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a line of extreme and ultra-narrow bezel LCD displays that provides a video wall solution for demanding requirements of 24x7 mission-critical applications and high ambient light environments

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Some people look good on TV, others don’t. And the same goes for video walls. That is why television studios have some very specific requirements for their backdrops. So which of the three dominant technologies – direct view LED, LCD and rear-projection cubes (RPCs) – best answer these requirements? In this article, a follow-up to the one on control rooms and corporate lobbies, we highlight the most important parameters.

RPCs have a thin gap between individual cubes, creating a thin raster which is visible when the camera is filming in close to the backdrop. Most LCD video walls have a bezel surrounding each panel to keep the electronics in place, which creates a larger inter-screen gap. Barco UniSee, however, was developed to work without a real bezel, making it the LCD video wall with the smallest inter-screen gap in the market (see image).

Another important parameter is the angle under which the backdrop is shot. For news programs, there are a limited number of static angles which are typically quite frontal. Other shows use mobile camera positions that can film the backdrop from a sharp angle. This makes the viewing angle an essential part of the consideration. LCD video walls have an exceptional performance in this field. Both horizontal and vertical viewing angles are very good, which gives the camera crew close to total positioning freedom. Direct view LED gains high scores as well, especially for horizontal viewing angles (which is in many cases the most important direction), and retains its brightness best of all technologies. Rear-projection cubes are best used for static setups, mainly for news studios.

In television studios, lighting is of key importance and a lot of time and effort are spent to get it just right. Avoiding light reflections in the backdrop is a main element in this exercise. However, there is a big difference between the different technologies when it comes to reflections.

The glass display surface of LCD acts a bit like a mirror when a bright light shines upon it. The reflected light should never be directly in line with a filming camera. A clever studio setup will fix this.

LCD, on the other hand, is the technology which is most easily equipped with a touch kit. It is thus perfect for use as an interactive wall, which is becoming increasingly popular in many news broadcasts and television shows.

Some people look good on TV, others don’t. The same goes for video walls. Fortunately, technology can be tweaked to improve its looks. Many video walls therefore offer the possibility to adjust the settings of the panels to optimize the on-screen appearance.

Sense X, Barco’s unique automatic calibration system (which comes with all RPC and LCD video walls), makes sure that there are no brightness and color variations between the individual panels. In this way, the video wall will show a brilliantly consistent image over the complete canvas. For LED video walls, the brightness and color variations over time are negligible, and Barco ensures a perfect calibration upon installation and over the full lifetime. We do this by conducting calibration on an individual module level under controlled conditions to ensure the best and uniform results. You can read more about automatic calibration in this post.

Summarizing the main differences listed above, we can list the main characteristics of the different video wall technologies for television backdrops.

Q. Do I need to buy other equipment to install LED screen? ---A. You just need to prepare power distribution box, structure and installation tools. We can also provide one stop purchase service if you need.

When incorporating an LED Video Display into a studio set design, it is important to think of more than just what looks good in a static environment. A LED studio backdrop has to hold up in live broadcast situations to communicate clearly, and support the talent.

For LED Video Displays that appear on camera, one of the first considerations should be refresh rate. The refresh rate measures the number of times a second the display hardware draws data. Because the LED screen will be on camera, a quick refresh rate is necessary to avoid lag time. Lag time is disastrous in the world of live TV. You don’t get a second chance to record live TV – but a poor recording can be replayed indefinitely.

One of the many benefits of LED Video Display over LCD Video Display, is bezel free design. Bezels are detrimental to your broadcast studio in two ways. First, you have to more closely monitor the content going on the wall behind the talent. If your talent is highlighting a prominent figure, you don’t want said prominent figure to have a line down his or her face. Not only people, but text is especially difficult with bezels. The second way that bezels are detrimental to your broadcast studio is that they aren’t always flattering for your talent. Do you really want a bezel to protrude from the top of your talent’s head? Do yourself and your talent a favor – choose a bezel free design.

Virtual production is revolutionising filmmaking. LED screens with quality LED processing are being used as impressive replacements for traditional green screens, enabling filmmakers to capture both live action and CGI in-camera together.

