video display screens bright box free sample

BrightSign LLC, the global market leader in digital signage media players, is headquartered in Los Gatos, California, with offices in Europe and Asia. BrightSign designs media players and provides free software and cloud networking solutions for the commercial digital signage market worldwide, serving all vertical segments of the marketplace. BrightSign products are known for their signature reliability, affordability, market-leading technology and unsurpassed performance. Connect with BrightSign on Linkedin.com, Twitter.com, YouTube and Instagram

BrightSign LLC, the global market leader in digital signage media players, is headquartered in Los Gatos, California, with offices in Europe and Asia. BrightSign designs media players and provides free software and cloud networking solutions for the commercial digital signage market worldwide, serving all vertical segments of the marketplace. BrightSign products are known for their signature reliability, affordability, market-leading technology and unsurpassed performance. Connect with BrightSign on Linkedin.com, Twitter.com, YouTube and Instagram

Easily create and share personalized videos throughout your entire sales cycle. Communicate better with prospects, customers, and teams to generate more leads and close more deals.

Email isn’t dead, but it sure is boring. With Vidyard, you can record and send videos in just a few clicks – perfect for busy sales reps trying to break into inboxes or marketers trying to make a splash.

Record video handoffs to build rapport and introduce qualified accounts to later-stage sales repsMore than 12 million people across 250,000 companies choose Vidyard

From video prospecting and introductions to deal progression, sales demos, follow-up templates and more, explore our collection of free video templates perfect for every stage of the sales cycle.

I"m loving what Vidyard has done for a really smooth video integration with LinkedIn. I still have a lot of love for Loom too, but this is 1-click video through LinkedIn messaging that makes all our interactions that much warmer. I"m all in. Check it out.

Become more memorable in your prospects’ inbox with Vidyard. Create amazing sales videos for your prospects that will put a face to your name in just a few clicks- no video creation expertise required.Stand out from the crowd

Send relevant videos to your prospects so you can close deals quicker. Share demos, proposal walkthroughs, and customer stories that guide buyers through the purchase and get opportunities over the finish line.Track prospect engagement and push data to your CRM

In fact, all you need to make a professional-quality green screen video is a smartphone or webcam, some fabric, good video editing software, and a little know-how.

Using green screen in video replaces the background of a video with a digital or virtual background. It offers the most natural-looking way to integrate your subject into your video.

Instead of putting each visual element in its own frame (a la picture-in-picture), green screen lets you blend them. In fact, done correctly, you would never suspect they were two separate video streams.

In the most technical terms, green screen, blue screen, chroma key, chroma key compositing all refer to the same idea. Regardless of what you call it, it’s apost-production technique forcompositing (layering) two images or video streams together based on color hues (chroma range).

Although you may not be detailing cold fronts from your desk, I’d bet you still have opportunities to connect with an audience at work. A green screen is a great option for adding a personal touch to lots of different types of videos.

Chroma key (remember, that’s green screen’s “technical name”) is a big deal for anyone who needs to connect with viewers. When done well, a green screen can give your video a professional aesthetic on the cheap.Create an online training video by superimposing yourself over all or just part of the lesson. This is an instant upgrade over talking through a PowerPoint presentation — and it’s way more impressive than just doing picture-in-picture with your webcam.

Whether you want to make it look like you (or your video subject) is on the moon or an African safari — or you just want to obscure the drab or uninspiring walls of your office or home studio, green screen makes it easy.

And, you don’t need to build a fancy set or rent studio time. You can shoot your video anywhere and replace the background with a branded graphic, stock photo, or video element.

Since it’s not too big (5′ x 7′), it’s perfect for when you need to travel for a shoot. We’ll discuss shadows and more when we get into lighting. But for now, remember to stand as close to the backdrop as you can without casting a shadow on it. This is usually around two or three feet. Also, make sure to keep your hands close to your body. Any part of your arm or hand that extends past the backdrop will look cut off in your final video.

Next, you’ll want to pick a camera or webcam that shoots HD quality video (720p or higher) at a decent frame rate (24 fps or above). Make sure your camera saves out files in a format your green screen software can import. We’ve had good success using an iPhone, but most any digital camcorder will work.

When you’re just starting out, recording footage on your smartphone might seem daunting. We’ve put together some tips and advice forshooting videos on your mobile device. We cover everything you need to know about audio, shot composition, and lighting.

Shadows can be the enemy of great green screen video, so you want to be sure your background is as well-lit as possible. Use a flat green background. The flatter the green, the easier it will be to remove the screen.

The easiest thing to try is a couple of hardware store clamp-on work lights with high-output LED bulbs. You’ll also need something to clamp them on. Aim the lights so that the green screen doesn’t have dark areas or bright areas. Focus your efforts on the area directly behind the person you’re shooting. You’ll be able to crop out the excess space later.

To throw a lot of light, you need a few bulbs in each fixture. You couldbuild your own video lighting rig for less than $100 (see video below). Or if you’re not into DIY projects, you can shop around for a video softbox.CowboyStudio is a good place to start. Look for “continuous lighting” as opposed to flash or strobe lighting.

In theCamtasia video editor, you canremove your green screen with just a few clicks. In fact, Camtasia 2020 makes it easier than ever to create professional-quality videos — no pro skills required.

From easy-to-use and share video templates and themes to a wide variety of assets and resources to help you on your way, Camtasia 2020 takes the guesswork out of video creation and puts you and your team at ease.

Green screen video may seem intimidating and difficult, but with the right tools and a few tips and tricks, anyone can master this useful technique. Whether you’re making videos for 5 or 5,000 people, they’ll be amazed at the professional quality and engaging experience green screen provides.

