av technology manager's workbook: “outside the digital signage

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avnetwork.com Outside the Digital Signage Box | AVTechnology Manager’s Workbook 3

Perspective s

WorkbookMANAGER’S

EDITORIALMargot Douaihy

Editorial Director

Cindy Davis Contributing Editor

SALES & MARKETINGSue Horwitz Publisher

323-933-9485 [email protected]

DESIGNCustomMedia.Co

NEWBAY MEDIA CORPORATE

Steve Palm President & CEO

Anthony Savona VP of Content & Marketing

NEWBAY AV/CONSUMER ELECTRONICS GROUP

Adam Goldstein Executive VP/Group Publisher

Published by NewBay Media L.L.C.

28 East 28th Street, 12th FloorNew York, NY 10016Tel: 212-378-0400

Web: nbmedia.com

PRINTED IN THE USA

Reprinted with permission

NewBay Media’s AV Technology Magazine “Out of the Box Award,” was created to recognize original thinking, creativity, and design in a digital signage installation. But make no mistake, this is about way more than hardware or soft-ware—it’s about pushing the imaginative terrain. In 2015, the inaugural winner is the Viacom head-quarters in New York City’s iconic Times Square, at 1515 Broadway. With dynamic and immersive elements, interactivity, sleek design, dazzling visuals, a smart infrastructure, and a live content management strategy would make any media company jealous, this AV project sets a new standard. The AV Technology team congratulates everyone involved in this project, and hopes it serves as a stellar example of innovation for the AV industry.

Margot Douaihy, Editorial Director, AV Technology magazine

http://www.avnetwork.com/section/av_technology/002

http://www.x2omedia.com/


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© 2015 LG Electronics USA, Inc., Englewood Cliffs, NJ. LG Design & Life’s Good are registered trademarks of LG Corp., Inc.

All other trademarks are the properties of their respective owners. Video wall image simulated.

WorkbookMANAGER’SContent

3 Perspective AV Technology magazine’s editorial director, Margot Douaihy, defines what it takes to be an “Out of the Box Award” winner.

7 The TeamIt takes a creative village. Put some faces to just a few of the names behind the award-winning Viacom headquarters’ experien-tial digital spaces.

8 Way Outside the Digital Signage BoxOne look inside AV Technology Magazine’s 2015 “Out of the Box Award” winner, and we think you’ll agree that the Viacom NYC headquarters digital experience spaces set a new standard. Viacom’s creative and engineering teams, and AV design and integration firm McCann Systems share how they helped to develop a smart infrastructure with dynamic and immersive elements, interactivity, and a live content management strategy would make any media company jealous.

16 Five Key Considerations to Buying a Video WallFrom the thinnest bezel to set-up and calibration, here are key technology must-haves to consider when evaluating the latest round of video wall solutions coming to market.

18 Case Study: Silverton Casino Hotel, Sports Book A 7.5 x 53-foot sports book brings people into this high-end resort casino located off the Las Vegas strip.

22 Embracing Visual Communications in the EnterpriseDramatic technological and societal shifts are impacting the workplace. A fully connected workforce can provide unprecedented opportunities to collaborate, mentor, share knowledge, and focus resources.

26 How LEDs and LED Display Walls WorkLED display walls have proven to be a highly effective delivery of communication to large numbers of people. But how do they work? What are the key strengths and advantages? What kind of features do they offer? Here are the answers.

29 Sponsor Product Data Sheet: Christie Velvet Series Indoor LED Tiles

32 Sponsor Product Data Sheet: LG 55VH7B Video Wall

36 Sponsor Product Data Sheet: X2O Platform

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The Team

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Nick FazioSenior Product ManagerChristie Digital Systems

Karl JacksonB2B Enterprise Account Manager LG Electronics

Jay MartinDirector, Key AccountsX2O Media

Joseph Fusaro, CTSVice President, Senior Sales ExecutiveMcCann Systems

Frank McCannPresident, CEOMcCann Systems

Travis Heitchew Account Manager,McCann Systems

Mike BivonaVP of Engineering, Content Creation & Distribution TechnologiesViacom

Bill Anchelowitz Senior Director of Production TechnologiesViacom

Matt HerronExecutive Producer and Vice President of Video and Motion Graphics for CatalystViacom

Matt HansonDirector, Screen Content for CatalystViacom


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8 AVTechnology Manager’s Workbook | Outside the Digital Signage Box avnetwork.com avnetwork.com Outside the Digital Signage Box | AVTechnology Manager’s Workbook 9

second-floor lobby entrance and architectural design firm, Gensler to transform a space once used as a tape library into a much needed event space. This became known as the “White Box.”

In keeping with that of a media company, the architectural vi-sion called for displays throughout the spaces, but with content that needed to transcend far beyond basic digital signage. “To fulfill this vision the project required a blend of technical expertise, ranging from traditional AV to television production,” said Bivona. At the end of 2013, while still at the conceptual phase, Viacom tapped Bivona to lead the technology portion of the project. “Without a doubt, expectations around the creative and visual impact were sky high,” Bivona explained. “Our challenge was to balance those ex-pectations with technology that fit within the architectural vision

While blazing in LED glory on the outside, the main lobby of the media giant responsible for creating some of the most distinctive brands in the media business lacked the branding, and “wow factor” that the company was seeking.

