Large format displays. Excellent communication and sheer spectacle.
By CARLOS MEDINA, Audiovisual Technology Expert and Advisor
Nowadays every single one of us has become a most demanding viewer when it comes to enjoying audiovisual content. This means that visual and sound elements feature higher technical quality, are more attractive and more spectacular. This change has been achieved through progress made in two areas with the aim of satisfying viewers.
Firstly, in the field of audiovisual content development. The combination of new visual capture devices (a video camera, for instance) and contribution equipment (a vast choice of software and computer apps), together with the innovation brought about by professionals (creators) in narratives and audiovisual resources, is giving rise to a surprising language and increasing audiovisual literacy. Specifically concerning visual technique and technology, we only want to enjoy images having resolutions that are at least FHD (Full HD – 1920 x 1080 pixels) and featuring a 16:9 aspect ration and a wide color gamut (as per the ITU-R BT.709 and ITU-R BT.2020 standards).
In second place, within the area of manufacturing and consumption of playback/viewing devices for the audiovisual content so created, generically known as ‘displays’. The efforts made by the manufacturers of this kind of equipment –both concerning performance and price- have been instrumental in the favorable welcoming of quality audiovisual production.
Big marketing campaigns have turned citizens into near-experts in audiovisual communication, as they are now more demanding with regards to reception, playback and viewing of professional audiovisual content.
We can see how in our society we are constantly surrounded by ‘visual’ displays of different sizes, colors and technologies, having varying shapes and uses. From shop windows to personal smartphones, not to forget a very broad choice of TV sets for our homes. Additionally, in this context, we have been swarmed with a lot of new technologies and words whose meanings we normally do not know.
This article will cover only what is known as ‘large-format displays’. The first thing we must do is focus on understanding the vast amount of terms used in this area: Large-inch TVs; Giant TVs; Large-format Monitors; Showcase Screens; Digital Totems; Professional Screens; Modules; Digital Signage Screens; Digital Billboards; Welcome Displays; Giant-Screen Systems; Boards; Arrays; Panels; Public Displays; Videowalls; Curtains; Screens; Meshing and/or Large-format Projections.
By looking at the above list we can realize the big confusion that reigns at present depending on the criterion used. Some devices make reference to the technology used; others have more to do with their relevant use; some point out the location where displays are found.
However, all have the same thing in common: they will show viewers a large final image. Hence ‘large-format’, a term that in this context makes reference only to the length, height and width measurements of an image (in meters and/or centimeters). In many instances this measurement is expressed in inches.
These displays are regarded as ‘large-format’ when they show images that are 65″ (164cm) and above in size.
The term ‘format’ here has nothing to do with the encoding of the digital files to be transferred or played: photography, video and/or audio formats. And nor has anything to do with our images’ aspect ratio.
Before getting started, what we do want make fully clear is that we are not going to deal here with any possible solutions in the area of ‘large-format projection’, with which we can achieve huge images in their relevant lengths, as this would entail delving into a completely different field. We had better leave this topic –visual projection systems and techniques- for a separate article.
It is now time to get a generic view on performance of large-format displays so they will perfectly cater to our needs, goals and preferences, thus achieving the best solution possible.
This heading makes reference to the technology used in the type, design and build of the display’s light source.
Leaving for the good old days the CRT (Cathode Ray Tube) technology, as these devices are commercially long gone, we can list the following popular technologies up to the most immediate future: SED (Surface-conduction Electron-emitter Display), LCD (Liquid-Crystal Display), Plasma, TFT LCD (Thin Film Transistor-Liquid Crystal Display), LED (Led Electric Diode), Edge LED, Full LED, Full LD (Local Dimming) LED, hybrid LED-LCD, mini LED or micro LED, QLED (Quantum Dot Light Emitting Diode), OLED (Organic Led Electric Diode), ULED, Super LCD, P-OLED, AMOLED (Active Matrix Organic Light Emitting Diode), Super AMOLED, Dynamic AMOLED, NanoCell, TN (Twisted Nematic) panels, IPS (In-Plane Switching), VA (Vertical Alignment), SVA, PLS (Plane to Line Switching), PLS-AD, S-PLS, IGZO (Indium Gallium Zinc Oxide), LEDs with DIP (Dual In-line Package) encapsulation; and even LPD (Laser Phosphor Display) o Rear Projection DLP RGB.
