­wheels be­neath the vi­sor. Slid­ing these left or right al­lows the eye­pieces to be in­de­pen­dently aligned di­rectly over your pupils. Fine-tun­ing this “in­ter­pupil­lary” dis­tance elim­i­nates par­al­lax er­rors that might ex­hibit as ghost­ing. Af­ter that, you can in­de­pen­dently spin the thumb­wheels to fine-tune the fo­cus. Thought­fully, these fo­cus ad­just­ments have a wide enough range to al­low most users to skip their pre­scrip­tion eye­glasses.

Even with the at­ten­tion paid by Roy­ole to phys­i­cal and vis­ual com­fort, the com­pany is cog­nizant

of the po­ten­tial for this or any other vir­tual glasses to cause fa­tigue or other side ef­fects. Prod­uct lit­er­a­ture rec­om­mends tak­ing pe­ri­odic breaks, and the op­er­at­ing sys­tem has an op­tion to set onscreen re­minders at 1- or 2-hour in­ter­vals if de­sired. I’m sen­si­tive to mo­tion sick­ness and have been trig­gered at least mildly by most vir­tual re­al­ity demos I’ve done, though these in­volve vi­su­als that track head move­ments. In this case, the im­age stays put no mat­ter how you move your head. I was pleased to find that, for me per­son­ally, the com­bi­na­tion of high res­o­lu­tion and finely tuned op­tics al­lowed for hours of pleas­ant view­ing. Though I no­ticed a touch of eye fa­tigue at the end of a 2-hour fea­ture, I was so thor­oughly en­gaged in the view­ing that I never felt the need to take a break.

View­ing

I watched con­tent on the Moon from sources in­clud­ing movie downloads to my ipad Air 2, 1080p Blu-rays via direct con­nec­tion to my Oppo player, and stream­ing con­tent from Net­flix via the Moon’s built-in browser and my ipad. The ipad view­ing re­quired an Apple Light­ning-toHDMI adapter to which I added an HDMI ca­ble and the Moon’s sup­plied mi­cro HDMI-TO-HDMI don­gle. Apple’s adapter is a $40 add-on that needs to be pur­chased sep­a­rately. Sim­i­larly, a third-party MHL/USB-TO-HDMI adapter must be pur­chased for An­droid mo­bile de­vices.

I be­gan with a pair of flicks downloaded to my ipad from Ama­zon, xxx: Re­turn of Xan­der Cage and Jack Reacher: Never Go Back. Putting aside the thin plots and the trea­sure trove of inane di­a­logue in Xan­der Cage, I couldn’t have asked for more fast-paced ac­tion. The Moon eas­ily lived up to its claim of free­dom from im­age lag; at no time did I see any­thing even re­motely close to trails or other dis­tract­ing mo­tion ar­ti­facts. One Reacher chase scene com­posed of a lot of fast-cut hand­held shots starts out on foot, moves to a car chase, and ends with Reacher

(Tom Cruise) and Ma­jor

Susan Turner (Co­bie Smul­ders) run­ning side by side at full speed across the Wash­ing­ton, D.C. Mall. All the ac­tion was ren­dered crisply, and even the ac­tors’ pump­ing arms as they ran showed min­i­mal smear­ing. I’m not a gamer, but

Roy­ole ad­ver­tises the Moon as con­sole-ready, and I have no rea­son to doubt them.

An abun­dance of nat­u­ral color and punchy high­lights was ev­i­dent in a view­ing of Planet Earth II about moun­tain wildlife streamed from Net­flix off my ipad app. I mar­veled at the de­tail in the sandy brown crags of peaks in the Ara­bian Peninsula, and in close-ups of the Nu­bian Ibex goats that fear­lessly scale the cliffs as rub­ble falls away be­neath their hooves. A meadow in the Rockies showed gray sky be­hind the dis­tant moun­tains with some dusty storm clouds brew­ing, an ap­pro­pri­ately nat­u­ral dark green mat of grass on the floor of the val­ley, and brighter green high­lights along with ma­genta flow­ers on the bloom­ing plants in the fore­ground.