ENVISIONING EXPERIENTIAL BRANDING“The goal of the Viacom project team was to provide eyepopping technology that would create a unique media experience for em-ployees and visitors alike, combining channel branding with the ar-tistic talents of Viacom’s industry leading creative teams,” said Mike Bivona, vice president of Broadcast and Production Engineering for Viacom Media Networks. To drive the architectural vision, Viacom’s Core Services team engaged with Studios Architecture to design the

For more than 100 years, Times Square has

been known for its bright lights and iconic

New Year’s Eve Ball. Shining even bright-

er today, LED displays cover nearly every

available façade used to advertise prod-

ucts, promote Broadway productions, and engage the

more than 300,000 pedestrians and another 115,000

people traveling through by car or bus, every day.

In 2012, Viacom, the entertainment company that

owns, among others, the brands MTV, VH1, BET,

Nickelodeon, Comedy Central, TV Land, Spike, and

Paramount Pictures, renewed the lease at their New

York City headquarters located at 1515 Broadway,

between 44th and 45th Streets.

WAYOutside

the Digital Signage Box

by Cindy Davis

Case Study: Viacom Headquarters pCase Study: Viacom Headquarters p

From left: Bill Anchelowitz, Viacom senior director of Production Technologies; Joseph Fusaro, McCann Systems, vice president, and senior sales executive;

Matt Herron, Viacom’s Executive Producer, and Vice President of Video and Motion Graphics for Catalyst, and Director of Screen Content, Matt Hanson

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http://www.gensler.com/

http://www.studios.com/

http://www.viacom.com/


Case Study: Viacom Headquarters pCase Study: Viacom Headquarters p

vision, and McCann had the expertise to bring that vision to real-ity,” said Viacom senior director of Production Technologies, Bill Anchelowitz. Now Viacom had the team to execute.

CONTENT VISION, PLANNING AND COLLABORATION“At the end of the day technology provides the canvas, and creative makes it come to life, so it’s a partnership. We worked hard to pro-vide the best possible technical environment without limiting cre-ativity,” said Bivona. The content strategy and plan for the lobby and White Box digital environment are under the domain of Catalyst, Viacom’s internal branding, marketing and creative agency.

Cheryl Family, Viacom’s senior vice president, Brand Strategy and Creative, and the head of Catalyst, worked closely with senior management to develop a clear vision for the screens. “They were to serve as a canvas that celebrates Viacom’s content, creativity and talent,” said Viacom Executive Producer and Vice President of Video

and could be sustainable on a day-to-day basis.”1515 Broadway is not only Viacom’s corporate headquarters it is

also the creative and technical hub for many of its brand activities. This location is home to some of Viacom’s live production studios, as well as many content creation workgroups that would be con-tributing content to this new experimental environment, all sup-ported by Viacom’s Media & Technologies Services (MTS) group. “It took multiple technologies teams working together, lead by MTS’s Production Technologies group, to make this project a success. Going into the process we also understood the need for external ex-pertise to help deliver this cutting edge experience, so we decided to bring in a media design firm and AV system integrator,” said Bivona.

This led to introductions to audiovisual design firm McCann Systems, and architecture, planning, and design firm, Rockwell Group, both instrumental in creating innovative digital instal-lations. “The LAB at Rockwell provided the creative, architectural

VIACOM ENTRANCE; THE VIDEO WALLS

1515 Broadway comprises two mirror-image entranc-

es: one on 44th Street, and one on 45th Street and

Broadway that lead up to the second-floor lobby of

Viacom. Passing through the turnstile, and after the

security desk, employees and guests are greeted by

two massive video walls on the outside of elevator

bank walls, made up of 16, 55-inch, LG Super Narrow

Bezel Video Wall panels set up in a 4 x 4, landscape

configuration, creating a combined 16:9 aspect ratio.

GRAND ENTRANCE

At the end of the hallway, just past the elevators, are

two side-by-side, 4-foot-wide by 15.61-foottall, mo-

torized, 480 pixels wide x 1680 pixels high video panel

doors. When these remarkable video doors, called

LED Blades, are opened, they reveal Viacom’s event

space called The White Box. The LED Blades were

designed, engineered, sourced, and assembled by

McCann Systems. Christie Digital, 2.5mm pixel pitch,

LED panels were chosen for the LED Blades, and help

set the stage for the experience awaiting.



http://www.mccannsystems.com

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Case Study: Viacom Headquarters p

screens, while also working to evolve its functionality,” Hanson said.“One of the pleasures of working with Viacom, is that there will

be no shortage of amazing content,” said McCann Systems’ vice president and senior sales executive Joseph Fusaro. “One of the problems in the digital signage world, is that we would build these beautiful video walls and then they say, ‘where’s the content to go along with it?’” It was fun working with Viacom on that—that was a fun part.”

DIGITAL ENVIRONMENT OVERVIEW1515 Broadway comprises two mirror image entrances—one on 44th Street and one on 45th Street and Broadway that lead to the second-floor lobby of Viacom. Passing through the turnstile, and after the security desk, employees and guests are greeted by two mas-sive video walls on the outside of elevator bank walls, made up of 16, 55-inch, LG Super Narrow Bezel Video Wall panels set up in a 4x4, landscape configuration, creating a combined 16:9 aspect ratio. “If you did the highest possible resolution on each of those moni-tors, each video wall would be at 4K-plus resolution,” said Fusaro.

At the end of the hallway, just past the elevators, are two, side-by-side, 4-foot-wide by 15.61-foottall, motorized, 480 pixels wide x 1680 pixels high video panel doors, when opened reveal Viacom’s event space, called The White Box. Christie Digital 2.5mm pixel pitch, LED panels were chosen for the LED Blades, and help set the stage for the experience awaiting. Fusaro said, “Because of the nature of what the panels look like, they took on the nomenclature of LED Blades.” The LED Blades were designed, engineered, sourced, and assembled by McCann Systems.