The Brompton team has already been part of several pioneering film and TV projects using virtual production and LED walls as green screen replacements, as well as having years of experience delivering great results on camera.

Using LED screens for backgrounds is now a recognised method for feature film and commercial production. Using an LED wall as a digital backdrop replacement for a traditional green screen has many advantages, according to Adam Fiddler, Technical Operations Manager at Technical Direction Company (TDC), a Sydney video and production systems supplier for live events, TV and film.

“By re-creating the project environment on the digital screen, cinematographers can stay in touch with the space they want to shoot in, and the world the actors need to perform in,” Adam said. “Filmmakers can frame the particular part of the set or background they want to see in the shot and also reproduce lighting looks and reflections in real time. That would take weeks to do in post." Therefore this method of production saves production companies money and leaves time to capture more engaging content while on set.

“Since our director Marc Forster definitely wanted to avoid the look of digital exteriors outside the car windows, these views needed to appear as realistic as possible. We decided to use LED screens projecting live action video for the backgrounds,” said Alex. “This approach also meant the actors could actually perform within the chosen surroundings as well, instead of having to imagine them.”

The TDC team collaborated with the DP Ginny Loane and built a 180-degree LED cyclorama, comprised of two ROE Carbon 3 3.75mm LED panels. The LED wall served both as the moving backdrop and the main lighting source for the car interior and actors, making it unnecessary to take the full cast and crew on-location to shoot the spot. Also, as it played out, it produced realistic ambient lighting effects and controlled, accurate reflections everywhere – even in the actors’ eyes.

Working with post-production company Framestore LA, the team considered the technical aspects of the panels including LED pixel density, moiré issues and how far to diffuse light shining from the panels, and colour accuracy. They needed to control frame synchronisation between screen playout and the live action recording, and manage high-resolution playback. After analysing results captured at all planned camera angles, the team shot the 180-degree background plates with a multi-camera rig, and a prosumer VR camera. This material was then stitched together before the shoot and scaled to playout correctly on the LED screen backdrop.

Deploying an LED screen to replace green screens plus keying and compositing in post opens new creative possibilities to teams working on tight budgets by constructing their own transformative environment. As the VFX supervisor Michael Ralla from Framestore LA noted, “There may now be a huge benefit to just capturing or photographing specific locations where you want to shoot, at the exact time that they look best in regards to the light, and creating a digital application of that.”

To project the video on the LED panels exactly as required, TDC used a Brompton Technology Tessera SX40 4K LED processor. “We needed an accurate processor during the project to help us position and scale the 4K camera footage over both screens,” Alex said. “it meant we had full flexibility to control the car orientation relative to the screen and camera angles during the shoot.” At all times, the pre-filmed content was precisely translated onto the cyclorama, with accurate scaling and colour.

TDC has been using Brompton processing since 2015. Their initial purchase was the Tessera M2 processor to support their investment in ROE Black Onyx 3.47mm LED panels. The M2’s reliability impressed the team, so that when demand for large-scale high-resolution and 4K screens began to grow, the team invested in a Tessera SX40 4K LED processor, and a Brompton Tessera XD data distribution system.

The Tessera XD unit has multiple-signal connections that use a 10G Ethernet-based backbone to reduce the number of direct, independent connections that have to be run to the processor. Tessera XD uses a proprietary multiplexing algorithm, built on top of standard 10G Ethernet, to make sure that tight timing constraints can still be met and all fixtures remain in sync. “I was really excited about being able to run fibre to the screens, which reduced the number of copper connections,” said Adam.

“However, Brompton"s OSCA seam correction is the functionality we probably use most often in the Tessera system. Building huge, continuous screens was what attracted us to Brompton processing in the first place. OSCA – On-Screen Colour Adjustment – is a specific user interface that appears on your LED wall with controls you use to match panels. It automatically detects adjacent LED modules or panels and adjusts the brightness at the edges of both panels simultaneously to compensate for the appearance of bright or dark lines.”

Art desires to back from technology, while the advancement of technology promotes the development of art. Since the 20th century, the growth of the LED stage screen has brought a great visual revolution to the stage performance.

