panasonic commercial lcd displays free sample

With approximately 8,290,000 pixels, or about four times the pixels of a Full-HD display, images are highly detailed. This dynamic, large-screen display archives true-to-life, finely nuanced images. The 4K display is an excellent choice for meeting rooms where images are often viewed up close, and creates impressive ambience in signage applications for commercial facilities. It can be expected to attract considerable attention.

When installing multiple displays, the Cloning function lets you use a USB memory (or LAN network) to copy the settings of a parent display to other units, thus greatly shortening the setup time.

Playlists and schedules created with Content Management Software can be transferred to displays with USB memory or via LAN. Synchronized playback on multiple displays is also supported.

Compatible with Multi Monitoring & Control Software for addition of new functions, such as automatic searching for map displays and registered devices. Displays and peripheral equipment on the intranet can be controlled and their status can be monitored. Also error notification and error indication can be detected by an indication monitoring function (for a fee) for improved maintenance.

The 4K-resolution (3840 x 2160) SQE1 series supports 4K/60p signal (HDMI) and is capable of operating 24 hours a day. The IPS panel offers a wide viewing angle to deliver information accurately to many people in a large area. It is highly suited to installation in train stations, airports and commercial facilities

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 1,200 °C (2,190 °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.

Wider viewing angles than those of LCD; images do not suffer from degradation at less than straight ahead angles like LCDs. LCDs using IPS technology have the widest angles, but they do not equal the range of plasma primarily due to "IPS glow", a generally whitish haze that appears due to the nature of the IPS pixel design.

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.

Uses more electrical power, on average, than an LCD TV using a LED backlight. Older CCFL backlights for LCD panels used quite a bit more power, and older plasma TVs used quite a bit more power than recent models.

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.

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.

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.

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).

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 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.

In late 2006, analysts noted that LCDs had overtaken plasmas, particularly in the 40-inch (100 cm) and above segment where plasma had previously gained market share.

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 (340 cm) wide.

At the 2010 Consumer Electronics Show in Las Vegas, Panasonic introduced their 152" 2160p 3D plasma. In 2010, Panasonic shipped 19.1 million plasma TV panels.

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.

One such tidbit was Panasonic’s 103-inch glasses-free 3D display. Yes, we know that describing a 103-inch display as a ‘tidbit’ is a stretch. But as a testament to the size of Panasonic’s IFA stand, it was entirely possible to miss the 3D monster thanks to the way it was tucked around a dark corner in an obscurely labelled ‘Advanced Technology’ zone.

Anyone who’s read our review of the Toshiba 55ZL2 TV, the first commercially available product to offer 3D without glasses, will know that its 3D efforts could hardly be considered an unqualified success. Despite the panel using a 4K resolution to try and boost the glasses-free 3D image quality.

But Panasonic’s 103-inch beast – which is set to launch through Panasonic’s Professional division in the coming months – does at least renew some hope that a satisfying glasses-less 3D solution for the home might one day be possible.

Sensibly, given its unforgiving enormity and the fact that like the Toshiba 55ZL2 it uses a series of lenticular lenses on its screen to produce its 3D images, Panasonic’s new 103-inch glasses-free 3D TV uses a 4K resolution. What’s surprising, though, is how much more sharp and detailed its spectacles omitting 3D images look compared with the efforts of the Toshiba. Even though you would have expected the Panasonic’s extra size – it’s nearly twice as big as the 55ZL2 after all – to have left glassless 3D images looking softer rather than crisper.

It’s great to see, too, that the image’s sharpness doesn’t take a dive when there’s lots of motion in the picture. This is doubtless down in no small part to plasma’s innate motion clarity advantages. Plasma tends to have an innate disadvantage versus LCD, though, when it comes to brightness.

Thankfully, though, this disadvantage isn’t as obvious on this glasses-less 3D Panasonic model as we might have expected, as the admittedly rather basic demo footage – a cartoon T-Rex stomping around an exhibition and some footage of a CGI car – actually looks reasonably punchy. Presumably the lenticular filters on the screen don’t introduce any heavy duty light filtering as they go about their stereoscopic 3D business.

The extra sharpness, improved motion handling and impressive brightness levels all combine to make Panasonic’s 103-inch behemoth a much more convincing glasses-free 3D proposition than the Toshiba’s 55ZL2 was. The sheer size of the thing helps too, given that 3D is essentially an immersive format that always works best the more it dominates your field of view.

The screen certainly isn’t flawless in its glasses-free 3D role, though. First, the extra size of Panasonic’s screen revealed quite clear evidence of the structure of the lenticular filters. This appears as a sort of honeycomb effect over bright parts of the picture. The honeycomb structure is quite small to be fair, but it’s certainly visible.

The other issue is to do with viewing angles. As shown in the accompanying photo, Panasonic had gone to the trouble of painting footprints on the floor so that potential viewers knew where to stand in order to get the best 3D effect. Six different viewing zones were supported, but standing even slightly off the footprints certainly did reduce the quality of the experience, introducing such issues as visible ‘seams’ in the picture and a fairly severe loss of focus and sharpness.