As the project manager from McCann Systems, Travis Heitchew said, “The most challenging part of this installation was constructing the full blade system; both for the media doors and the six Blades, and track to hang the Blades inside the White Box. This is something that was never done before.” In a busy New York City building, how does one get eight, 15-foot-tall, frameless sheets of glass up two flights of stairs? Heitchew explained, “At 4am and muscle. It was a daunting task with each Blade weighing in at 1,260 pounds—with not a scratch, anywhere.”

The White Box event space is 140 feet wide by 50 feet deep. Six, 4-feet-wide by 15.61-feet-tall LED Blades hang from a 190-foot, cus-tom designed track, which runs along the 140-foot wall facing the entrance, and makes a 90-degree turn onto the 50-feet wall at the right of the room. Each Blade can be manually moved to any lo-cation along the track, and in any configuration; e.g., each spaced individually along the wall, two-by-two, one-by-two, or all six to-gether creating a 16:9 aspect ratio. Two lower-resolution 12-feet-high by 24-feet-wide LED curtains are on the opposite, 140-feet wall flanking the main entrance. These are intended to display graphic elements as, ‘digital wallpaper,’ and not detract from the content displayed on LED Blades.

“The wow factor comes from the media doors that consists of two blades on a motorized track,” Heitchew said. “Watching the doors glide open to reveal even more AV technology packed into the White Box is a pretty cool sight.”

space and advance moving forward.”“And that’s kind of where the fun began for me. Being able to

parse the concept video with the team and translate it into an actual functional system,” said Matt Hanson, Screen Content Director for the Viacom lobby and the White Box digital environments. “It was a really unique process that was very satisfying to solve.” With a strong background in visual effects and CGI, in a wide range of applica-tions from television to digital to large-scale installations, Hanson joined the team in August 2014. “As Director of Screen Content, it’s my responsibility to create, cultivate and curate content for the

and Motion Graphics for Catalyst, Matt Herron. “They would not only showcase our brands, but also inspire everyone who walks into the building with compelling video, innovative design, and engag-ing editorial content.”

Crediting collaborative efforts, Herron said, “We worked closely with our Brand Strategy and Editorial team led by Tori Turner who, along with Senior Motion Designer Amanda Pecharsky, nailed our proof of concept video.” Drawing from those explorations, Herron explained, “We gained a solid direction of how we wanted the screens to play off each other and how they should interact in the

Case Study: Viacom Headquarters p

THE WHITE BOX

The White Box event space is 140 feet wide by 50 feet

deep. Six 4-feet-wide by 15.61-foot tall LED Blades hang

from a 190-feet, custom designed track, which runs along

the 140-feet wall facing the entrance, and makes a

90-degree turn onto the 50-foot wall at the right of

the room. Each Blade can be manually moved to any

location along the track, and in any configuration; e.g.,

each spaced individually along the wall, two-by-two, one-

by-two, or all six together creating a 16:9 aspect ratio.

Tips for Managing Dynamic Content

Viacom’s Executive Producer and Vice President of Video and Motion Graphics for Catalyst, Matt Herron, and Director of Screen Content, Matt Hanson share some valuable insight that can be applied to any organi-zation managing the digital signage content experience.

Herron: We try to keep at least a two-month lead on events, which gives us enough flexibility to stay topical in the moment, while also being agile enough to handle the demands we receive on a daily basis. The cool thing is the more we create, the larger our library gets, the more the ever-expanding content itself becomes our safety net.

Hanson: We definitely took a very formulaic approach when designing the system. Instead of spending a significant amount of manpower up-dating playlists or video loops, we designed a really dynamic content network. Because impression times in the lobby vary greatly from per-son to person, we needed to make sure that it never looked like they were watching the same thing over and over.

Herron: Lead with strategy and play to your strengths. Establish a sol-id foundation; define your workflow, roles, and responsibilities. Once you have that system in place, and it’s functioning properly, then you’ll have some space to start getting ambitious and go outside your comfort zone. You never know who is going to come through that lobby, so make sure you’re always putting your best foot forward, and the identity that you are conveying on the screen is on point.

Hanson: Give yourself as much lead-time as possible to construct a content development plan that reflects who you are as an organization. These systems run in real-time, all day long, and always need to be fed content. It’s critical that you have an evolving content plan that stays current, adapts to change, and looks toward the future.






different,” said Bivona. Viacom and McCann Systems developed the details of what the lobby and the White Box digital environment network would look like. “The design had to allow for internal IP conductivity while having hooks needed to integrate into a larger IT backbone,” Bivona emphasized.

With designs in hand, the Viacom and McCann teams went to work. We work closely with our networking team on a daily basis,” Anchelowitz said. “It’s just the nature of technology today allow-ing us to easily collaborate on systems integration projects of this nature.”

Ongoing support of the entire environment goes directly through McCann Systems. They provide break/fix services along with remote monitoring. Evertz VistsLink Pro was put in place to monitor critical services via SNMP traps for signal integrity and overall system sta-tus. As part of the overall system monitoring, email notifications are used so that issues can be resolved as quickly as possible.