Whether you are arranging a community event, trade show, fashion show, sporting competition, or a campaign, your event can take help from an stageLEDscreen. With the most recent cutting-edge technology, LED video panels have become more reliable, quick to set up, and more reasonable.

Choosing stage LED screens for the indoor or outdoor event has got the norm because of the extraordinary features of infinite customizable display size, enhanced image displace projectors, and LCD screens with LED video panels in auditoriums, control rooms, broadcast studios, and board rooms.

There is no doubt that the stage LED screens can create striking environments that will surely excite your audience. Familiarity, technical proficiency, and proper scheduling are necessary, it is important to create an impression.

There is a wide-ranging variety of LED stage screens. Opting the right product for your venture could be a difficult task and requires knowledge of many technical aspects of the gear, venue, and audience.  Here you will get answers that would facilitate you to make the best guide to choose led display.The indoor or outdoor venue

Outdoor LEDs are waterproof and usually bright enough to be used during daylight. Indoor LED screensare generally smaller pixel pitch for better definition experience.Temporary or permanent installation

LED cabinets for permanent installations are less expensive because of efficient hardware design, but they need more time for installation as compared to rental cabinets.Screen size and pixel pitch

This is analyzed according to venue dimensions, aspect ratio, and audience size. Initially, figure out the physical limitations – ceiling height, stage depth and width, distance from the screen to the first row of seating. The rule of thumb for estimating the perfect pixel pitch is 5 feet per millimeter. In this way, with 4mm pixel pitch your minimum viewing distance is about 20 feet. If you are in a theatre and the first row is nearly 25 feet from the LED screen, you should prefer an LED screen with a pixel pitch of 5mm or smaller.Media resolution and aspect ratio

LED displays are made of LED panels that come in various sizes and shapes. Most often the norm panel size is 500 x 500 mm. The screen aspect ratio is usually determined by the media type to be played and the physical constraints of the venue.

For a stage LED screen, you may understand that the finest screen size for your venue should be 40 feet by 10 feet that are a 4:1 aspect ratio. In this situation, you would want to offer the media creators with the accurate dimensions and pixel count of your screen for customized media design.Power requirements

A classic LED panel takes about 100 Watts. At 110V circuits, it is equal to 1.1 Ampere. If you have a screen built of 150 LED panels, the power requirement is 165A.Lighting and reliability

LED screens have high brightness of greater than 800 nits. It is intended for high illumination. Stage LED screens can be displayed in a well-lit theatre or on a showroom floor. It is great for outdoor as well as the indoor stage background.

Whether to buy an rental LED screen or rent can be a tough decision to make. The LED screen is a substantial investment. Initially assess the need, estimate the cost of purchase versus LED screen rental and create an action plan.

Go with a stage led screen format (16:10 or 16:9). The industry is slowly leaving 4:3 format. Going with 4:3 tends to give you something of an old-fashioned look, to begin with. If you previously have that, do not be in a rush to go widescreen–it may not be worth the price.

If you aim to use your system to display more than just song lyrics, you should target a screen height of 1/6 to 1/10 the distance from the screen to the back row. In other words, if the distance from the stage led screen to the back row is 60 feet (18 meters), then the screen height must be 6-10 feet (1.8-3 meters). The width is calculated by the aspect ratio; so, if you use 16:10, you would have a screen marginally of 9.6 x 6 feet (2.9 x 1.8 meters) or a maximum of 16 x 10 feet (4.8 x 3 meters). In general, many sources felt that 1/8 was an acceptable size.

Stage LED screen is an extremely efficient application for the high-effect visuals that a video wall installation requires. The picture is obvious, the assimilation is flexible, and the hardware is more reasonable than ever. The technology has come a long way in the last 10 years and if it persists to grow, LEDs stand to be the most dominant digital signage hardware on the market.

In modern times, stage LED screen layout and production in stage performances are taken more seriously. It not only gives the background atmosphere for the performance but also turns out to be part of the stage performance. The subject condenses the workflow of LED digital image design and production in stage performance.

After days of continuous discovery and practice, stage performances have gained powerful experience and accomplishments with the application of the LED stage screen.