Overall, Panasonic’s new 103-inch screen still leaves us conflicted about glasses-free 3D technology. Yes it makes us feel more positive toward it than the Toshiba 55ZL2’s efforts, thanks to its greater sharpness and its freedom from the wavy line interference that afflicted our 55ZL2 test sample. But the Panasonic’s issues with focus consistency, over-demanding viewing positions and visible lens structure still make us wonder if glasses-free technology will ever be good enough to satisfy the sort of AV enthusiast likely to spend the big money currently required to get their hands on it.

The Panasonic Lumix S5 is the smallest and lightest full-frame mirrorless camera that Panasonic have released so far. It"s intended to be a cheaper all-round hybrid camera with features that will appeal to both photographers and videographers alike.

It"s much smaller than the S1, S1R and S1H full-frame cameras, and actually about the same size as the popular GH5 model, which has a comparatively tiny Micro Four Thirds sensor. Note that Panasonic still have plans to release a GH6 model, so the new S5 isn"t meant to be a direct replacement.

While the video-centric S1H proved to be a big hit for Panasonic, the stills-focused S1 model wasn"t as nearly as successful, hence the release of the new S5.

The Panasonic S5 features a 24.2 megapixel CMOS sensor with an expanded ISO range of 50-204,800, the latest Venus image processing engine, a free-angle 3.0-inch touchscreen LCD with 1.84m-dot resolution, and a 2.36m-dot OLED electronic viewfinder.

The full V-Log profile is already pre-installed on the Panasonic S5, while HDR (High Dynamic Range) video recording in 4K is also possible. You can switch between NTSC/PAL modes at any time, and Anamorphic 4K is included, as is automatic dual native ISO.

A standout feature is the High Resolution mode, which allows the Panasonic S5 to capture 96-megapixel equivalent photos by rapidly taking 8 separate images and combining them into one.

Other key features of the Panasonic Lumix S5 include a 6.5-stop Dual Image Stabilizer, 5fps continuous shooting with full-time auto-focusing or 7fps without, 60 fps continuous shooting when using 6K or 4K Photo modes, an improved 225-area DFD autofocus system offering an acquisition speed of 0.08 sec that works down to -6EV low-light, and Eye AF mode and animal recognition driven by Artificial Intelligence Technology.

The Panasonic S5 is priced at £1799 / $1999 body only or £1999 / $2299 with the S 20-60mm f/3.5-5.6 kit lens, and it will start shipping in late September 2020.

Panasonic have so far concentrated on the mid to high end of the mirrorless camera market with the release of the Lumix S1, S1R and S1H models, but now they"re seeking to widen the appeal of their L-mount system by releasing the smaller, lighter and crucially cheaper S5 model.

Indeed, the new Panasonic S5 is even smaller and lighter than the perennially popular Lumix GH5, a Micro Four Thirds model which measures 138.5 x 98.1 x 87.4 mm and weighs 725g. Even with a battery and card fitted, the S5 still only tips the scales at 712g.

Pleasingly, despite the reduction in asking price, the new Panasonic S5 still retains the tank-like build quality and weather-proof exterior shared by the other Lumix S-series cameras. Its magnesium alloy full die-cast dust and splash-proof body has all its main seams tightly sealed against moisture ingress. Phew!

Panasonic certainly haven"t cut any corners in terms of the S5"s build quality in order to meet the more aggressive price point. This is one of the best mid-range mirrorless cameras on the market in this regard.

The Panasonic S-series adopted Leica’s L lens mount when it was initially launched – something that saw the company enter a collaborative partnership, known as the ‘L-Mount Alliance’, with both Leica and Sigma - and as you"d expect, the new Panasonic S5 is no different in this regard.

Panasonic sent us the S5 with the S 20-60mm f/3.5-5.6 kit lens for review. When we tested this lens a few months ago, we commented that it "is a welcome addition to the L-Mount range. It"s versatile, compact and light, handles like a dream and complements a Lumix S1 body well in all areas."

So the camera body is small, light but still well-built and weather-proof, and the 20-60mm kit lens is a natural partner, especially if you don"t already have a vested interest in either Panasonic"s S-series or the L-mount system in general.

Sitting just behind these controls are three small raised buttons, just like on the S1 and S1R. From left to right, these are for manually adjusting white balance, light sensitivity and exposure settings. The Panasonic S5"s layout feels ergonomic and its operation – particularly of such key and regularly used features – well thought through.

Unlike the bigger S1-series, there"s no top-plate LCD screen on the new Lumix S5. Instead the large shooting mode dial has been moved from top-left on the S1 to top-right on the S5,and there"s now a new Burst/Bracketing Shooting dial in its former position.

Stereo microphones and a vacant hotshoe for an accessory flash are slotted directly on top of the EVF. Interestingly there’s no built-in pop up flash on the Panasonic S5, which is maybe a slightly surprising omission for a beginner-focused camera, but one that"s inline with the other Lumix S cameras that have been released so far.