The in­te­grated head­phones did a good job with the dy­nam­ics and tex­tures in this episode’s oc­ca­sion­ally swelling or­ches­tral scor­ing. Af­ter do­ing some ad­di­tional listening with familiar mu­sic tracks off my Tidal playlist, I’d char­ac­ter­ize the sound of the head­phones as fairly bal­anced, with a po­lite but rea­son­ably de­tailed top end, a neu­tral midrange, and nat­u­rally rolled-off bass. The ’phones are well voiced for movies, de­liv­er­ing clearly dis­cernible di­a­logue but never get­ting edgy or hard, even at loud vol­ume with ef­fects-laden ac­tion sound­tracks. Gun­shots, car crashes—no prob­lem. Bass was solid, though I’d have wel­comed a touch more con­tour­ing that might

have de­liv­ered ad­di­tional im­pact to low-end ef­fects; tone con­trols to ad­just for con­tent would have been nice. The ac­tive noise-re­duc­tion func­tioned well and seemed par­tic­u­larly tuned to air­liner cabin noise, which it nicely fil­tered out on a cou­ple of flights I took with the Moon.

Get­ting back to the video: Crit­i­cally, I did no­tice that the Moon didn’t fare well with low-bi­trate downloads and live streams. Many of these pro­grams, even my fairly de­cent Jack Reacher down­load, suf­fered from dig­i­tal com­pres­sion ar­ti­facts on darker scenes or in darker por­tions of mixed scenes. For ex­am­ple, when Turner is seen at her of­fice desk at night talk­ing on the phone, with a desk lamp il­lu­mi­nat­ing her front and dark­ness be­hind her, she looks stun­ning, with su­perb color and bright high­lights on her face, crisp white for­mal shirt, and multi-col­ored uni­form dec­o­ra­tions. But the back­ground took on a veiled and busy qual­ity in this shot from sub­tle mos­quito and block noise. Fur­ther­more, the fine hor­i­zon­tal grid lines sep­a­rat­ing the pixel rows re­vealed them­selves here—and in many other scenes from this and dif­fer­ent pro­grams when there was a con­sis­tently smooth back­drop. (The ver­ti­cal pixel lines were never vis­i­ble at any time.)

The ob­ser­vance and de­gree of dig­i­tal noise was quite de­pen­dent on the qual­ity of the file and con­tent of the scene. At one point, I aban­doned watch­ing a

Net­flix stream of a Stranger

Things episode dur­ing the prime-time view­ing hours (when Net­flix and the ISPS ap­ply the great­est com­pres­sion) due to mas­sive amounts of un­du­lat­ing mos­quito and block noise in the many dark scenes. The next day, I had much bet­ter luck stream­ing the same episode dur­ing off hours— most of the noise dis­ap­peared, and I learned that I could re­duce the vis­i­bil­ity of the pixel lines by set­ting the Moon’s three-po­si­tion bright­ness con­trol to its low­est Soft set­ting (ver­sus High or the de­fault Nor­mal, which I pre­ferred for most con­tent due to its added punch).

Of course, you can’t judge a dis­play’s ul­ti­mate qual­ity on its han­dling of poor video files, but some users may plan on do­ing a lot of live stream­ing and should know that the Moon was not kind to sub-par con­tent. For­tu­nately, egre­gious video noise was never a dis­tract­ing is­sue with other streamed se­ri­als gen­er­ally shot in brighter en­vi­rons, such as the afore­men­tioned Planet Earth II.

Even­tu­ally, I rigged the Moon to my Blu-ray player to see what it could do with some ref­er­ence-qual­ity disc trans­fers. Wow—what a dif­fer­ence. Blacks and shadow de­tail took on that inky qual­ity we like to see and were near-equiv­a­lent to the best OLED flat-panel dis­plays I’ve seen.

I shouldn’t have been

sur­prised given the AMOLED dis­play de­vices, but noth­ing I’d seen to that point sug­gested quite this level of qual­ity. Black back­grounds be­hind white cred­its and black bars on widescreen movies dis­ap­peared into the frame be­yond the edges of the screen. White ob­jects on black back­grounds, such as cred­its or space­ships, had an al­most three­d­i­men­sional qual­ity. They ex­hib­ited some halo­ing that you wouldn’t see on to­day’s top OLED TVS, but I’d score the Moon way bet­ter in this re­gard than most edge-lit LCDS I’ve en­coun­tered.

