Three numbers decide
whether it looks good.
An LED wall is the piece of equipment most often bought in the wrong specification — because you rarely know beforehand what actually matters. It comes down to three numbers: the spacing of the pixels, the distance of the audience, and the brightness. Get one of them wrong and a bigger wall will not rescue it. Get all three right and even a small one looks good.
Pixel pitch and viewing distance
The spacing between two pixels is given in millimetres. The smaller it is, the finer the image — and the more expensive. What matters, though, is not the figure on its own but its relation to how far away the audience stands. As a rough rule of thumb: the figure in millimetres corresponds roughly to the minimum distance in metres from which you no longer see individual dots. For a stage whose front row is eight metres away anyway, a fine-pitch wall is money thrown out. For an exhibition stand where people stand a metre from it, a coarse one is unusable.
The point where outdoor events go wrong
Daylight is brighter than people think. A screen that shines in a hall becomes a grey rectangle on a field at two in the afternoon. Daytime events therefore need panels explicitly built for it — and even then it matters whether the sun falls directly on the surface. When an LED wall disappoints in daylight, this is almost always why, and almost never the resolution.
What goes on the screen
An LED wall rarely has the aspect ratio a laptop expects — it is as wide and as high as you assemble it. Presentations, videos and live pictures therefore have to be fitted to the actual surface, or you get black bars and stretched faces. We do that beforehand, with your real files, not with a test pattern. Seeing for the first time on the day how your slides actually look is a problem there is then no time left to fix.
Rigged or ground-supported — and how heavy
LED panels weigh something. A wall that is rigged needs a point that can take it, and the paperwork to prove it. Where rigging is not possible, we build up from the floor on a support structure — which needs depth behind the wall that room plans regularly forget. Here too: the earlier we know, the more likely the size you want is achievable.
- ▸Indoor panels in finer pitches for close viewing
- ▸Outdoor panels with high brightness for daylight
- ▸Free formats: as wide and as high as the surface calls for
- ▸Processing and playback from laptop, media player or camera
- ▸Rigged from truss or built on ground support
- ▸Preparing your content for the actual format
Every setup is cut to the venue, the guest count and the running order — this list is a starting point, not a packing list.
What we get asked most often.
The sensible starting point is the back row: whatever still has to be legible there — text, faces, a logo — sets the minimum size. After that we look at what fits the venue. A wall larger than necessary mostly costs you build time.
In daylight or a bright room, almost always LED — a projector is fighting the ambient light there, and losing. In a darkened hall a projector can be the cheaper choice and, for very large images, often the more sensible one. We will tell you honestly which does more in your case.
Yes — from presentation to video, to a live camera, to a still during the break. Once it is more than a couple of changes, having someone from our team at the desk pays off; then it just runs, without anyone on your side getting nervous.
Less than it used to, but it is not a minor load. For larger areas, and especially for bright outdoor panels, we plan the supply in rather than hanging it off an existing socket.
Tell us about
your event.
Send us the basics — you get an honest assessment and a quote shortly afterwards. No obligation, and nobody chases you about it afterwards.
We usually reply within 24 hours.