Unlike the S1-series, there is no dial-unlocking button that needs to be depressed in tandem with a turn of said dial to be able to arrive at your preferred setting. The dial on the Panasonic S5 is pretty difficult to accidentally turn, so we didn"t miss the S1"s lock button too much.

The control dial at the front of the handgrip is, incidentally, mirrored by one the size of a five pence piece that sits recessed into the top plate at the back. Here it readily (and again, ergonomically) falls under the thumb of the right hand; thereby continuing to give the impression that the layout has been well thought through, making the Panasonic S1 quickly feel familiar in a new pair of hands.

While holding down, say, the likes of the ISO button, you can once again use this alternative dial to scroll through settings that alter in real time in the electronic viewfinder on the rear LCD screen. You’re not left grappling around trying to find a way to adjust the essentials – the methods to do so are, literally, at your fingertips.

The full V-Log profile is pre-installed on the Panasonic S5 – it"s not the light version or a paid upgrade – offering 14+ stops of dynamic range, virtually the same as those of the Panasonic cinema cameras. HDR (High Dynamic Range) video recording in 4K is also possible.

Dual Native ISO is borrowed directly from the S1H and Panasonic"s broadcast line of video cameras. This automatically switches between native ISO settings of 640 and 4000 without increasing noise by changing the way the camera reads out the image sensor.

The camera’s 3-inch LCD screen with 1.84m-dot resolution is also a touch screen, meaning that you can, if wished, drag the focus area around the screen with your finger or thumb. Alternatively, if you prefer physical controls, you can use the small thumb-operated joystick to the upper-right of the LCD to do the same. Once again it’s just so intuitive.

Instead of the clever but rather convoluted three axis tilting LCD that"s featured on the S1 cameras, the new Lumix S5 has a rather more conventional free-angle screen that"s hinged on the left-hand side.

The top-left of the back of the camera is where we find the playback button for reviewing stills and video. There"s also a dedicated LVF button alongside it for manually switching between the rear LCD screen and the EVF, which perhaps feels a little redundant given that the camera automatically switches to the EVF when you hold the camera up to your eye (this setting can be turned on and off as desired).

The Panasonic Lumix S5 continues to employ a contrast-based auto-focusing with DFD technology, but Panasonic claims that a brand new algorithm means continuous auto-fousing for both stills and video has been enhanced, specifically for head, face, and eye detection.

Panasonic claim that the tracking performance speed is 2x as fast as previous systems for face and eye detection and 5x as fast for human and animal tracking performance, while its purportedly better at following subjects if they turn their heads.

It"s certainly not as pronounced as on the S1 or S1H, so much so that Panasonic are planning to roll-out the S5"s AF system onto those cameras in a future firmware update (and the S1R too), but the limitations of the contrast based AF mean that the Lumix S5 still lags behind the likes of the Sony A7 III and Canon EOS R6, especially when it comes to continuous AF during 4K video recording.

This being a Panasonic camera, as on its compacts we’re provided with the very useful Quick menu short cut button – located via the button marked with an enigmatic ‘Q’ situated to the right of the LCD - which gives completely customizable quick access to 12 of the camera"s key settings.

The Panasonic S5 has 2 different JPEG image quality settings available, with Fine being the highest quality option. Here are some 100% crops which show the quality of the various options, with the file size shown in brackets.

The Panasonic S5"s maximum shutter speed is 60 seconds and there"s also a Bulb option for exposures up to 30 minutes long, which is excellent news if you"re seriously interested in night photography. The shot below was taken using a shutter speed of 30 seconds at ISO 200. The camera takes the same amount of time again to apply noise reduction, so for example at the 30 second setting the actual exposure takes 60 seconds.

Post Focus is a function that enables you to select the in-focus area after shooting simply by touching it on the LCD screen. The first three images show the effects of switching between the three memory cards.

The Panasonic Lumix S5"s High Resolution Mode combines 8 shots into a 96 megapixel image to create a super high-resolution photo. The resulting Raw files are 165Mb in size! We found during testing that selecting Mode 2 in the Motion Blur Processing sub-menu produced the sharpest images.

The Panasonic S5"s Intelligent D-range setting adjusts the exposure to record more detail in the highlights and shadows, with three strengths available - Low, Standard and High - and an Auto setting.

The Panasonic S5 has two native HLG modes for high dynamic range presentation - 4K (3232x2160 pixels) and Full (5984x4020 pixels). The Hybrid Log Gamma mode is designed for display on the latest Panasonic HLG-compliant 4KTV via a HDMI cable connection, offering 3x more dynamic range than a standard image. Pictures taken with the HLG modes can be saved as HSP files as well as in JPEG and RAW formats.

Panasonic"s Photo Styles are preset combinations of different sharpness, contrast, saturation and noise reduction settings. The 9 available Photo Styles are shown below in the following series, which demonstrates the differences. There are also some Custom options so that you can create your own looks.

This is a selection of sample images from the Panasonic S5 camera, which were all taken using the 24 megapixel Fine setting. The thumbnails below link to the full-sized versions, which have not been altered in any way.