MEASURE OF SUCCESSThe Viacom lobby digital environment was launched in November 2014, and the White Box launched in January 2015. “Everyone wants to be a part of it and everyone can be a part of it. That’s the beauty of it,” Viacom’s, Herron said. “Moreover, we are working with a ton of brilliant artists that have pitched, and delivered insanely beau-tiful work. All in all, we deal with over a dozen different groups, a multitude of artists, and that number keeps climbing.” The lobby and the White Box experiential environments have been such a huge success, that the Catalyst team has used them for everything from a background for a VH1’s, Top 20 Countdown, to a way for Viacom to welcome guests to a way to drive traffic to Viacom initiatives. AVT

Cindy Davis is a contributing editor of AV Technology magazine.

Case Study: Viacom HeadquarterssCase Study: Viacom Headquartersp

Box panels. All of the content within the two environments is run on X2O. You could essentially have imagery moving from the eleva-tor bank to the LED and back to the adjacent elevator bank. If you’re standing back, you can take it all in at once. It’s pretty cool effect.”

The entire team worked closely with X2O to develop new fea-tures in their software that, when combined with the way Catalyst designs and animates, achieves the effect of having one large seam-less canvas, while using multiple PCs.

“Just from a conceptual idea we were all pretty psyched to pull something like this off,” Anchelowitz said.

CAN’T HAVE THAT AV WITHOUT THAT IP“Today’s media space is a blend of AV and IT technologies provid-ing great visuals over IP distribution platforms. This project was no

STAND BACK!Using a combination of Evertz Microsystems equipment such as switchers, converters, receivers, and monitoring system designed for a critical 24/7 environment like broadcast television, and McCann Systems’ custom designed PCs with four, NVidia Quads cards and sync board with the ability to send up to 16 direct simultaneous HD signals over fiber to the video wall, there are two PCs running each lobby video wall, and a similar build with fewer outputs, for the other displays.

“This allows the X2O Media platform, which runs across all of these machines to move content organically between them,” Fusaro said, explaining, “They don’t have to worry about interpolating in between servers. On the video playback side, it’s a computer with a quad card and a software package for the lobby and on the White

If It Doesn’t Exist, Engineer It & Build It

Mike Bivona, vice president of Broadcast and Production Engineering for Viacom Media Networks, believes in establishing clear goals. “Don’t engineer technology for technology’s sake,” he explained. “Clearly de-fine the project’s vision and goals while keeping in mind the require-ments of day-to-day operations. It will definitely help you sleep better at night. Embrace the tough challenges that require custom solutions rather than trying to work around them.”

When a space calls for a non-standard LED panel, and a way out-side-the-box creative solution, that’s when McCann Systems designs, engineers, sources, and assembles the perfect fit. McCann Systems’ Joseph Fusaro, provided his account:

The LEDs: The LED Blades solution for the Viacom White Box event space, are our own concept and design, and we had it built-out. Over the years we’ve done a lot of LED work, and we worked with Chris-tie Digital to provide this particular panel. We used 2.5mm pixel pitch LED (space in between each pixel). The LED cabinets are comprised of 160 pixels wide by 120 pixels high, which is roughly 400mm by 300mm, and three of them side-by-side will give you approximately 47.5-inches wide, and there’s 14 of those top-to-bottom. That gives you a 14-foot high of actual video area. We chose the Christie 2.5mm LED panel because of its cabinet dimensions which allows us to build a high resolution canvas in virtually any size and aspect ratio we want, and also for the quality of the product. The LED chip size and quality are the best available. It is the perfect combination of LED chip surface size to PC board ratio!

Protect the LEDs: Because this is an event space, you don’t want people to go up and touch the actual LED elements. Try to get a 15-foot high seamless piece of glass with polished, beveled edges so they wouldn’t chip, and laminated for safety issues.

How to Adhere the Glass: We had to build brackets to create the col-lage. Because the LED Blade and the glass were borderless, we had to somehow adhere the glass to the framework of the LED Blade without detracting from its sleekness. We worked with a mechanical engineer in Manhattan, and with them we were able to find silicon, that would be able to be used to adhere between the glass and a stainless steal metal plate at the top and the bottom. Then also welded to these, are channels that allow us to grip, and nut and bolt into the frame.

Sleep on It: I checked the dimensions three times, went home for the weekend, came in fresh on Monday and called the manufacturer and said, ‘okay, build this.’

Breathe: The glass was delivered, laminated and with the metal plates adhered to them. They came back exactly they way wanted them and to the dimensions that we needed. That’s a Blade.

THE WHITE BOX

Two, 12-foot-high by 24-foot-wide, LED curtains are on

the opposite 140-foot wall flanking the main entrance

inside the White Box. These are intended to display graphic

elements as “digital wallpaper,” and not detract from the

content displayed on LED Blades.

CHRISTIE DIGITAL christiedigital.com/led

EVERTZ evertz.com

GENSLER gensler.com

LG lg.com/us/commercial/vid-eo-walls

McCANN SYSTEMS mccannsystems.com

ROCKWELL rockwellgroup.com/search/LAB

STUDIOS www.studios.com

VIACOM www.viacom.com

X2O www.x2omedia.com

RESOURCES



http://www.evertz.com/

http://www.nvidia.com/











http://www.mccannsystems.com/

http://www.mccannsystems.com/











GETTING CONTENT TO THE VIDEO WALL

While the old days of needing highly expensive and specialized vid-eo processing hardware to tile content to a video wall are gone, there is much confusion in the industry about the kind of media player is needed for digital signage deployments, or to get content to a video wall in different AV applications. Can an embedded PC be a good choice for a media player, or is it generally better to utilize a separate appliance type of media player to get content to a video wall? How should the systems integrator, or end user, start to separate what is needed to get content to the screen in the most effective way? The key answer to that question is to choose a video wall solution that gives you the option to: A) use sophisticated third-party video processing platforms to feed content to your video wall and provide for ad-vanced features such as interactivity (touch screen, gesture control, facial recognition, etc.) if needed; or B) use a display’s built-in SoC (System on a Chip) to eliminate the need for a third-party media player and so simply the system design and save on hardware costs.