If you’re just starting out with video production, lighting your video shoot can be tricky. There is a big difference in how our eyes perceive light compared to a camera lens.

We’ll guide you through the process we use here at TechSmith to get the perfect lighting for all your videos, regardless of your budget or experience.

Not all videos need professional lighting. But some extra production could be helpful. Here are some great tips and tricks for how to get the perfect lighting for video.

At TechSmith, we have a drawer full of cheap clamp lights. At around $10 each, these lights are versatile and can be mounted in a variety of ways. Unfortunately, the lack of dimming control and diffusion can lead to harsh brightness.

There are a few types of lighting to be aware of as well. Light with no filter is known as hard light. Think of the difference between a lamp with a bare bulb and one with a lampshade. Without the shade, it’s brighter, but the light can be harsh and cast deep shadows.

Not everyone has the space to fill a room with giant lights. A great compact option is Lumecube. The light is small enough to sit on your desk, but has more advanced features like adjustable brightness and color temperature. If you’re recording videos at home or at your office desk, Lubecube is a great way to get balanced light without a lot of hassle. It’s the light I use on my desk every day.

If you plan to shoot high-end camera video on a regular basis, it may be worth the higher price. But unless you have specific requirements for these fancier features, it’s a waste of money to invest in such expensive lights when something cheaper will work just as well for basic shoots.

You don’t have to spend a fortune to light your video if you don’t want to. There are plenty of low-budget or even free options, like natural light. However, if you plan to make videos often or need higher quality, you might spend anywhere from a few hundred to a few thousand dollars.

Some Windows 11 PCs can automatically adjust the screen brightness and contrast based on content that’s displayed on your built-in screen. For example, if you’re watching a video that has a dark scene, followed by a brighter scene (for example, one that shows a bright sunny day), the brightness and contrast may change. This is normal.

Content adaptive brightness control provides ideal brightness and contrast levels, while saving power and providing longer battery life at the same time. If these sudden brightness changes are distracting, or if you work in photo and video apps where color accuracy is important to you, you can turn this off any time. When you turn it off, it can result in shorter battery life.

In Display settings, select Brightness, then clear the Help improve battery by optimizing the content shown and brightness check box. You can select the check box to turn this back on any time.

Some Windows PCs can also adjust the screen brightness automatically based on the light around you. For more info, see Change screen brightness in Windows.

Gain is a measurement of how much light the screen reflects. A gain of 1.0 means it reflects the same amount of light as an industry standard white magnesium-oxide board. Screens can reflect less light and have a gain of less than 1.0, or more light and have a gain higher than 1.0. A lower gain will produce deeper, darker blacks but reduce overall image brightness. In the early days of digital projection, this was useful because projectors had terrible (read: grayish) blacks. But that is less of an issue now with most decent projectors.

A higher gain, made possible by special screen materials, reflects more light back toward the center of the room. This creates a brighter image, but it also reduces viewing angles and can introduce hot spots (areas of the image that are noticeably brighter than other areas). It used to be that a higher gain was necessary, but as projectors have gotten more powerful, today a gain of 1.0 is often sufficient.

Color accuracy measures how well the screen reflects the colors projected onto it. The makeup of the screen can result in certain colors being absorbed more than others and introduce a tint to the image that isn’t coming from the projector. Many projectors ship with picture modes that are close to accurate out of the box, but those might no longer be accurate after they hit the screen. A screen that introduces as little color shifting as possible is ideal. The two images below show the same image on two different screen materials. You can easily see the color shifts between the two and the problems a screen can introduce.

At left is Goo Systems" Screen Goo paint, and at right is Elite Screens" Sable. Note the warm, red tint to the Screen Goo, while the Elite has a cool, blue tint. Photo: Chris Heinonen

Almost all of the screen reviews out there are of expensive screens, so we had to start from scratch. I first went to the AccuCal Projection Screen Material Report. W. Jeff Maier of AccuCal has tested samples of many screen materials using high-end equipment to determine their color accuracy and actual gain. Since he is dealing with only samples of the materials (often 8½- by 11-inch pieces) that he is sent through the mail, the report doesn’t go into construction or installation of the screens themselves.

After all that, we set out to review 100-inch, 16:9 screens, as close to 1.0 gain as possible. We figured this was a good-size, average screen that would work for most people. You can certainly go larger, though the image will be dimmer (by an amount equal to the increase in screen area). Since most modern home theater projectors won’t have an issue creating a bright image on a 100-inch screen (and most can even do larger), we didn’t feel anything higher than a 1.0 gain was necessary. Since most content is 16:9, that was also our preferred screen shape, though many companies make 2.35:1-shaped screens as well.

We didn’t test pull-down screens or ambient-light-rejecting materials unless we already had a sample around. Those are more specialized cases, and we were looking for the screen that would be best for the greatest number of people in a semi-permanent home setting.

So to sum up, we were looking for a roughly 100-inch, 1.0-gain, 16:9 screen that had very little color shift, no noticeable texture, good viewing angles, and easy installation and setup—and, ideally, was very inexpensive. With that in mind, we ended up bringing in the Silver Ticket STR Series 100″, the Elite Screens SableFrame 2 100″ in CineWhite, the 100-inch Stewart StudioTek 130 and Cima Neve 1.1 screens, three 120-inch screen materials (blackout cloth, FlexiWhite, and FlexiGray) from Carl’s Place, Wilsonart Designer White laminate in an 8- by 4-foot sheet, Goo Systems" Screen Goo Reference White and GooToob, and Home Depot"s Behr Silver Screen. I also included in the testing my personal screen, a 122-inch Screen Innovations SolarHD 4K.