The Panasonic S5 enables users to capture RAW and JPEG format files. We"ve provided some Panasonic RAW (RW2) samples for you to download (thumbnail images shown below are not 100% representative).

The new Lumix S5 may be the cheapest camera in Panasonic"s full-frame lineup, but in many ways it"s also the most appealing, especially if you regularly shoot a mix of stills and video.

Enter stage left the new Panasonic S5, which successfully address all of those key concerns and more, coming across like a full-frame GH5 or a mini-S1H, depending on your viewpoint.

Smaller and lighter even than the GH5 with its tiny Micro Four Thirds sensor whilst offering most of the core specifications of the much more expensive S1H, the new Lumix S5 is probably the camera that the S1 should have been. Panasonic are adamant that the S1 will continue to be sold at its full RRP, but we can"t see too many reasons to choose it over the S5.

As with every camera, there are a few notable caveats to be aware of with the S5, most notably the slow 5fps burst shooting speed, slightly dated viewfinder, the micro HDMI port, and Panasonic"s continued use of the DFD contrast-based AF system, which is undoubtedly better than ever before, but still not as good as the phase-detection based competition.

Overall, though, the new Panasonic S5 is a compelling mid-teir camera that punches well above both its weight and its price-tag. It deserves to give the likes of the Sony A7 III, Canon EOS R and Nikon Z6 more than a run for their money (and yours), and is a deserved winner of our Highly Recommended award.

The EOS R is Canon"s first ever full-frame mirrorless camera, joining the likes of Sony, Nikon and Panasonic. Can it beat its main rivals, and is it a real alternative to a more traditional DSLR? Find out now by reading our in-depth Canon EOS R review, complete with full-size sample images, videos and more...

The Panasonic S1 is the more sensibly specced and sensibly priced sibling of the flagship S1R full-frame mirrorless camera. It lowers the number of megapixels whilst upping the video capabilities, promising a more well-rounded camera at a more affordable price-point. Does the new Lumix S1 have what it takes to compete with the likes of the Sony A7 III, Nikon Z6 and Canon EOS R? Read our detailed Panasonic S1 review to find out...

・ This software is used to control a Panasonic digital camera from a PC. It allows you to change various settings of the camera, perform remote recording, and save remotely recorded images to the PC. Check the site below to download and install the software.

・ The software to edit and playback images on computer is not bundled with this camera. To do this, PHOTOfunSTUDIO 10.1PE is available for download at Panasonic website using computer connected to the Internet.

・ The DC-S5 Operating Instructions for advanced features is available for downloaded at Panasonic LUMIX Customer Support Site using PC, smartphone or tablet connected to the Internet.

The new Panasonic S5 mirrorless camera is smaller and lighter than the popular GH5, but with a full-frame sensor rather than a much smaller Micro Four Thirds one!

The Panasonic Lumix S5 still uses contrast-based auto-focusing with DFD technology, but Panasonic claim that a brand new algorithm means that Face/Eye/Head AF is greatly improved.

There are now 7 different 4K 10-bit cameras in Panasonic"s extensive line-up. The S1H actually outsold the Panasonic S1 in 2019, despite only selling for 6 months rather than 12.

Panasonic is delighted to announce the LUMIX S5, a new hybrid full-frame mirrorless camera that achieves excellent performance in both video and photo as well as exceptional flexibility for serious videographers and photographers.

The S5 will be available from the end of September for £1,799.99 for body only, or £1,999.99 for the kit which includes the LUMIX S Series 20-60mm f3.5-5.6 lens. From today until 30th September, Panasonic LUMIX UK are also running a pre-order launch offer of a complimentary DMW-XLR1 microphone adaptor or Sigma 45mm f2.8 lens by redemption*1.

As a pioneer of hybrid mirrorless cameras, Panasonic LUMIX has the largest line-up of cameras that record 4K 10-bit video*2. The latest member of the family, the LUMIX S5, is capable of 4K 60p/50p 4:2:0 10-bit, and 4K 30p/25p 4:2:2 10-bit internal recording. It is also capable of 4K 60p/50p 4:2:2 10-bit HDMI output. For 4K 30p/25p 4:2:0 8-bit internal recording, there is no time limitation as Panasonic’s exceptional heat dispersion technology enables stable and continuous video recording.

The LUMIX S Series full-frame mirrorless camera system adopts the L-Mount system to provide users with a diverse and future-proof range of products from Panasonic, Leica Camera and Sigma. Panasonic now offers four innovative models in the LUMIX S Series of full-frame mirrorless cameras – the S1, the S1H, the S1R, and the new S5. The LUMIX S1 is an advanced hybrid camera for high-quality photos and videos, the LUMIX S1H is designed and developed specifically for film production, and the LUMIX S1R is ideal for taking high-resolution pictures.

The LUMIX S5 packs the essence of these S Series cameras in a more compact, lightweight body. With this line-up, Panasonic is committed to meeting the demands of all creators by challenging the constant evolution of photo/video culture in today"s new digital era.