ELEGANT DESIGN AND WEIGHT/

DEPTH ADVANCEMENTSThe best video wall systems are made up of flat panels that are light-er in weight, and less deep in profile than what was common a few years ago. If your video wall/ flat panel supplier is not offering op-tions that are light weight (20KG or 44lbs), and slim depth (87mm or 3.42 inches) to allow for easier installation and maintenance of the displays after installation, you’re using yesterday’s technology not today’s. Video walls are not available at depths of more than 4 inches, and if you have one that size and it is at foot-traffic level, it’s not in compliance with strict ADA (Americans with Disability Act) regulations. And remember that weight considerations affect

What You Need to Know: Buying a Video WallsWhat You Need to Know: Buying a Video Wallp

SET-UP & CALIBRATIONCalibration may sound daunting to the end-user and even to sys-tems integrators who are constantly frustrated with identical dis-plays from the same manufacturer that look different while showing exactly the same content. It’s all about one simple factor: a video wall is by definition a configuration of individual images. So the different displays that make up a video wall must be calibrated to show a consistent, uniform image across the wall. This means not only maintaining the brightness uniformity across the screens, but also keeping the edges of each display as bright as the center of each display. There is nothing as ugly as a video wall that includes a scene of a nice blue sky but has one off-color greenish display right in the middle that spoils the effect. There is only one solution to this problem: you must choose a video wall/display provider that not only provides reliable factory calibration (each display in a video wall design is set up at the factory to be calibrated with its sister dis-plays in that video wall design). But due to environmental factors, third-party content software anomalies, and user error, there often needs to be some calibration on-site at a video wall installation, so the video wall/display provider must provide a fast, easy-to-use on-site calibration system. Ideally this will include an Automatic ID setting for easy installation, so that if you install 100 screens, you do not need to waste time and set up the unique ID of each monitor respectively —the Automatic ID eliminates the frustration. AVT

Article contributed by LG Electronics

many aspects of a video wall installation: shipping costs to get the product to the site; the amount and cost of mounting gear needed; and maintenance costs after the installation is complete. Choose a video wall/display supplier that is at the forefront in light-weight, thin displays and integrated mounting systems.

BENEATH THE GLASS:

AT THE HEARTTo ensure you’re getting the best possible canvas (so to speak) for your video wall, choose products that are made up of LCD pan-els with optically bonded glass. That ensures added ruggedness and durability. But for the best quality you need to look beneath the bonded glass. Be sure your chosen flat panel displays feature the high-end panel technology called IPS (in-plane switching). The best IPS technology allows for an image with 8 million pixels, to ensure optimal color saturation and contrast for off-angle viewing (both horizontal and vertical). IPS technology also provides a screen sur-face temperature tolerance of up to 230 degrees Fahrenheit (110 degrees Celsius), which helps alleviate a common problem with screens overheating and, as a result, suffering from permanent pic-ture quality damage. And best of all for the viewer: IPS technology also improves off-angle viewing. With a non IPS-based display, the viewer needs to be centered directly in front of the monitor to real-ize the best performance. That’s also the case with video walls. When off-viewing angles aren’t clean, then color and contrast can decrease dramatically. Only IPS technology solves that problem and vastly improves off-angle viewing.

You’ve seen the rapid growth in the installation of large, dazzling video walls in spaces public and private—from airports to corporate offices to sports arenas to universities. And even retail stores are taking advantage of the benefit of video walls to place branding and marketing where people shop. But with the prolif-eration of video walls, it’s important to learn which technology is engineered to out-perform the lesser brands and models, so you can choose a solution that is designed to not just dazzle but to impart your important messaging effectively, and is built to succeed in ev-ery environment. Here are the five key technology and feature con-siderations to keep in mind.

PUSHING VIDEO WALL

TECHNOLOGY TO THE EDGE —LITERALLYIt’s only in recent years that technology improvements and engi-neering breakthroughs have allowed thinner mullions, or “bezels” in video walls. The term bezel refers to the black line, or thin border between each screen that makes up a video wall. While video walls made up of just stacked video monitors have been available for years, those old-design, clunky video walls were really just stacked TVs or monitors that presented the familiar “grid” of images. In that older technology, the grid was always visible and distracting. And even with the advent of LCD / LED flat panels in recent years, most video walls are not using the latest, most advanced, thin or super-thin bezel designs. When you choose a video wall, be sure to choose a provider that offers the thinnest bezels available today. The best video wall/flat panel display manufacturers are offering bezel sizes in the “narrow” range: about 3.5mm bezel width. But only the A-tier display and video wall manufacturers are making “super-nar-row bezel” products available with a bezel size of as little as 1.8mm.

FIVE Key Considerations

to Buying a Video WallHere are key technology must-haves to consider when evaluating

the latest round of video wall solutions coming to market.

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Case Study: Silverton Casino Hotel, Sports Book pCase Study: Silverton Casino Hotel, Sports Book p

7.5 x 53 Feet Sports Book

Brings People In

7.5 x 53 Feet Sports Book

Brings People In

A Christie Velvet LED

display envelops a wall

at Silverton Casino Hotel

providing a rich

and dynamic platform

for the casino’s

sports book.