Each of these technologies has an impact on matters as important as the type of light source used, back-lighting system, viewing angle, image stability (flicker), energy efficiency, space taken up by the display and its thickness, brightness, contrast and color-gamut response, the image’s response time, durability, final price and even AI developments for analyzing the images to be displayed.
Therefore, the technology to be used in the display is crucial as we have widely varying solutions available for catering to diverse uses within the audiovisual sector and for the most demanding viewers.
This is arguably the feature most widely considered when it comes to comparing the various solutions available on the market, and certainly a recurring one for choosing one model over another.
As we have mentioned before, we are making reference here to the image’s length, height and width measurements. The criterion for assessing size is measuring the device’s diagonal, either as a unit (TV sets, monitors, screens) or as the result of grouping several modular items (videowalls, screen systems, wall displays and panels).
Either centimeters (sometimes meters) and/or inches are commonly used. And the term ‘large-format’ is used from 65″ (164cm) and above.
We can find currently on the market units with sizes of 65″ (165cm), 75″ (191cm), 85″ (216cm), 100″ (254cm) and even as much as 292″. The latter was showcased by Samsung under the ‘The Wall’ denomination at the CES (Consumer Electronics Show) 2020 held in Las Vegas, USA.
As for modular devices that are combined to form large displays, screen sizes can be huge -only limited by the placement/location where displays are to be fitted/mounted and the risks that can arise from such sizes. A good example of this is the ‘Big Hoss’ (2014 – Fort Worth – Texas, USA), an HD screen measuring 66.57 meters in width by 28.8 meters in height and a weight exceeding 300 tons. It is located at the Texas Motor Speedway car racing track in the United States. As this display is installed at an outdoor location, a structure capable of withstanding winds up to 193 km/h, rainfall, and granite impacts has been fitted as protection. Also thanks to the glassless transflective technology, the display additionally withstands sunray reflection.
Also of an incredible size is the 500×32 meters screen in the Harmony Times Square residential development in China, placed on a rooftop of one of the buildings. Its mission is permanent displaying of multimedia content. Also at the Churchill Downs horse race course, in the United Status, a giant 4K LED display can be found. Its measurements are 52.12×27.43 meters and has been fitted 80 meters high, with a weight exceeding half million kilos.
Yet another example is the Arena Corinthians screen in Brazil, which was implemented on occasion of the 2014 Football World Cup when a 170×20 meter LED panel was fitted on a side wall at this stadium. It features an approximately 3,400 square meter screen and it was back then the world’s largest display fitted at sports facilities.
In this sense, the implementation of new technologies on construction of displays is vital in order to keep enjoying huge, incredible large-format displays today and in the near future.
Viewing angle is defined as the viewer’s position in reference to the display where audiovisual content can be properly watched. Screens featuring limited viewing angle only allow watching sharp images if the spectator is positioned directly in front of the screen. Viewing angles are measured horizontally (H) and vertically (V).
Thus, in a 150/90 measurement, the first value represents the H viewing angle and means that the on-screen image is fully visible on a range of 150º horizontally (from one side to the other) when facing the display.
The second figure, 90, represents the V viewing angle and means that the on-screen image is fully visible on a range of 90º vertically (top-down) when facing the display.
Both measurements must at all times yield a correct visual outcome of the image: otherwise, we can notice a shift in the color gamut: a decrease in blackness, dimming, loss of luminance, a distorted image in aspect ratio or even loss of coloration (faded colors and loss of saturation).
Large-format displays feature typical horizontal ranges between 120º and 180º and, vertically, from 90º to 170º depending on the display’s (diagonal) size. An important detail for reference is the fact that viewing angle typical of humans is about 180º horizontally (H) and 130º vertically (V).
Image resolution (or spatial resolution)
This parameter is the number of lines per millimeter (mm) or the number of horizontal pixels by the number of vertical pixels in an image. The higher the number of lines or pixels, the greater the level of detail. And even if it is not the only factor, it is crucial when it comes to defining quality.
Also worth considering is pixel density. This is a piece of data calculated on the basis of resolution and size of the display, which allows finding out the number of pixels per inch. Therefore, the figure is given in pixels per inch (ppi). Knowing this is very convenient because it has an impact on visual fatigue when it comes to viewing audiovisual content over a certain amount of time.