The LUMIX S5 delivers 14+ stops of dynamic range, virtually the same as those of the Panasonic cinema cameras, to precisely reproduce everything from dark to bright areas. The ability to capture accurate colours and skin tones is a must for any filmmaker. The LUMIX S5 imports the renowned colour science of Panasonic’s VariCam line-up of cinema cameras, as well as V-Log / V-Gamut.

The HDR (High Dynamic Range) video recording in 4K is also available, which realistically reproduces both light and dark parts of an image. The camera records video with a designated gamma curve compatible with ITU-R BT.2100, and the user can now choose Hybrid Log Gamma (HLG) in Photo Style. The HLG*2 Photo mode provides a wider dynamic range to reproduce light and shadow with more natural contrast. The HLG Photos can also be produced as an HSP file*3 with compressed high-brightness signals in its full resolution (5,888 x 3,312, in 16:9) in addition to JPEG/RAW files. The user can playback these vibrant images on the latest Panasonic HLG-compliant 4KTV via HDMI cable connection or other HLG-compliant devices.

The LUMIX S5 features Dual Native ISO sensitivity, a technology that was first introduced in the Panasonic professional cinema camera VariCam line-up. Normally, noise increases as sensitivity rises with a single native ISO image sensor. However, the image sensor with Dual Native ISO in the S5 minimises noise generation by choosing an optimal circuit to use according to the sensitivity before gain processing. As a result, it allows a maximum of ISO 51200 high sensitivity recording. Dual Native ISO gives film creators a greater variety of artistic choices as well as the ability to use less light on set, saving time. The LUMIX S5’s Dual Native ISOs are 640 and 4000.*1

The LUMIX S5 integrates the Body I.S. (Image Stabiliser) for powerful handshake correction. Panasonic developed an algorithm that precisely calculates shake information acquired not only from the gyrosensor, but also from the image sensor and accelerometer sensor. This enables more accurate shake detection and compensation, making it possible to use a 5-stop slower shutter speed*2. Combining the Body I.S. (5-axis) in the camera and the O.I.S. (Optical Image Stabiliser, 2-axis) in the LUMIX S Series lens the 5-axis Dual I.S.2 compensates for blurring, allowing the use of a 6.5-stop slower shutter speed*3.

A 3.0-inch free-angle LCD in 3:2 aspect with 1,840K-dot high resolution provides touch control. Composition during recording in various popular aspect ratios such as 16:9, 4:3, 1:1, 4:5, 5:4 and 9:16 can be checked with the Frame Marker function. A REC Frame Indicator identifies whether the camera is recording or not.

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​Ahead of our full review, here are some full-size 24-megapixel JPEG and Raw sample images and 4K videos taken with the brand new Panasonic S5 mirrorless​ camera.

The Panasonic S5 enables users to capture RAW and JPEG format files. We"ve provided some Panasonic RAW (CR2) samples for you to download (thumbnail images shown below are not 100% representative).

The technology has been causing paradigm shifts in the industries around the world. It has been pioneering everywhere- many companies have been affected by the disruptive nature of the ever-changing world. The advertising industry is not an exception either. We are living in age of information overload, and as we tend to move ahead, we realize that there are ‘n’ number of variations for ‘n’ number of products. It has become highly important for companies to present their product via different channels such as ‘Google AdWords’, social media advertisements, television et al. The main advantage or modern advertisement is, that it is dynamic and flexible. They have been affecting the revenues for the static advertisements, for example billboards and posters. Despite these sources of ads seems to be lucrative and to an extent they work but everything comes with the price. These new sources of advertisements come with huge risk to the user data and privacy. To match those costs companies, spend huge amount of money on its cybersecurity infrastructure. Looking at all the factors companies have been looking a way by which they can reach people by innovative ways. Media outlets have been utilizing the free spaces to present their clients product in a versatile way. The media displayed on the screens located outside the homes or simply put – ‘Digital Out of Home’ is the new thing to watch out for in the advertisement world. The screen/ media owners – in other words, publishers, place their screens on various venues such as commercial building, office building, retail shops, transport, airports, bus stops, hospitals. The same can be used by the public relations groups to run the ads and reach their audiences.

In addition, there can be numerous ways digitalization can help the businesses. However, things are not always as elementary. Irrespective of the kind of media, there is always a constant struggle for the media owners to answer questions on how to deal with the vacant slots. However, Panasonic has a solution for all the media owners – SignEdge Display Network (SDN).

If you think that is all – believe me, there is more to the offering for the screen owners. The ad rates will be set by them in real time which would leads to dynamic rates. This in turn translates to a high price for a high fill ratio. Moreover, the platform provides a complete control to these publishers. The approval mechanism supported by the platform ensures that the advertisement will not be shown without prior approval from the screen owner. In addition to it, the publishers can view the analytics for the campaigns published on their screens. This will give them an insight of how effective their screens had been in terms of location, size, environment etc. The ad platform also comes with a digital signage software which facilitates content management and player management. However, if the publishers already own a signage software of own, Panasonic will integrate it with the platform and publishers can seamlessly reap all the benefits with their existing ecosystem still intact.