Photography Courtesy of Christie Digital




Case Study: Silverton Casino Hotel, Sports Book p Case Study: Silverton Casino Hotel, Sports Book s

McCann showed us examples, the 4mm had the crispest visuals.”Featuring true 24/7 operation, Christie Velvet LED provides a

brilliant digital canvas that is easy to install, operate and maintain. Based on efficient LED illumination, Christie Velvet is a low-energy, long-life platform for display walls in any indoor setting. Producing 281 trillion colors, a full-field contrast ratio of 3,000:1 and bright-ness levels up to 1,000 nits, content displayed on Christie Velvet enables a fantastic viewing experience.

The feedback from Silverton Casino has been excellent, shares Khanna, noting that they are looking at integrating additional dis-plays. “It was immaculately done. It’s hard to take a fault. There is nothing called a ‘worst seat’ in Silverton. Every seat gives the cus-tomer a spectacular viewing experience.”AVT

Article contributed by Christie Digital

“The sports book is one of the premier features at Silverton,” remarked Parikshat Khanna, VP of Business Development at CG Technology, “it brings people in.” Enveloping the back wall of the 2,000 sq. ft. sports book, the Christie Velvet LED wall provides an engaging and dynamic display that not only keeps Silverton Casino Hotel clients informed with up-to-the-minute sports statistics and betting information, but the clear and crisp visuals make it an ex-cellent place to view various sporting events. The modular format of Christie Velvet also allows the display to be windowed, providing multiple, simultaneous feeds across the entire wall.

When specifying the installation, LED tiles were chosen because of the high quality picture and low maintenance. Upon the advice of McCann Systems, CG Technology chose the 4mm pixel pitch ver-sion of Christie Velvet for integration. “We used 6mm before,” ex-plains Khanna, “but as far as the picture quality is concerned, when

ocated minutes from the Las

Vegas Strip, Silverton Casi-

no Hotel is a high-end resort

that caters to those seeking an authentic

Vegas experience without the noise, traffic

and crowds of the main strip. Featuring a

variety of restaurants, events and gambling

opportunities, Silverton Casino Hotel pro-

vides endless options for guests visiting Las

Vegas. Central to this offering is an impres-

sive 7.5 feet by 53 feet sports book made

up of Christie Velvet LED tiles designed and

integrated by McCann Systems and operat-

ed by CG Technology.

L

The Silverton Casino

Hotel sports book is able

to broadcast multiple

channels simultaneously,

ensuring customers stay

up to date with relevant

information.

SNAPSHOT

When CG Technology and Silverton Casino Hotel launched a new sports book, they chose a Christie Velvet LED display wall. Integrated by McCann Systems and operated by CG Technology, the sports book complements Silverton’s other high-end offerings.

Photography Courtesy of Christie Digital





C utting through the clutter to fully engage employees—be they on the shop floor, in the field, or in the exec-

utive suite—has always been a challenge. Now it is more important than ever to ensure that the right information reaches the right per-son at the right time. The ability to take vital business content, parse it, share it, and collaborate on it is paramount to business success.

Savvy enterprises are looking to take advantage of the new vi-sual vocabulary of business, using visualized data, video, and imagery to become effec-tive and influential corporate storytellers. Communicating visually provides an unri-valed sense of clarity and understanding no matter what is being conveyed, from supply chain data to sales trends to new product reveals.

Visual communication is the foundation of the connected enterprise; it results in the ability to create a cohesive, aligned workforce that can view and interact with important business content no matter where they are or what device they are using.

THREE FUNDAMENTAL SHIFTS IN THE WORKPLACEThree dramatic technological and societal shifts are impacting the workplace: First, com-panies are embracing a new way to work that

The Digital Workplace pThe Digital Workplace p

Embracing VisualCommunications

in the Enterprise

A fully connected workforce provides unprecedented opportunities to collaborate,

mentor, share knowledge, and focus resources.

by Vern Freedlander

includes anytime access to a vast array of business applications, tele-commuting options, and bring-your-own-device (BYOD) oppor-tunities. Second, big data and the opportunities that lie within its analysis are driving business decisions. The power of real-time data is especially influential as more and more managers require instant snapshots of processes. Third, the workplace is undergoing dramatic changes as millions of tech-savvy millennials—a constituency that

is already comfortable with digital applications and understands the communication value of vi-sual content—enter the workforce.

These three factors and others are forging a new “digital workplace” environment, and driv-ing the need for a new approach toward commu-nications in the enterprise.

THE VISUAL COMMUNICATIONS CONCEPT Employees and other stakeholders are demand-ing communications solutions that share func-tionality, look and feel, and the convenience of the apps they use at home. They are also looking for exciting new ways to work together and share information.

At the core of the visual communications concept is the channel. A channel can look and feel like a cable news network pulling video and data from multiple live sources. It can also be a

67 percent of people

use personal

devices at work —Microsoft

More than 2.5 exabytes

(2.5 billion gigabytes)

of data is generated

every single day. —Adeptia

By 2015 millennials will make

up the majority of the U.S.

workforce

— U.S. Bureau of Labor Statistics




The Digital Workplace sThe Digital Workplace pdistribute it to team members or to specific departments. A team tasked with a specific project can collect rel-evant content, including data, docu-ments, presentations, and videos; lay it out as a channel; and ensure that the entire group is fully aligned. An interactive collaboration layer within the channel allows the team to anno-tate, share documents, send instant messages, and communicate via vid-eoconference. In this way, the chan-nel is not simply a one-way messag-ing system; it introduces a new way of working, utilizing real-time infor-mation within a shared virtual work-place. For telecommuters or employ-ees in the field, the channel concept provides a vital live link to the team and the company.