The Stewart and Screen Innovations screens are much more expensive models that are often sold only through custom AV retailers, but we still included them in our tests as references for comparison. Stewart is the best-selling screen brand for custom home theaters, and the StudioTek 130 is the company"s best-selling material. It is the reference standard for a home theater screen and the one most reviewers are likely to recommend if you ask for a single suggestion; I use it when testing projectors. In our tests of screens, we wanted to make sure to pit everything against this reference to see how well they performed.

This doesn"t change the hardware brightness as DDC does, so you have to manually set the monitor"s brightness and contrast (using the monitor physical buttons) to the highest possible values that look good for your monitor.

Camera automatically identifies where to focus while you record in Cinematic mode and can automatically change focus if a new subject is identified. You can also change the focus subject manually.In Photos, open a video you recorded in Cinematic mode, then tap Edit.

After you save your changes, you can revert a Cinematic mode video to the original if you don’t like your edits. Open the video, tap Edit, then tap Revert.

For information about editing Cinematic mode videos on your Mac using Final Cut Pro, iMovie, or Motion, see the Apple Support article Edit Cinematic mode video in Final Cut Pro, iMovie, and Motion on Mac.

Cupertino, California Apple today introduced Mac Studio and Studio Display, an entirely new Mac desktop and display designed to give users everything they need to build the studio of their dreams. A breakthrough in personal computing, Mac Studio is powered by M1 Max and the new M1 Ultra, the world’s most powerful chip for a personal computer. It is the first computer to deliver an unprecedented level of performance, an extensive array of connectivity, and completely new capabilities in an unbelievably compact design that sits within arm’s reach on the desk. With Mac Studio, users can do things that are not possible on any other desktop, such as rendering massive 3D environments and playing back 18 streams of ProRes video.1 Studio Display, the perfect complement to Mac Studio, also pairs beautifully with any Mac. It features an expansive 27-inch 5K Retina display, a 12MP Ultra Wide camera with Center Stage, and a high-fidelity six-speaker sound system with spatial audio. Together, Mac Studio and Studio Display transform any workspace into a creative powerhouse. They join Apple’s strongest, most powerful Mac lineup ever, and are available to order today, arriving to customers beginning Friday, March 18.

“We couldn’t be more excited to introduce an entirely new Mac desktop and display with Mac Studio and Studio Display,” said Greg Joswiak, Apple’s senior vice president of Worldwide Marketing. “Mac Studio ushers in a new era for the desktop with unbelievable performance powered by M1 Max and M1 Ultra, an array of connectivity, and a compact design that puts everything users need within easy reach. And Studio Display — with its stunning 5K Retina screen, along with the best combination of camera and audio ever in a desktop display — is in a class of its own.”

Built from a single aluminum extrusionwith a square footprint of just 7.7 inches and a height of only 3.7 inches, Mac Studio takes up very little space and fits perfectly under most displays. Mac Studio also features an innovative thermal design that enables an extraordinary amount of performance. The unique system of double-sided blowers, precisely placed airflow channels, and over 4,000 perforations on the back and bottom of the enclosure guide air through the internal components and help cool the high-performance chips. And because of the efficiency of Apple silicon, Mac Studio remains incredibly quiet, even under the heaviest workloads.

With its ultra-powerful media engine, Mac Studio with M1 Ultra can play back 18 streams of 8K ProRes 422 video, which no other computer in the world can do. Mac Studio also shatters the limits of graphics memory on a desktop, featuring up to 64GB of unified memory on systems with M1 Max and up to 128GB of unified memory on systems with M1 Ultra. Since the most powerful workstation graphics card available today only offers 48GB of video memory, having this massive amount of memory is game changing for pro workloads. And the SSD in Mac Studio delivers up to 7.4GB/s of performance and a capacity of up to 8TB, allowing users to work on massive projects with incredible speed and performance.4

The compact design of Mac Studio puts an extensive array of essential connectivity within easy reach. On the back, Mac Studio includes four Thunderbolt 4 ports to connect displays and high-performance devices, a 10Gb Ethernet port, two USB-A ports, an HDMI port, and a pro audio jack for high-impedance headphones or external amplified speakers. Wi-Fi 6 and Bluetooth 5.0 are built in as well.

And because users frequently connect and disconnect devices, like portable storage, Mac Studio includes ports on the front for more convenient access. There are two USB-C ports, which on M1 Max supports 10Gb/s USB 3, and on M1 Ultra supports 40Gb/s Thunderbolt 4. There is also an SD card slot on the front to easily import photos and video. And Mac Studio provides extensive display support — up to four Pro Display XDRs, plus a 4K TV — driving nearly 90 million pixels.

The all-new Studio Display perfectly complements Mac Studio and also beautifully pairs with any Mac. In a class of its own, it features a gorgeous 27-inch 5K Retina screen, plus sensational camera and audio, delivering that integrated experience Mac users love.

Studio Display brings a stunning all-screen design with narrow borders and a refined, all-aluminum enclosure that houses an advanced set of features in a slim profile. Its built-in stand allows the user to tilt the display up to 30 degrees. To meet the needs of a variety of workspaces, Studio Display also offers a tilt- and height-adjustable stand option with a counterbalancing arm that makes the display feel weightless as it is adjusted. A VESA mount adapter option is also available, and supports landscape or portrait orientation for even more flexibility.

Studio Display features a 27-inch 5K Retina screen with over 14.7 million pixels. With 600 nits of brightness, P3 wide color, and support for over one billion colors, images come to life with spectacular detail. True Tone technology automatically adjusts the display’s color temperature as the environment changes for a more natural viewing experience. An industry-leading anti-reflective coating enables incredibly low reflectivity for better comfort and readability. And for workspaces with bright light sources, including sunlight, Studio Display offers an innovative nano-texture glass option. Nano-texture glass, first introduced on Pro Display XDR, scatters light to further minimize glare while delivering outstanding image quality.