The Panasonic Lumix DC-GH6 is the latest in a line of high-end Micro Four Thirds cameras aimed at video shooters. The GH6 can shoot a vast range of 4K-focused video modes, including slow-motion from 120 fps capture, full-sensor "open gate"/anamorphic shooting, and capture in industry standard formats such as ProRes 422 and 422HQ.

The GH6 is built around a sensor with parallel high and low-gain readouts to deliver a "Dynamic Range Boost" mode that Panasonic says delivers more than 13 stops of dynamic range at higher ISO settings. It becomes the first GH camera to use the full VariCam V-Log profile.

The Panasonic Lumix DC-GH6 comes at a recommended price of $2199. This is a $200 increase, compared with the GH5"s original price in March 2017 but $200 less expensive than the GH5S was, at launch.

The GH6 is based around a completely new sensor: the highest resolution chip we"ve yet seen in the Four Thirds sensor size. Panasonic is being distinctly tight-lipped about the fabrication process, which strongly suggests the camera isn"t using the Stacked CMOS technology that"s underpinned the latest generation of high-end cameras. Although we don"t have absolute confirmation, we think it"s extremely likely to be a BSI design.

For the more conventional MOV modes, Panasonic says it"s mainly used the less efficient (larger) H.264 codec for the camera"s 4:2:2 modes because 4:2:2 H.265 decompression puts a significant burden on most computers. The 4:2:2 H.264 modes include both All-I and Long GOP options, with H.265 used to deliver Long GOP 4:2:0 files that balance size and quality. MOV modes of 600Mbps or below can be written to SD card.

Most of the GH6"s biggest advances come on the video side of the camera, as you might expect. And, for that matter, some of the multi-shot modes, such as 6K/4K Photo and Focus Stacking that appeared in previous GH models are absent. But there is at least one photo mode worth drawing attention to, in particular because it"s likely to carry on through to a more photo-focused model, if Panasonic chooses to make one.

The camera"s 8-shot high resolution mode, which delivers 50 or 100MP images, now gains a hand-held mode, in which the camera aligns and combines images even if there"s some camera movement between shots. What"s interesting is that this is combined with Panasonic"s existing motion correction processing, meaning you can capture 100MP images, hand-held, even if things move within the scene.

The GH6"s noise reduction has been updated, with what Panasonic is calling "2D Noise Reduction," which aims to suppress color noise and avoiding the graininess that would appear at higher ISO with its existing system. In video this is taken further, with the camera analyzing movement within the scene so that it can distinguish between real changes (movement) and temporal noise. This added dimension sees it branded as "3D Noise Reduction."

As is usual for a new GH model, Panasonic has looked to expand or improve a lot of the camera"s existing functions. These mostly pertain to video and, while each change is, in itself, pretty minor, they add up to a camera that"s just that bit easier to use.

The GH6 uses the same DMW-BLK22 as the Panasonic S5. It"s a 16Wh unit, that"s enough to power the camera to a CIPA rating of 360 shots per charge when used with SD cards and the 12-60mm F2.8-4. This number decreases around 10% if you use CFexpress cards. As usual, these numbers may significantly underestimate how many shots you"ll get during typical use, but are broadly comparable across cameras. 360 shots per charge is a good, though not great, number. Engaging power-save mode more than doubles this figure.

Autofocus is available in all but the fastest high frame rate modes. Autofocus during FullHD capture at 200 and 240p is limited to thirteen of Panasonic"s own lenses, with firmware updates adding an extra three lenses to the list in March 2022, but for most modes and most lenses, AF with tracking is possible.

As is the case with most modern cameras, Panasonic"s AF system has become quite complex as more and more area modes have been added, to cope with different types of subject. The GH6 does a pretty good job of adding its latest modes and additions without making things too much more complex.

In stills photography it can work very well: the fast sensor readout means the system can respond quickly to movements and, when used with Panasonic"s own lenses, delivers a good hit-rate. There"s some flutter in the viewfinder as the lens is constantly hunting for and checking focus, but the end images tend to be focused where you want them to be. We"ve found our success-rate to be lower when using other brands" Micro Four Thirds lenses, which can"t make full use of the DFD system.

The Panasonic GH6 is capable of capturing very detailed video in a huge variety of resolutions and frame rates. The oversampled 4K recording at standard framerates is competitive with similarly video-focused models but it’s at high frame rates such as 4K/120p where the GH6 captures significantly more detail than all its immediate rivals. If you need a camera to capture fine details at high speed, the GH6 is one of best cameras available. Just remember that in challenging lighting situations 4K/120p and high speed 1080p capture will not allow you to use the DR Boost mode for extended highlight capture.

Raw video recording is possible with an external Atomos Ninja video recorder, with a Ninja V+ required for 5.7K/60p and 4.4K/120p recording. As we’ve come to expect from Panasonic, this gives you substantially more flexibility when adjusting white balance or the level of noise reduction, but the initial capture is much noisier than even internal recording with noise reduction at the lowest setting.