THE POWER OF CONNECTIONA fully connected workforce provides unprecedented opportunities to col-laborate, mentor, share knowledge, and focus resources. Every screen po-tentially becomes a way of delivering and interacting with content. Place-based screens, desktops, IP phones, tablets, smartphones, video walls, and wearable devices all become channel destinations. Fostering this strong sense of inclusion and abil-ity to monitor information creates stronger, more effective teams that are ultimately more productive.

USING VISUAL COMMUNICATIONS TO ENHANCE THE DIGITAL WORKPLACEAs companies seek to realign themselves and keep up with an ev-er-accelerating business landscape, both dissemination of and ac-cess to instant information become key elements for obtaining a competitive advantage within the marketplace. Corporate environ-ments are quickly transforming into digital workspaces. When done properly, visual communication in the enterprise evokes a stronger sense of trust among staff members, reinforces commitments to or-ganizational objectives, and makes organizations more flexible to adjust to emerging trends. It is the sheer power of connection be-tween stakeholders that drives engagement, collaboration, and pro-ductivity. Better communication translates into better business. AVT

Vern Freedlander is vice president of production services for Montréal-based X2O Media, a Barco company. With more than 20 years of broad-cast television experience as a producer, director and executive, Freedlander oversees all of X2O Media’s content initiatives.

the eradication of rumors, and the implementation of change man-agement initiatives.

For instance, during times of dramatic change, organizations can tap their visual communications network to effectively deliver vi-tal communications and create content to ease uncertainty within the workforce. In one such scenario, a CEO could use live video to address an entire organization across multiple locations or create a virtual town hall meeting that appears on desktops, tablets, or place-based screens.

As a result, a company’s workforce can hear important informa-tion in real time, directly from leadership, as opposed to messag-es that trickle down through multiple layers of management. Staff can also augment these communications with social media from colleagues. Later in the process, staff can create channels that pro-vide background videos, employee interviews, training materials, or other support collateral to help manage change while retaining the collaborative advantages of the digital workplace culture.

Alternately, enterprises can fully democratize information de-livery, allowing anyone to aggregate content, create channels, and

nel focused on specific exploration projects that appears on smart-phones and tablets. At plants and refineries, live production statis-tics could be fed to enormous control-room screens for monitoring, while subsets of the same data are sent to channels built especially for managers and finance personnel. At corporate headquarters, a large interactive video wall installed in the lobby could greet visitors and help communicate the company’s brand philosophy.

A NEW TYPE OF INFORMATION DELIVERYUsing visual communications to help support digital workplaces also involves rethinking information delivery. Within the connected enterprise there are now multiple ways of disseminating informa-tion. A centralized, multidevice distribution approach allows cor-porate communications professionals to fully control messaging. Rather than relying on traditional delivery methods, such as word of mouth or e-mails, digital workplaces are better positioned to ac-commodate the rapid pace of today’s corporate environment and ensure that messaging remains consistent. This rapid-fire communi-cation can include the facilitation of new product announcements,

dashboard with “live” charts, graphs, and statistics. Or it can be as simple as images ticking in sync alongside a PowerPoint presentation. These ed-itorially focused, easily consumed, data-driven visuals display target-ed content directed at a specific audience.

What makes a channel powerful is that it serves a very specific business or communications purpose and—by taking advantage of automated processes and existing content—can be built, modified, and distributed quickly. A channel can be designed for and distributed to any screen, helping to ensure that important in-formation reaches stakeholders any-where on any device.

What sets channels apart from other means of communication is their highly visual, concise, and editorially focused presentation. Channels are effective because they are designed to command attention by placing the most important, time-ly information at the forefront and getting the viewer’s attention when events warrant.

Enterprises can use visual com-munications to convey complex ideas powerfully and effectively, especially when it comes to the analysis of big data. Data comes to life in easy-to-read graphs, meters, and charts that use animation and design to signal important fluctuations. Moving far beyond Excel-type graphs, visual communications takes its cue from the broadcast world, where dramatic, bold design instantly captures multifaceted concepts. In addition, the medium uses relevant video and images not only to provide topical content and background information, but also to reinforce brand positioning. Also included are diverse sets of news and social media content that can provide context and editorial value. Together all of these sources—moderat-ed and laid out for a specific target audience, editorial mission, and device—create a content channel.

The communications and business possibilities generated from this sole solution are astounding: multimedia, company-wide, or department-focused information channels; real-time key perfor-mance index (KPI) dashboards; production line visualization; train-ing and development channels; dynamic digital signage; and much more.

For example, a large multinational oil and gas company might have an enterprise-wide company news channel that is available in multiple languages and distributed to employees’ desktops and place-based screens. It might also have a field-engineering chan-





ness. By this measure LEDs, whether used only as a light source or employed directly as pixels in an LED display wall, typically last much longer than lamps.

All displays consume power and require cooling but not all dis-play technologies are the same in this regard. LED display walls con-sume energy more efficiently than most other display technologies. The improvement in efficiency can be as high 400% or more, de-pending on which displays are being compared.

This translates into less heat as well as less audible noise resulting from the cooling required to dissipate that heat. In fact, some LED tiles run cool enough to not require fans, provided there is adequate space behind them and appropriate HVAC.