Featuring the A13 Bionic chip, Studio Display delivers amazing experiences with its highly advanced camera and audio system. The ultimate video conferencing display, it includes a 12MP Ultra Wide camera with Center Stage, a feature that automatically keeps users centered in the frame as they move around for even more engaging video calls.

Studio Display also includes a studio-quality, three-microphone array with an especially low noise floor for crystal-clear calls and voice recordings. It also features a high-fidelity six-speaker sound system, the best ever created for Mac, delivering an unbelievable listening experience. Four force-cancelling woofers minimize distortion and produce bold, articulate bass, and two high-performance tweeters create accurate mids and crisp highs. The speakers also support spatial audio for music and video with Dolby Atmos, creating a truly cinematic viewing experience. Altogether, Studio Display has the best combination of camera and audio ever in a desktop display.

Studio Display has three USB-C ports that deliver speeds up to 10Gb/s to connect high-speed peripherals, storage, and networking right into the display. A Thunderbolt port enables users to connect Studio Display and any connected peripherals to their Mac with a single cable. The same cable also delivers 96W of power to a Mac notebook, allowing Studio Display to even fast-charge a 14-inch MacBook Pro. And up to three Studio Displays can be connected to MacBook Pro, creating a powerful edit bay or animation workspace.

To complement the design of Studio Display, there’s a new silver-and-black color option for Magic Keyboard with Touch ID, Magic Trackpad, and Magic Mouse that customers can purchase separately.

Videographers can edit multi-camera projects and more streams of 8K video than ever before, add more color corrections to projects while maintaining fluid playback, and encode video for final delivery faster than ever.

Mac Studio is powered by macOS Monterey, the latest version of the world’s most advanced desktop operating system. The combination of macOS Monterey with M1 Max or the powerful new M1 Ultra delivers breakthrough performance, security, and productivity for users. FaceTime includes audio and video features that make calls feel more natural and lifelike, and SharePlay enables Mac users to have shared experiences through FaceTime. Live Text and Visual Lookup are intelligence features that surface useful information, Safari includes powerful tab organization with Tab Groups, and Shortcuts bring the ease of automation to the Mac. Continuity tools like AirPlay to Mac enable Apple devices to work even better together, and with next week’s release of macOS Monterey 12.3 and iPadOS 15.4, Universal Control will make it easy for users to work effortlessly across Mac and iPad for unparalleled productivity.5

Mac Studio and Studio Display were designed to minimize their environmental impact. Mac Studio uses far less energy than competitors to deliver its extraordinary performance. For example, over the course of a year, Mac Studio will use up to 1,000 kilowatt-hours less energy than a high-end PC desktop.6Both Mac Studio and Studio Display use 100 percent recycled rare earth elements in all magnets and recycled tin in the solder of the main logic board — as well as recycled aluminum and plastic in various components. Both products also meet Apple’s high standards for energy efficiency, are free of numerous harmful substances, and use wood fiber in the packaging that comes from recycled sources or responsibly managed forests.

The new Mac Studio and Studio Display are available to order today on apple.com/store and in the Apple Store app. They will begin arriving to customers, and will be in select Apple Store locations and Apple Authorized Resellers, beginning Friday, March 18.

Studio Display is $1,599 (US), and $1,499 (US) for education. Additional technical specifications, including nano-texture glass and a choice of stand options, are available at apple.com/store.

Testing was conducted by Apple in February 2022 using preproduction Mac Studio systems with Apple M1 Ultra, 20-core CPU and 64-core GPU, and 128GB of RAM, and configured with 8TB SSD. Prerelease Final Cut Pro 10.6.2 was tested using a one-minute picture-in-picture project with 18 streams of Apple ProRes 422 video at 8192x4320 resolution and 30 frames per second, as well as a one-minute picture-in-picture project with nine streams of Apple ProRes 422 video at 8192x4320 resolution and 30 frames per second. Performance tests are conducted using specific computer systems and reflect the approximate performance of Mac Studio.

Why? "Full" and "limiited" have absolutely nothing whatever to do with the display of the media, but with the encoding expectation of the playback system! Set that Nvidia card as that dude wrongly says to do, you will crush the blacks in all Rec709 media that is properly encoded. And any true full media you"ve got is unusably mangled.

And solve your system"s color management. Which requires some work on a PC, and is very difficult with a Mac ... as the ColorSync utility on Macs only applies the scene transform function, it does not apply the expected and required other half, the display transform function, So on Macs, the display of much Rec709 is performed using incorrect gamma.

Within Premiere, they added the "Display color managment" option, which tells Premiere to look at the ICC profile of a monitor, and attempt to remap the image to correct Rec709 within that monitor"s working setup. It does a fairly decent job.

And all Mac users and most PC folk should use that Display Color Management option. If your system like mine has been calibrated/profiled through the entire setup correctly, it"s not useful.

On the LLG forum (LiftGammaGain, pro colorists) recently one colorist made an extensive testing of color management across apps and OSs. He"s Resolve based, and that app decided to make Mac users happy by giving an option for the Rec.709A setting, which adds a tag that gets ColorSync to actually apply the display transform for that clip, and voila it looks "right" on QT player, Chrome, and Safari ... and wrong on everything else on that Mac.

Accessing Dell Display Manager (DDM) features and the most recent Easy Arrange layouts is easier than ever. Simply enter preset hotkeys to bring up Dell Display Manager (DDM) UI at the touch of the keyboard. Also, switch easily between your favorite Easy Arrange layouts and templates.

A more intuitive way to configure monitor settings. Simply drag and drop the Dell Display Manager UI menu from one monitor to another. Allows users to control and change monitor settings easily in a multimonitor configuration.