The range of image resolutions in the various displays is truly wide. Leaving aside SD (Standard Definition: 720 x 576 in PAL and 720 x 486 in NTSC) resolution, we explore the current classification in the areas of broadcast TV and digital cinema: HD (1280 x 720), FHD (1920 x 1080), 2K (2048 x 1536), UHD (3840 x 2160), 4K (4096 x 2160), 5K (5120 x 2160) and 8K (7680 x 4320).
As for IT, other classifications have been defined: From the well-known VGA (640 x 480) up to 4K (4096 x 2160), also considering SVGA (800 x 600), WSVGA (1024 x 600), HD 720 (1280 x 720), WXGA (1280 x 800); HD 1080 (1920 x 1080), QXGA (2048 x 1536), QSXGA (2560 x 2048) or UWQHD (3440 x 1440), amongst others.
This parameter makes reference to the look of the display: flat, curved, with bezel, zero-bezel, opaque, transparent or transflective (with anti-glare treatment). It also makes reference to the specifications on thickness (ultra-fine) or even if it can be rolled over. Amongst the novelties increasingly found in large-format screens, we also find dual (double-side) displays.
Essential features are the materials used for construction (plastic, steel, aluminum…) and ergonomics; also whether they are individual pieces of equipment or a modular solution combined into a larger panel or display: flat, concave curve or convex curve, or even circular.
These first five qualities are basic for consideration when it comes to determining the ideal distance to watch, enjoy and feel satisfied with the images shown on our display. The most suitable distance between viewer and screen can be calculated and estimated. For instance, for a 65” SD-quality display, manufacturers recommend a distance of 5.70 meters; for HD quality, a distance of 4.10 meters; and for 4K quality 2.50 meters is the recommendation. Therefore, for a 75” display the recommended distance is 2.92m in HD and 1.88m in 4K.
We are all interested in knowing the ideal distance. The Society of Motion Picture & Television Engineers (SMPTE) recommends multiplying the display’s diagonal length times 1.6 when sitting in front of it in order to get a 30º visual field so as to ensure a good viewing experience.
On the other hand, the criterion set by specialist company THX and some display manufacturers, is multiplying the display’s diagonal (in HD) times 1.2 in order to obtain a 40º visual field; that is, to get as close as possible to full immersion with images.
In the specific case of modular solutions, we must know the distance existing between the centers of each individual pixel (the so-called pixel pitch). It is measured in mm. The higher the pixel pitch, the greater the separation between pixels. This has an impact on the recommended viewing distance, both for indoor and for outdoor viewing (in the latter case, where large distances exist between display and viewers). In sum, the smaller the pixel pitch, the easier is to view the display in close proximity with good quality.
In this regard, many manufacturers express the optimal distance based on the pixel pitch value when including it (together with letter ‘P’) in the model’s name:
– P2 (2mm pixel pitch) from 2 meters in length
– P3 (3mm pixel pitch) from 3 meters in length
– P4 (4mm pixel pitch) from 3 meters in length
– P5; P6, P7, P8, P9 from lengths of 5, 6, 7, 8 and 9 meters, respectively
– P10 (10mm pixel pitch) from 10 meters in length
– P16 (16 mm pixel pitch) from 16 meters in length.
The ideal distance for viewing has an impact on presence and feeling of immersion of a display towards viewers. This feeling can increase or fade depending on the peculiarities of the space/place where viewing is performed as well as by other features or specific performance of displays, as noted below.
Is calculated by dividing the width by the height of the image that can be viewed on the screen and it is normally expressed as ‘X:Y’. Thus, a vertical image could have a 2:3 aspect ratio; that is, the height be 1.5 times the width.
The visual outcome depends on the aspect ratio, therefore resulting in the so-called square images or wide-view images. Based on the origin of their relevant professional environment (television broadcast or cinema) images have different proportions between width and height.
The aspect ratio in the era of SD television was, approximately until 2009, 4:3, which is expressed in cinema as 1.33. Current displays –ready for high-definition images- typically feature a 16:9 aspect ratio (1.77 in cinema, that is, the width being 1.77 times the height). At present models offering 21:9, the ‘widescreen’ format at its best, can be found on the market.
Other aspect ratios used in TV/cinema at present are 18:9 / 2:1; 14:6 / 2.35:1; 11:4 / 2.76:1, and even 360° circular vision (12.00:1 in cinema).
In some instances, this parameter receives the name of dimensional relationship, often called aspect relationship, aspect ratio, aspect proportion or aspect rate.
This is a representation of the color gamut used by the various devices, both for capture and for viewing, depending on the professional environment concerned. A distinction must be made between this concept and ‘color model’ (RGB, HSV or HSL for instance).