In terms of physical controls for video shooters, the GH6 is one of the best cameras we’ve ever tested. Every control is logically laid out, and the addition of a record button in the front makes it far easier for creators filming themselves, or when using a video cage. The dedicated audio button and corresponding audio menu is a great idea that seems long overdue on hybrid cameras. The flexible tilt/articulating screen (which no longer requires a difficult-to-operate switch) is the most elegant design we’ve seen, allowing full articulation while keeping the LCD away from any connected cables. All dials have a nice resistance to keep you from accidentally changing exposure, and the locking mode keeps you from accidentally drifting off the ‘Manual Movie Mode’ where the camera is likely to spend much of its time.

Our major complaint with the interface concerns switching to high framerate modes when DR Boost is enabled. It is not compatible with high speed modes like 4K/120p and 1080/240p HFR. Switching to one of these high-speed modes requires a user to manually disable ‘Boost DR’, and it is easy to forget to re-engage it when leaving high framerate recording modes. We feel that that the camera should automatically disabled DR Boost when selecting a high framerate mode, ideally with a warning that dynamic range will be reduced. Upon returning to slower framerates, DR Boost should return to its previous setting. This would save time, and minimize the possibility of being in the wrong DR Boost mode when switching framerates. Fortunately, this could be a firmware fix, something Panasonic has a fantastic history with.

A full-sized HDMI socket and a screen that doesn"t clash with the headphone socket: it"s almost as if Panasonic checked how videographers would need to use the camera.

Stabilization in the GH6 has improved to a CIPA rated 7.5 stops when using supported Panasonic lenses. The tricky part is, a CIPA rating doesn’t tell you how the stabilization will look when recording video. Many highly CIPA rated stabilization systems can have a jerky look as the IBIS fights the movement of the camera.

Since its introduction in the GH5, we’ve been very impressed with the Dual IS mode where the camera’s IBIS cooperates with the lens’ stabilization system. Pans and tilts are very smooth, and walking footage still has natural bounce, but is well controlled. The GH6 performs even better in this regard, and makes a good argument for getting the camera with the Panasonic Leica 12-60mm F2.8-4 kit lens, just for the Dual IS support.

Surprisingly, though, the biggest change we saw was when using lenses without stabilization, or with unsupported stabilization systems. The stabilization when using the Panasonic/Leica F1.7 zoom duo, or Olympus lenses, is considerably improved. Upon seeing the results, we shot an entire episode in Germany primarily handheld with the 12-25mm F1.7 & 25-50mm F1.7, and were impressed with the outcome. We"d still consider Olympus/OMDS"s Sync IS system to have a slight edge, but when using unstabilized or unsupported lenses, I would consider the GH6 equally effective for video shooters.

Even in the face of increasingly fierce competition from the likes of Sony"s a7S III, Canon"s EOS R5C (and even Fujifim"s X-H2S, to an extent), the GH6 offers a well-specced, well thought-out stable shooting platform that can adapt to a wide range of video shooting scenarios. Panasonic has continued to build-out the feature set and refine the user interface, with nice details such as quick access to audio settings.

Panasonic has also recognized the limitations of Micro Four Thirds and worked to minimize them. The DR Boost mode increases the GH6’s dynamic range over what we’ve seen before with Four Thirds sensors, and when paired with the Panasonic/Leica F1.7 zooms you can achieve shallow depth of field and light gathering comparable to APS-C and even approaching some full frame camera bodies.

The GH6 is the kind of production-standard powerhouse we"ve come to expect from the series, but we"re not sure Panasonic"s big gamble on a different sensor design delivers the pay-off it was clearly hoping for. It"s a superb video camera but while it does bring some exciting new photographic tricks to the table, overall it"s a less capable hybrid camera than its forebears.

The Panasonic GH6 delivers more detailed 4K video, higher resolution 5.7/5.8K recording options due to its higher resolution sensor, and anamorphic support. The option of recording internal ProRes will appeal to professionals who require a universally editable professional recording format. We also found the image stabilization and ergonomics superior on the GH6, and its fan cooling gives greater dependability.

The R5C offers many of the same professional assist tools like waveforms, but adds internal raw video recording and Canon’s well regarded DPAF system. It also cleverly adopts the Cinema EOS interface when in video mode, but photo-focused EOS displays when shooting stills. However, it sacrifices IBIS in exchange for all these video additions.

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And as face-to-face interaction becomes less of a priority in the marketplace, organizations of all types are reconsidering the ways they communicate with their customers. In many cases, they’re incorporating large-format displays to accomplish the task.

“Previously, large-format displays most commonly were used for immersion and “wow factor” in experience centers or lobbies,” said John Steinhauer, vice president entertainment sales, Americas at global technology company

With a trillion dollar-plus infrastructure budget being proposed by the federal government, experts say we’ll see much more digital spread through the community, not just for advertising but for information dissemination and other uses as well. Large-format displays will be at the center of those efforts.

Before getting into a discussion of the role large-format displays will play in a pandemic-aware world, it’s helpful to get a sense of the various types of displays on the market.