Viewing and using Dell Display Manager (DDM) in portrait mode is now possible. Dell Display Manager (DDM) Easy Arrange templates automatically switch to portrait mode when monitor orientation is pivoted vertically.

KVM Wizard to simplify the KVM setup. Follow step-by-step pop-up windows guide at the click of the KVM Wizard icon on the Dell Display Manager (DDM) user interface. (available on select Dell monitors with KVM capability only.)

IT managers can issue specific instructions using command lines to Dell Display Manager (DDM) to perform tasks within specific times to individual monitor or an entire fleet

Remote Control capabilities (includes Power on/off, restoring factory defaults, changing monitor front of screen settings, optimal resolution, display modes, disabling OSD menu access, input switching).

Up to 38 layouts: With Dell Display Manager’s Easy Arrange, you can organize multiple applications on your screen and snap them into a template of your choice, making multitasking easy and effortless.

A plasma display panel (PDP) is a type of flat panel display that uses small cells containing plasma: ionized gas that responds to electric fields. Plasma televisions were the first large (over 32 inches diagonal) flat panel displays to be released to the public.

Until about 2007, plasma displays were commonly used in large televisions (30 inches (76 cm) and larger). By 2013, they had lost nearly all market share due to competition from low-cost LCDs and more expensive but high-contrast OLED flat-panel displays. Manufacturing of plasma displays for the United States retail market ended in 2014,

Plasma displays are bright (1,000 lux or higher for the display module), have a wide color gamut, and can be produced in fairly large sizes—up to 3.8 metres (150 in) diagonally. They had a very low luminance "dark-room" black level compared with the lighter grey of the unilluminated parts of an LCD screen. (As plasma panels are locally lit and do not require a back light, blacks are blacker on plasma and grayer on LCD"s.)LED-backlit LCD televisions have been developed to reduce this distinction. The display panel itself is about 6 cm (2.4 in) thick, generally allowing the device"s total thickness (including electronics) to be less than 10 cm (3.9 in). Power consumption varies greatly with picture content, with bright scenes drawing significantly more power than darker ones – this is also true for CRTs as well as modern LCDs where LED backlight brightness is adjusted dynamically. The plasma that illuminates the screen can reach a temperature of at least 1200 °C (2200 °F). Typical power consumption is 400 watts for a 127 cm (50 in) screen. Most screens are set to "vivid" mode by default in the factory (which maximizes the brightness and raises the contrast so the image on the screen looks good under the extremely bright lights that are common in big box stores), which draws at least twice the power (around 500–700 watts) of a "home" setting of less extreme brightness.

Plasma screens are made out of glass, which may result in glare on the screen from nearby light sources. Plasma display panels cannot be economically manufactured in screen sizes smaller than 82 centimetres (32 in).enhanced-definition televisions (EDTV) this small, even fewer have made 32 inch plasma HDTVs. With the trend toward large-screen television technology, the 32 inch screen size is rapidly disappearing. Though considered bulky and thick compared with their LCD counterparts, some sets such as Panasonic"s Z1 and Samsung"s B860 series are as slim as 2.5 cm (1 in) thick making them comparable to LCDs in this respect.

Less visible motion blur, thanks in large part to very high refresh rates and a faster response time, contributing to superior performance when displaying content with significant amounts of rapid motion such as auto racing, hockey, baseball, etc.

Superior uniformity. LCD panel backlights nearly always produce uneven brightness levels, although this is not always noticeable. High-end computer monitors have technologies to try to compensate for the uniformity problem.

Earlier generation displays were more susceptible to screen burn-in and image retention. Recent models have a pixel orbiter that moves the entire picture slower than is noticeable to the human eye, which reduces the effect of burn-in but does not prevent it.

Due to the bistable nature of the color and intensity generating method, some people will notice that plasma displays have a shimmering or flickering effect with a number of hues, intensities and dither patterns.

Earlier generation displays (circa 2006 and prior) had phosphors that lost luminosity over time, resulting in gradual decline of absolute image brightness. Newer models have advertised lifespans exceeding 100,000 hours (11 years), far longer than older CRTs.

Fixed-pixel displays such as plasma TVs scale the video image of each incoming signal to the native resolution of the display panel. The most common native resolutions for plasma display panels are 852×480 (EDTV), 1,366×768 and 1920×1080 (HDTV). As a result, picture quality varies depending on the performance of the video scaling processor and the upscaling and downscaling algorithms used by each display manufacturer.

Early plasma televisions were enhanced-definition (ED) with a native resolution of 840×480 (discontinued) or 852×480 and down-scaled their incoming high-definition video signals to match their native display resolutions.

The following ED resolutions were common prior to the introduction of HD displays, but have long been phased out in favor of HD displays, as well as because the overall pixel count in ED displays is lower than the pixel count on SD PAL displays (852×480 vs 720×576, respectively).

Early high-definition (HD) plasma displays had a resolution of 1024x1024 and were alternate lighting of surfaces (ALiS) panels made by Fujitsu and Hitachi.

Later HDTV plasma televisions usually have a resolution of 1,024×768 found on many 42 inch plasma screens, 1280×768 and 1,366×768 found on 50 in, 60 in, and 65 in plasma screens, or 1920×1080 found on plasma screen sizes from 42 inch to 103 inch. These displays are usually progressive displays, with non-square pixels, and will up-scale and de-interlace their incoming standard-definition signals to match their native display resolutions. 1024×768 resolution requires that 720p content be downscaled in one direction and upscaled in the other.

Ionized gases such as the ones shown here are confined to millions of tiny individual compartments across the face of a plasma display, to collectively form a visual image.