The colorimetry representation of the image or WCG (Wide Color Gamut) entails a new look over reality and an increased knowledge on the world of color and its perception by society. This implies ‘knowing how to look at and see’ a new color palette existing on our displays.
Basically, the aim here is getting the photo-electronic media to come as close as possible to the color palette that the human eye is capable of ‘seeing’. All our readers know that a color image, as captured from or played back in audiovisual media, is formed on the basis of the RGB (Red, Green, Blue) model, which are the primary colors in additive synthesis.
In 1931 the Commission Internationale de l´Éclairage (CIE), after various studies and experiments, laid down the rules of the color game by means of mathematical values and coordinates, in which we know as the colorimetry triangle or RGB CIE XYZ Diagram, where the spectrum of human vision is represented and point D65 is set as center of reference for white.
Thus, any succeeding contribution/innovation by the image industry (cinema, television, photography, graphic arts, design, internet…) players creates its own color space or gamut (range is the literal translation but this could lead to confusion) within the CIE Diagram.
In large-format displays we must know what color space they are capable of representing to get it as close as possible to the information on the color that is visible by the human eye and in accordance with the image creation process. There are specialist color spaces for the photography environment (sRGB, Adobe RGB, ProPhoto), for video/TV Broadcast (BT.709 and BT. 2020) and for digital cinema (DCI-P3, ACES AP0 o ACES AP1).
The ultimate goal: using a wide color gamut (thence the WCG acronym). For instance, BT.709 can represent only about 35% of the colors that the human eye is capable of seeing: DCI P3/XYZ covers about 54%; and BT.2020 nearly 76%.
A display’s color gamut is achieved by combining the three primary colors (RGB) in different proportions. Color depth or bit depth is numerically encoded in the image digitalization process and depends on the number of bits that are allocated to a B&W or a color image (to its RGB channels, respectively).
The outcome from bit allocation means being able to view images with a higher or lower number of colors. For instance, a display capable of showing 16.7 million colors will have a total encoding of 24 bits (8 bits/256 colors of R x 8 bits /256 colors of G x 8 bits /256 colors of B).
Nowadays we can have large-format displays with color depths up to 36 bits (68.7 billion colors), or 12 bits per each RGB channel. These values allow watching images free from banding, a continuum in color and better fading with an ample color gamut that is closer to reality.
This value is measured in candelas per square meter or nits and is represented as follows: cd/m2. It establishes the intensity of black, the screen’s darkest color. The higher the number of nits on the display, the greater the brightness. Just one piece of data: the sun generates between 10,000 and more than 30,000 nits.
A candela per square meter (cd/m2) is the unit for measuring luminance in the International System of Units and is used as measurement for the light emitted in an area of 1m2.
The brightness or luminosity of a display expresses the amount of light emitted. In this parameter we must classify large-format displays based on the response levels offered. Today, a modern TV set or monitor may yield between 500 and 1,500 nits and some more sophisticated high-end models, between 5,000 and 7,000 nits. In turn, modular solutions comprising panels or LED screens may yield 3,000 nits and above for indoor implementation and ranges between 6,500 and 12,000 nits when used outdoors.
Being this a notion that is hard to define -as it used in many environments in very different ways- we must begin by pointing out that there is static contrast and dynamic contrast.
A display’s static contrast –also called real contrast- is the way of measuring how white is white and how black is black when represented in a single instant. In visual terms, a display will have a high contrast level if black is seen as completely dark and intense. Likewise, it has low contrast when black is dimmed so as to appear as dark grey.
It is represented by the digits XXX: 1, which is the relationship between the brightest white and the darkest black. For example, in large-format monitors we can find static contrast ratios ranging between 700:1 and 1,000:1. Modular panels and screens for indoors offer from 2,000:1 onwards, and up to 10,000:1 for outdoor locations.
Dynamic Contrast Ratio (DCR) is a measurement for convenience of manufacturers that rates how much a pixel changes from black to white (or between different shades of grey) in a given period of time. This figure does not depend on the physical technology –as real contrast does- but on software and image processing algorithms. Values here are normally much higher than in real contrast (20,000:1, 50,000:1, 100,000:1 or even higher).
High Dynamic Range (HDR) is the capacity of displaying a greater number of grey shades, thus increasing the margin for black and white hues; to achieve greater realism in contrast and in exposure between areas in an image.