Along with strik­ing con­trast, bright col­ors looked true and just popped off the screen, and fine details were re­mark­ably sharp. While watch­ing Obliv­ion, I was taken with ac­cu­rate and highly nat­u­ral flesh­tones, not to men­tion the crisp de­tail, in the Tom Cruise close-ups that show all the stub­ble and cuts/bruises on his face. The afore­men­tioned video noise cropped up rarely on some dark scenes but was ex­tremely sub­tle here; it would have been missed in the ac­tion if I’d not been look­ing for it. When I switched over to Grav­ity, an­other great trans­fer, I saw the same stun­ning con­trast and col­ors in the open­ing scene when the as­tro­nauts are do­ing their space walk be­fore dis­as­ter hits, but I never saw a hint of any noise any­where in the movie. To get a look at some earth­bound scenes, I pulled out Draft Day, which I love to use as a ref­er­ence for its over­all bright light­ing and mix of familiar NFL team col­ors. The Moon passed the test with its aerial fly­overs of var­i­ous NFL sta­di­ums and their sur­round­ing build­ings and green­ery, its nat­u­ral ren­der­ings of in­te­rior shots in the sun-drenched team of­fices around the league, and again in its beau­ti­ful flesh­tones, all de­liv­ered with ut­terly grain­less clar­ity. Fur­ther­more, the Moon also de­liv­ered some of the best 3D video I’ve ever seen. Images were su­per bright and en­gag­ing and showed ab­so­lutely no signs of ghost­ing on even the finest details. Tim Bur­ton’s stopaction an­i­mated movie Co­ra­line may be the creepi­est and scari­est “kids” movie ever made, but it’s filled with stun­ning vi­su­als that fea­ture fine, mov­ing ver­ti­cal ob­jects that ex­hibit ghost­ing with many 3D dis­plays. The snake-like tail of a black cat, the un­du­lat­ing an­ten­nae of a giant grasshop­per, a pair of lit can­de­labras on the din­ner ta­ble that re­veal them­selves as the cam­era quickly pans back—all of it re­mained in per­fect fo­cus. Even the live-ac­tion Ter­mi­na­tor: Genisys looked equally crisp and ghost free on both static and ac­tion scenes.

Con­clu­sion

The Roy­ole Moon isn’t for ev­ery­one. Some may find the head­set just too heavy or cum­ber­some for com­fort; oth­ers may find them­selves more prone than me to eye fa­tigue or headache. At the end of the day, us­ing it means string­ing a few things to­gether with ca­bles and don­gles if you’re hook­ing up to an out­side source device. And it sure ain’t cheap, ei­ther, at its $800 list price or the $600 pro­mo­tional pric­ing an­nounced by Roy­ole as we went to press.

But at even the higher price, I’d still call the Moon a great value. It’s a bril­liantly en­gi­neered device that gets al­most ev­ery­thing right, and it gives the user a re­mark­ably im­mer­sive home the­ater ex­pe­ri­ence in places where it’s oth­er­wise im­pos­si­ble. I watched xxx and Jack Ryan while trav­el­ing coast-to-coast on a jet­liner, and the absence of cabin noise, the Moon’s “giant” im­age, and its good sound made these two of the best flights I’ve ever taken. For a cou­ple of hours each way, I truly for­got I was on an air­plane and thor­oughly en­joyed my­self. What’s that worth to ya?

Touch sen­sors in the right earcup pro­vide menu nav­i­ga­tion and vol­ume ad­just­ments.

A pair of thumb­wheels be­neath the vi­sor ad­just in­ter­pupil­lary dis­tance and fo­cus.

The Moon is avail­able in three color schemes, in­clud­ing black/brown, white/black, and gold/black.

The Moon comes with a bat­tery pack, charger, and a va­ri­ety of HDMI and USB adapters.

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