A panel of a plasma display typically comprises millions of tiny compartments in between two panels of glass. These compartments, or "bulbs" or "cells", hold a mixture of noble gases and a minuscule amount of another gas (e.g., mercury vapor). Just as in the fluorescent lamps over an office desk, when a high voltage is applied across the cell, the gas in the cells forms a plasma. With flow of electricity (electrons), some of the electrons strike mercury particles as the electrons move through the plasma, momentarily increasing the energy level of the atom until the excess energy is shed. Mercury sheds the energy as ultraviolet (UV) photons. The UV photons then strike phosphor that is painted on the inside of the cell. When the UV photon strikes a phosphor molecule, it momentarily raises the energy level of an outer orbit electron in the phosphor molecule, moving the electron from a stable to an unstable state; the electron then sheds the excess energy as a photon at a lower energy level than UV light; the lower energy photons are mostly in the infrared range but about 40% are in the visible light range. Thus the input energy is converted to mostly infrared but also as visible light. The screen heats up to between 30 and 41 °C (86 and 106 °F) during operation. Depending on the phosphors used, different colors of visible light can be achieved. Each pixel in a plasma display is made up of three cells comprising the primary colors of visible light. Varying the voltage of the signals to the cells thus allows different perceived colors.

The long electrodes are stripes of electrically conducting material that also lies between the glass plates in front of and behind the cells. The "address electrodes" sit behind the cells, along the rear glass plate, and can be opaque. The transparent display electrodes are mounted in front of the cell, along the front glass plate. As can be seen in the illustration, the electrodes are covered by an insulating protective layer.

Relative spectral power of red, green and blue phosphors of a common plasma display. The units of spectral power are simply raw sensor values (with a linear response at specific wavelengths).

Every pixel is made up of three separate subpixel cells, each with different colored phosphors. One subpixel has a red light phosphor, one subpixel has a green light phosphor and one subpixel has a blue light phosphor. These colors blend together to create the overall color of the pixel, the same as a triad of a shadow mask CRT or color LCD. Plasma panels use pulse-width modulation (PWM) to control brightness: by varying the pulses of current flowing through the different cells thousands of times per second, the control system can increase or decrease the intensity of each subpixel color to create billions of different combinations of red, green and blue. In this way, the control system can produce most of the visible colors. Plasma displays use the same phosphors as CRTs, which accounts for the extremely accurate color reproduction when viewing television or computer video images (which use an RGB color system designed for CRT displays).

Plasma displays are different from liquid crystal displays (LCDs), another lightweight flat-screen display using very different technology. LCDs may use one or two large fluorescent lamps as a backlight source, but the different colors are controlled by LCD units, which in effect behave as gates that allow or block light through red, green, or blue filters on the front of the LCD panel.

Contrast ratio is the difference between the brightest and darkest parts of an image, measured in discrete steps, at any given moment. Generally, the higher the contrast ratio, the more realistic the image is (though the "realism" of an image depends on many factors including color accuracy, luminance linearity, and spatial linearity). Contrast ratios for plasma displays are often advertised as high as 5,000,000:1.organic light-emitting diode. Although there are no industry-wide guidelines for reporting contrast ratio, most manufacturers follow either the ANSI standard or perform a full-on-full-off test. The ANSI standard uses a checkered test pattern whereby the darkest blacks and the lightest whites are simultaneously measured, yielding the most accurate "real-world" ratings. In contrast, a full-on-full-off test measures the ratio using a pure black screen and a pure white screen, which gives higher values but does not represent a typical viewing scenario. Some displays, using many different technologies, have some "leakage" of light, through either optical or electronic means, from lit pixels to adjacent pixels so that dark pixels that are near bright ones appear less dark than they do during a full-off display. Manufacturers can further artificially improve the reported contrast ratio by increasing the contrast and brightness settings to achieve the highest test values. However, a contrast ratio generated by this method is misleading, as content would be essentially unwatchable at such settings.

Each cell on a plasma display must be precharged before it is lit, otherwise the cell would not respond quickly enough. Precharging normally increases power consumption, so energy recovery mechanisms may be in place to avoid an increase in power consumption.LED illumination can automatically reduce the backlighting on darker scenes, though this method cannot be used in high-contrast scenes, leaving some light showing from black parts of an image with bright parts, such as (at the extreme) a solid black screen with one fine intense bright line. This is called a "halo" effect which has been minimized on newer LED-backlit LCDs with local dimming. Edgelit models cannot compete with this as the light is reflected via a light guide to distribute the light behind the panel.

Image burn-in occurs on CRTs and plasma panels when the same picture is displayed for long periods. This causes the phosphors to overheat, losing some of their luminosity and producing a "shadow" image that is visible with the power off. Burn-in is especially a problem on plasma panels because they run hotter than CRTs. Early plasma televisions were plagued by burn-in, making it impossible to use video games or anything else that displayed static images.

Plasma displays also exhibit another image retention issue which is sometimes confused with screen burn-in damage. In this mode, when a group of pixels are run at high brightness (when displaying white, for example) for an extended period, a charge build-up in the pixel structure occurs and a ghost image can be seen. However, unlike burn-in, this charge build-up is transient and self-corrects after the image condition that caused the effect has been removed and a long enough period has passed (with the display either off or on).

Plasma manufacturers have tried various ways of reducing burn-in such as using gray pillarboxes, pixel orbiters and image washing routines, but none to date have eliminated the problem and all plasma manufacturers continue to exclude burn-in from their warranties.

The first practical plasma video display was co-invented in 1964 at the University of Illinois at Urbana–Champaign by Donald Bitzer, H. Gene Slottow, and graduate student Robert Willson for the PLATO computer system.Owens-Illinois were very popular in the early 1970s because they were rugged and needed neither memory nor circuitry to refresh the images.CRT displays cheaper than the $2500 USD 512 × 512 PLATO plasma displays.