Twenty years ago, a 42-inch LCD display was considered massive, while today those displays are available in sizes as big as 98 inches or more. LCD displays leverage the light-modulating properties of liquid crystals combined with polarizers to create an image. The liquid crystals do not emit light directly, instead using a backlight or reflector to create an image. A resolution of 4K is becoming common, with 8k displays beginning to come down in price.

In addition, there’s the difficulty in transporting such displays. A pothole on the interstate could potentially send a $10,000 display back to the factory for repairs, if not to the trash heap. Instead, a similar effect can be created via a video wall comprised of multiple 42-inch displays.

“I think large-format LCD is about as big as it will get, as the Korean and Chinese display manufacturers are not investing in billion-dollar manufacturing plants that would be necessary to make even larger LCD display mother glass,” said Dave Haynes, founder and editor of the digital signage news and information site

Variations on the LCD concept include the organic light-emitting diode (OLED) display. Because the pixels in an OLED display emit visible light, there’s no need for a backlight. That allows OLED displays to be extremely thin, and in some cases, flexible. Although visually appealing, OLED displays are still relatively pricey compared to their LCD counterparts.

Transparent LCD displays are based on the same technology as typical LCD displays, except for the backlight being eliminated. Instead, transparent LCD displays depend on ambient lighting to create a visible image. That makes them suitable for applications such as the door of a food or drink case in a grocery store. Images on the door are made visible by the lighting in the case.

Another format making inroads is reflective LCD, or RLCD. Reflective LCD displays depend on ambient light to illuminate the image and don’t require a backlight. Because of that power consumption is low and the displays can be extremely thin. RLCD displays are a good solution for outdoor applications, although they’ll need additional lighting to be seen in the dark.

“While RLCD panels themselves may not be 84 inches for more now, you can tile them side by side to create larger displays,” said Mike Casper, co-founder and CEO of display technology company

And making a strong showing in the large-format domain are LED displays. Such displays use the same technology behind those time-and-temperature signs that were once a feature on the side of the local bank. The difference is that pixel pitch, or the distance between individual pixels, continues to shrink, with some displays boasting a pixel pitch of 0.9 mm or even smaller. What that means is that the viewing distance, or the distance from the display the viewer needs to be to perceive a quality image, continues to fall as well. There are a variety of ways to calculate optimum viewing distance, but one common method is to multiply every 1 mm of pixel pitch by 10 to get the viewing distance in feet. So if the display features a 0.9 mm pixel pitch, viewers should be at least 9 feet away from the screen for the best effect.

Advantages of LED displays include the ability to manufacture them in virtually any shape or size. In addition, those screens can be shipped to the deployment and assembled on site. If a panel fails, it can be easily replaced. They’re much brighter than LCD displays, making them great for outdoor and/or high ambient light situations. Brightness can be easily adjusted depending on conditions.

“Large footprint video walls are already being supplanted by LED video walls, despite costs that can be three times or more the capital cost of LCD for the same physical footprint,” Haynes said. “The people who spec big video walls also like the absence of seams, longer operating life and easier maintenance.”

On the downside, LED displays can be expensive and power consumption is higher than an LCD display of comparable size, although both of those issues are being addressed as the technology improves.

And because the viewing distance from the customer to the board is likely to be relatively short, LCD displays will likely continue to dominate the QSR space.

The pressure is on to reinstate in-person instruction, but social distancing remains a concern. One of the ways schools can address social distancing concerns while still delivering face-to-face instructions is via the use of large-format displays in lecture halls. Instructors can supplement lectures with PowerPoint presentations and/or videos, displaying those images on a screen large enough for those in the back of the hall to see clearly.

“Interactive digital boards (or Interactive whiteboards)—that is, large-format displays with integrated touch functionality—serve two important purposes,” she wrote. “Touchscreen technology allows elementary school students to interact with learning material, while boards with screen-sharing capabilities allow upper classes to see the work that a single student performs on her personal computing device—she’s able to wirelessly share what’s on her screen via the interactive whiteboard.”

Of course, cost remains a concern. Lecture halls with large-format displays may be a way to have a single professor teach in multiple locations at once. Wayfinding and sports presentations will be a factor as well.

The challenge for store operators is to capture the attention of shoppers either from their cars or from the sidewalk. Large-format displays at the street, in windows and on sidewalk kiosks will be part of meeting that challenge.

Lockdowns pressed the pause button on many smart city initiatives, but they are likely to be picking up shortly. Kiosks and large-format displays are a part of those efforts. Some cities are realizing that the pandemic spotlighted the need for smart city technology.

Large-format displays have long had a place in transportation, and they’ll continue to do so, albeit with some enhancements. In addition to displaying arrival/departure information at transportation hubs, large format displays are being incorporated into ticketing and wayfinding kiosks.

Although fine-pitch LED has just begun to make inroads into the indoor market, it’s becoming the display of choice for outdoor applications. About 75% of the LED market is outdoor displays. Fine-pitch LEDs no longer limit the end user on the stan