The HDR technology enables achieving greater range in the image displayed in terms of luminance, contrast and color ranges. HDR10, HDR10+, Dolby Vision, HLG (Hybrid Log Gamma), Dynamic HDR (Dynamic Tone Mapping), DCI DRAFT HDR and Direct View Display are the HDR types we can find in large-format displays.
This feature is essential whenever content for viewing also has sound and listening to it is therefore necessary in order to enjoy the message in full. It must be kept in mind whether the display comes with built-in speakers (2:1 or surround system) with an estimated RMS power level (like 20W for indoor settings). Otherwise, it is a must that the display have an audio out or a headphone connection.
The most modern models feature smart systems capable of analyzing sound for playback in order to sync the sound source with the image and assessing ambient noise. This allows boosting dialogues and voices for listening in addition to achieving a 3D sound experience that is fully realistic and immersive.
Modular solutions do not have sound. They are just mute installations only for display.
This is an indicator that makes reference to the time a pixel takes to change the color (from white to black or from grey to grey) being displayed. It is measured in milliseconds. The lower a display’s response time is, the better the viewing experience.
It typically ranges between 5 and 8 milliseconds, but there are specialist monitors with lower response times available on the market.
Sharpness of moving images, scarcely defined halos and edges or the appearance of tails and shadows are also impacted by this response time. In turn, this time is determined by the technology of each relevant display. For instance, in OLED-based solutions, response time is nearly zero.
High-end models feature what is known as Variable Refresh Rate (VRR), which enables optimal adaptation to each scene/image being displayed.
Refresh rate / Frames per second
This is given in Hertz (Hz). This rate measures the number of times the display’s image is updated every second. The higher, the smoother and quicker the movement of images.
Thus, a 30Hz monitor will update the image 30 times per second, while a 60Hz display will do so 60 times per second and a 120Hz up to 120 times.
This parameter is closely related to frames per second (fps) or frame rate of audiovisual content.
In this regard, we must pay attention to all potential connectors and interfaces for audio, video and data input/output, as well as to interconnection with other remote equipment. It is essential that the display come with professional connections in order to ensure safety in operation and quality of audiovisual content.
Wired connections feature jacks such as BNC, HDMI, DVI, Display Port, VGA, Ethernet (RJ-45), RCA Audio, MiniJack Audio, S/PDIF / Toslink, USB and USB-C ports. There is also a possibility for wireless operation via WiFi or Bluetooth connections.
Compatibility with multimedia signals and files
It is very important that the display have the broadest range of options for audio/video playback and multimedia file execution as possible. From composite video signals, in components, RGB signals, SDI protocol or the HDCP security protocol, up to an enormous variety of file formats such as MPEG2, MPEG4 (DIVX 3,4,5,6), XVID (AVI, DIVX, M4V, DAT, VOB, MPEG, MPG), H.265, HEVC and/or AAC, AC3, AC4, DTS,E AC3,HE-AAC, MP2, MP3, PCM, WMA, apt-X as well as still JPEG format images.
Last but not least important, it is necessary to keep in mind some issues about large-format displays that must be taken into consideration depending on use, social habits and trends.
Sometimes, large-format equipment must operate for many hours/days, so proper operation must be ensured 12/7, 16/7 or even 24/7 for endless display.
In this regard, it is essential that the operation of fans (active or passive –fanless-) and ventilation openings being placed on the display’s case, work properly so as to ensure heat dissipation (measured in BTU/h), thus eliminating overheating risks and related performance issues.
Service life of the light source
It is an essential factor in terms of a display’s reliability and operation time. It is calculated as an amount of hours. For example, a LED display may indicate that operation time is at least 125,000 hours in normal or eco mode.
This makes reference both to sustainability of our planet and a decrease in the electricity bill amount. Therefore, this efficiency must be translated into low costs in spite of the long hours that large-format displays have to operate in most cases.
Location / IP protection level
This is the place where our display will be located. It can be indoors, outdoors or mixed (semioutdoors). In each of these locations, the relevant display must be capable of enduring certain weather and environmental conditions.
Therefore, the following must be considered:
– Minimum and maximum temperature (i.e. 10ºC-40ºC).
– Humidity: 80% max. in order to prevent condensation in the display’s components.