Burroughs Corporation, a maker of adding machines and computers, developed the Panaplex display in the early 1970s. The Panaplex display, generically referred to as a gas-discharge or gas-plasma display,seven-segment display for use in adding machines. They became popular for their bright orange luminous look and found nearly ubiquitous use throughout the late 1970s and into the 1990s in cash registers, calculators, pinball machines, aircraft avionics such as radios, navigational instruments, and stormscopes; test equipment such as frequency counters and multimeters; and generally anything that previously used nixie tube or numitron displays with a high digit-count. These displays were eventually replaced by LEDs because of their low current-draw and module-flexibility, but are still found in some applications where their high brightness is desired, such as pinball machines and avionics.

In 1983, IBM introduced a 19-inch (48 cm) orange-on-black monochrome display (Model 3290 Information Panel) which was able to show up to four simultaneous IBM 3270 terminal sessions. By the end of the decade, orange monochrome plasma displays were used in a number of high-end AC-powered portable computers, such as the Compaq Portable 386 (1987) and the IBM P75 (1990). Plasma displays had a better contrast ratio, viewability angle, and less motion blur than the LCDs that were available at the time, and were used until the introduction of active-matrix color LCD displays in 1992.

Due to heavy competition from monochrome LCDs used in laptops and the high costs of plasma display technology, in 1987 IBM planned to shut down its factory in Kingston, New York, the largest plasma plant in the world, in favor of manufacturing mainframe computers, which would have left development to Japanese companies.Larry F. Weber, a University of Illinois ECE PhD (in plasma display research) and staff scientist working at CERL (home of the PLATO System), co-founded Plasmaco with Stephen Globus and IBM plant manager James Kehoe, and bought the plant from IBM for US$50,000. Weber stayed in Urbana as CTO until 1990, then moved to upstate New York to work at Plasmaco.

In 1992, Fujitsu introduced the world"s first 21-inch (53 cm) full-color display. It was based on technology created at the University of Illinois at Urbana–Champaign and NHK Science & Technology Research Laboratories.

In 1994, Weber demonstrated a color plasma display at an industry convention in San Jose. Panasonic Corporation began a joint development project with Plasmaco, which led in 1996 to the purchase of Plasmaco, its color AC technology, and its American factory for US$26 million.

In 1995, Fujitsu introduced the first 42-inch (107 cm) plasma display panel;Philips introduced the first large commercially available flat-panel TV, using the Fujitsu panels. It was available at four Sears locations in the US for $14,999, including in-home installation. Pioneer also began selling plasma televisions that year, and other manufacturers followed. By the year 2000 prices had dropped to $10,000.

In the year 2000, the first 60-inch plasma display was developed by Plasmaco. Panasonic was also reported to have developed a process to make plasma displays using ordinary window glass instead of the much more expensive "high strain point" glass.

Until the early 2000s, plasma displays were the most popular choice for HDTV flat panel display as they had many benefits over LCDs. Beyond plasma"s deeper blacks, increased contrast, faster response time, greater color spectrum, and wider viewing angle; they were also much bigger than LCDs, and it was believed that LCDs were suited only to smaller sized televisions. However, improvements in VLSI fabrication narrowed the technological gap. The increased size, lower weight, falling prices, and often lower electrical power consumption of LCDs made them competitive with plasma television sets.

Screen sizes have increased since the introduction of plasma displays. The largest plasma video display in the world at the 2008 Consumer Electronics Show in Las Vegas, Nevada, was a 150-inch (380 cm) unit manufactured by Matsushita Electric Industrial (Panasonic) standing 6 ft (180 cm) tall by 11 ft (330 cm) wide.

Panasonic was the biggest plasma display manufacturer until 2013, when it decided to discontinue plasma production. In the following months, Samsung and LG also ceased production of plasma sets. Panasonic, Samsung and LG were the last plasma manufacturers for the U.S. retail market.

Clearly, human beings are highly visual in nature, and this is a fact that is particularly important when you’re running a physical store. One of the main reasons why people decide to shop offline is to see merchandise in person, and this is all the more reason to design winning retail displays.

The best way to make a lasting impression is to immerse your customers in a particular environment or setting. Check out the example below. The displays themselves are simple, and the retailer only makes use of a few simple racks and fixtures.

Keep this example in mind for your next display. Recognize that you don’t necessarily have to build something fancy. If you have a strong theme and ensure that all the components of your shop are in line with the story you want to tell, you can create a compelling and immersive experience using just a few simple products and fixtures.

The key takeaway here? Create displays that encourage people to touch and feel for you products. If your items are sitting on a shelf or a table while still inside their respective boxes, you could be missing the chance to connect with your customers.

So, take your products out of their packaging and get shoppers to really experience your merchandise. Ulta Beauty, for example, does this with their hairdryers. While other stores keep the products in their boxes, Ulta has their hairdryers out for people to touch and feel them.

Need an easy and affordable way to breathe life into your visual merchandising? Use plants. Doing so doesn’t just make your displays more attractive, they can also create healthier and more pleasant shopping experiences.

Having more “green” displays clearly has some benefits, so consider incorporating plants into your designs.For inspiration, look no further than homeware retailer Harper & Grey House. Plants are a staple in their displays and the greens do a tremendous job in accentuating their merchandise.

There are a number of ways to implement cross-merchanding. One is to merchandise items that go together. You could, for example, create a display with a blouse, jacket, and matching purse.

Another idea? Display gift cards next to relevant products. Have a look at what Target is doing. The retailer has some baby-centric gift cards next to some toys in the store’s baby section to remind shoppers about their gift cards.

Speaking of little ones, have you considered creating kid-friendly displays? The practice can be quite effective particularly if you cater to Gen X and Millennial consumers.

Even the most creative displays will fall flat when they’re not well-lit. So invest, in the equipment to make sure that your products are displays in the best possible light.

Is your store on the small side? Consider using portable displays so you can make better use of your space. Such displays are easier to move so you can quickly re-merchandise your shop or make room for other things if necessary.

Portable displays can also help in keeping your visual merchandising focused and on-point. Since you have limited space, you’re forced to only display the most important and most high-impact products.

The following cookware display at Crate & Barrel does exactly that. The top part of the display has images of the items for sale along with a quick description of what each product is and what it does.

Colors can make or break your retail displays, which is why it’s essential to select the right color scheme. A big part of this will be driven by the colors of your products. If most of your items are come in pastel shades for instance, then those colors will be quite common in your displays.

That being said, how those products are displayed together matters a great deal. There are various ways to mix and match colors, so have a think about how you’ll do it in your displays.

The folks at Live By The Sword salon did an amazing job merchandising their shelf of Amika products, which come in a variety of colors.By really leaning into the colorful nature of Amika’s items, they were able to set up a vibrant display that pops.

Take this example from The LifeStyled Company. The team created a display featuring Babe Australia’s products, most of which come with predominantly white boxes and labels.

Timely displays are sure to grab the attention of your customers. Keep a close eye on your retail calendar and make sure that your visual merchandising coincides with relevant shopping events and seasons.

For instance, during last year’s back-to-school season, Target dedicated an entire corner to school supplies and relevant merchandise. The area of the store was filled with large, back-to-school displays that were impossible to miss.

If you’re running multiple stores, make sure your displays reflect the tastes and preferences of each location. Pay attention to local trends and popular products in the area and ensure they’re front and center in your displays.

Got a bunch of quotable quotes up your sleeve? See if you can incorporate them into your retail displays. When done right, a bit of text can complement your products and encourage shoppers to take a closer look.

And as a bonus, walls or displays with quotable quotes are a magnet for Instagram users. With the right display, you’re bound to gain a bunch of social shares and tags along the way.

If you’re looking for ways to showcase your full product lines without cramming your shelves and racks with too much merchandise, then see if you can use technology to “extend” your displays.

Case in point: when the online retailerShowpolaunched their pop-up store in Los Angeles, they chose to display a small selection of products in the shop.

In retail, space conveys value. The more space there is in a store or display, the higher the perceived value of the merchandise. This why many luxury retailers display items in standalone cases while discount stores overstuff their shelves with merchandise.

The right amount of space to use in your store depends on how you want to be perceived. But one thing is clear: if don’t want people to think that your products are cheap, then you’ll want to use fewer items in your display.

Take a look at this window fromSaks Fifth Avenue. The display features a single mannequin and table on which there’s just one pair of shoes. Aside from the paintings on the right, there aren’t a lot of details to distract people from the products.

Upcycling — the practice of using old or discarded materials to create something new — can help you build out-of-the-box retail displays. In the example below, we can see that the retailer used old chairs to create racks on which to hang their merchandise.

Now, don’t get us wrong: traditional racks and fixtures are still essential. But hopefully, this example encourages you to reimagine the use of old items. You never know — that old chair, box, or frame could be just the thing that would get your display to stand out.

If you’re celebrating a special holiday or occasion in your store, use your shop displays to show your festive side. Materials like balloons, tassels, garlands and other party supplies could help your displays pop.

With retail being more competitive than ever, there’s just no room for uninspired and mediocre retail displays. Now, more than ever, you need to constantly cook up in-store visuals can stop people in their tracks and encourage them to buy, share, and come back.

And remember that no matter what kind of display you have, it won’t be effective if it doesn’t showcase merchandise that your customers want to buy. That’s why it’s important to make data-backed decisions when it comes to merchandising. Use your POS or inventory management system to generate sales and product reports that will inform your decisions around what items to show off in your store.

When a camera has a slow shutter, you can’t hand-hold it or the subject will be blurry—so a tripod is your answer. If you’re interested in learning more about the fundamentals of photography, check out this video I did with Harrington College of Design. I realize that most point-and-shoots may not allow you to choose your f-stop. That’s OK, and there are ways to get around this, which we’ll discuss in the step by step.

When you’re lighting with window light, there will be a bright side where the light is striking the product, and a shadow side. This shadow side will typically be too dark, so we use something white to reflect the light back into the shadows and brighten it up. Foam board makes a great bounce card, because it’s rigid and white.

Preview the image on the back of the camera through liveview. Everything is probably pretty dark, which is OK. Now, switch to your shutter speed and rotate the dial to make it bright enough that the image is properly exposed. Your shutter number should be going up. For example, your number may go from 1/60th to ¼ . These are fractions of a second that your shutter will be open for, and as the number lowers it will let more light in. Adjust this number until the preview of the image is correct.

The first way to optimize your image is to resize the height and width of the image. When you look at an image on a webpage you are actually looking at an HTML container with an image dynamically scaled to fit inside it. If the container on my website is a 648 pixel square and the actual image is 1500 pixels square, it will be displayed at 648 pixels, but the image it’s referencing will still load at 1500 pixels. That’s a lot of extra load time, especially if you have many images.

The number one question I get is, Should I get a lightbox? Window light (natural light) is easy because it’s a one-light setup, plus it is cheap and easy to do. When shooting with a light tent, you enter into a multi-light setup, which adds a level of complexity, usually requiring education beyond a simple article.

You have to buy lots of extra gear, which can get expensive. The cost of the lightbox and lighting can add up, possibly costing more than hiring a professional.