– IP (International Protection). Under the CEI 60529 standard two digits are used, the first one indicating protection against solid objects and the second digit protection against fluids. The first digit can range between zero and six, and the second one goes from zero to nine. Therefore, displays with IP65 protection can be found: six means full protection against dust; and five means that water jets should not be allowed (from any angle) from a nozzle of 6.3mm in diameter at a rate of 12.5 liters per minute at a pressure of 30 kN/m2 for a time not lower than 3 minutes and from a distance not lower than 3 meters.
Both individual displays and modular solutions need, in most cases, to be placed on the floor, hung from the ceiling or supported by structures built for such purpose or placed on the wall and/or embedded. The various possibilities for deploying a display at a certain location are known as fitting and assembly solutions.
– Stable, fixed fitting
– Suspended, fixed fitting
– Push-lock, fixed fitting
– Modular, portable fitting
In regard to the way of actually performing the fitting and assembly, it can be said to be conventional when the display is straight and level either horizontally or vertically; it is anamorphic when varying, irregular, asymmetrical, fragmented or tilted deployments are accepted.
Another further consideration here is transport of this equipment, as it is usually bulky and heavy. Typically, wooden or ABS flightcases are used with aluminum reinforcements on the corners, inner foam cushioning, safety latches and wheels with brakes.
Other factors normally being considered are whether displays can be touch-operated, feature Smart TV capabilities, under what OS they work, whether TV content (DVB-C / DVB-T) can be tuned in, whether remote controls are available, presence of environment surround lighting, etc.
Once most technical features and capabilities have been reviewed, let’s now classify large-format displays in order to shed some light on all names used to make reference to them.
– UNITARY/INDIVIDUAL: In reference to a TV set, video monitor, or simply displays in general.
– UNITARY/INDIVIDUAL GROUPED: This is a videowall, an installation featuring multiple unitary/individual displays with minimum separation to make up a single large-size device. There are videowall configurations such as 2×2, 3×2, 3×3, 4×2, 4×4, etc.
They may feature an input source in the installation or as many input sources as necessary based on the relevant event, either unevenly or simultaneously (an external video controller –wall controller- and/or control/software being required). As several displays are used, individual calibration for each one is needed in order to achieve a uniform visual result.
– SCALABLE MODULAR: Here we are making reference to modules/plates, panels, screen systems and/or wall displays that are placed (stacked) linearly to form geometrical shapes and even offer the possibility of playing with curvature in order to achieve fully circular solutions such as ‘The Round Screen’, for instance, a circular LED structure made of aluminum that can have varying diameters.
The outcome of coupling these scalable modules/plates is known as array/panel or even cabinet (rack). And the resulting display is the sum of the individual screens that creates a display and/or wall screen of different sizes: 2×2, 3×3, 4×3, 4×4, 5×4, 6×5, 7×5, 7×6, etc.
Calibration (either manual or automatic) operations are also required for perfect, continuous uniformity: either pixel by pixel or module by module or for the whole resulting array.
– OTHER: Curtains; Screens; Meshing
After having commented and shared with you this guide for getting to know a little better ‘large-format displays’ it is hard to recommend specific models, as some key issues must be considered for making the best choice, such as:
– Outdoor or indoor deployment;
– Distance between the display and the user viewing the visual content;
– Fitting and placement of the relevant display based on the physical space and viewer/seating capacity available;
– Type of visual content to be displayed: basic, sports, films, gaming, presentations, text…
– The time the equipment is to be in operation;
– Size, weight and design of the display in keeping with the style and image contemplated for the relevant event/client;
– Environmental conditions concerning dirt, dust, humidity, heat and temperature;
– And price, a key factor when considering high-end, medium or basic product ranges.
Reception halls, sports stadiums, waiting rooms for customer service, large department stores, building façades, institutional or commercial signaling; classrooms or educational facilities; conferences or industry/sector trade shows, prize-giving and tribute ceremonies, showcasing, retail, advertising, corporate communications, shows, videogames, TV sets… A whole range of locations, spaces and sectors that find in the ‘large-format’ an attractive way of informing, communicating and entertaining.
At present there is a huge choice of various large-format displays from manufacturers as recognized as SAMSUNG, LG, HISENSE, SONY, BEND, MITSUBISHI, SHARP PANASONIC, NEC, VIEWSONIC and PHILIPS in the field of TV sets and monitors; as well as PLANAR, ORION, LG, SAMSUNG, BARCO, LEYARD, UNILUMIN or CHRISTIE in modular solutions.
A world with plenty of communication possibilities, interactivity and sheer visual spectacle.