An important image parameter for any display is the pitch or distance between its pixels. The lower the number the closer that observers will able to get to an image before discerning its individu-al pixels. A lower number also means that a given number of pixels can be packed into a smaller area, or conversely that more pixels can be achieved within a given area. However, small pixel pitches aren’t right for every application. For very large displays in particular, an overly small pitch may result in many more pixels than are need-ed for a given application. Fortunately, LED tiles are available in a broad range of pixel pitches from as large as 20mm to as small as 1mm, with the smaller pitches primarily for indoor use.

Also very important is the fill factor of individual pixels. This is the ratio of the area of the light-producing element within a pixel (in this case the LEDs themselves) to the total area of the pixel. The higher the fill factor, the smoother the image and the closer observ-ers can approach the display without pixels becoming obvious.

Another strength of LED display walls is the perceptually seam-

up to 12,000 nits (cd/m2), although levels for indoor models are typically less than 2,000 nits. While high-brightness is crucial for an outdoor display that needs to compete with direct sunlight, it is also a boon to an indoor display that needs to be noticed in a busy environment.

Other methods of creating large images either can’t achieve im-age brightness levels comparable to LED display walls or can do so only with a considerable increase in system complexity. LCD pan-els, for example, are typically less than 1,500 nits, with most below 700 nits. In the case of projection displays, where image brightness is almost arbitrary but scales with image size for a given lamp or other light source, achieving brightness levels rivaling LED display walls for a specific combination of lamp and image size may require multiple projectors.

The ability of LED display walls to handle high levels of ambient illumination is another strength. This is a consequence not only of the high-brightness typical of LED tiles but of high contrast ratios. The result is an outstanding perceived level of black, resulting in a high contrast image even in elevated levels of indoor ambient light.

A further strength of LED display walls is a very large achievable color gamut, which is the range and purity of the colors a display can reproduce. The red, green and blue LEDs used in LED dis-play walls all emit a much narrower range of wavelengths than a broad-spectrum, white-light source like a lamp. This allows more deeply saturated colors to be reproduced as well as increasing the range of reproducible colors.

Another strength of LED display walls is the long life of the LED pixels themselves. The useful lifetime of a display’s light source is of-ten defined as the number of hours to reach half of the initial bright-

as electronics to control each module and allow connection of a video signal. Some tile designs place the power supply and control electronics in a separate enclosure that attaches to a frame that also holds the LED modules.

The tile’s structure allows it to be hung from an external frame that enables larger arrays containing many tiles to be created. One or more separate control units, each connected to a given number of tiles, accept video signals from a variety of possible sources, typ-ically over DVI or HDMI, and direct the correct portions of images to each tile.

The mechanical design of the tiles ensures that each aligns very accurately to its nearest neighbors, resulting in a seamless composite image that can contain anywhere from several thousand pix-els to millions of pixels, de-pending on how many tiles are used and how many pix-els each contains.

KEY STRENGTHS AND ADVANTAGESAs a light source, LEDs have a number of exemplary properties.

First is brightness. Indoor LED display walls today can achieve peak brightness of

LEDs are based on the phenomena of electroluminencense. Electrons moving across a semiconductor change to a lower quan-tum energy state, in the process emitting photons of a specific wave-length. The construction of an LED usually includes a lens that al-lows the resulting light to be emitted in an efficient manner in a given direction.

A LED display wall uses individual LEDs in three colors for each pixel: red, green and blue. The LEDs can be discreet devices or com-bined into a surface-mount device (SMD). Each color of LED, which is called a sub-pixel, receives its own drive signal based on video content, which allows in total, millions of colors to be generated. Typically, each tile is actually composed of a series of iden-tical LED modules. The circuit boards of the modules are elec-trically connected such that each pixel receives its intended and unique RGB drive signals and so that all pixels receive power from the tile’s power supply. This modularity is an advantage during servicing be-cause if an LED fails, only the module containing that LED needs be replaced.

All of the modules in a tile are typically housed in a cabi-net, which also contains a pow-er supply for the tile as well

How LEDs and LED Display Walls WorkpHow LEDs and LED Display Walls Workp

The Phenomena of

ElectroluminencenseLED display walls have proven to be a highly effective delivery

of communication to large numbers of people. But how do they work?

What are the key strengths and advantages of LED technology? What kind of features do they offer?

Here are the answers.

Exploded view

of typical LED tile

Modules, including: PCB board, pixels (3-in-1 SMD’s) and driver IC’s

Cabinet (frame) including: power supply, receiver card and hub

Cabinet cover

Typical surface mounted RGB LED device (SMD) Comparison of LED color gamut with standard HG gamut




SPONSOR PRODUCT SPEC SHEET | Christie Velvet Series Indoor LED Tiles pHow LEDs and LED Display Walls Work s

quired to achieve a full HD (1920 x 1080) image for a range of pixel pitches. To achieve a UHD image (3840 x 2160) — sometimes called 4K — simply double each linear dimension in the diagram. Other aspect ratios and final image resolutions are, of course, possible.

With respect to the optimal viewing distances for different pixel pitches there are no hard and fast rules. Nevertheless, Table 1 lists some recommendations. The best pixel pitch for a given application is one for which the pixels are not obtrusively obvious at the typical viewing distance yet still allows the display wall at its intended reso-lution to subtend a significant portion of the viewer’s field of vision for maximum impact.

EARNING ITS BADGESCompared to other image-display technologies LED display walls enjoy a number of advantages with respect to brightness, color gam-ut, service life, power consumption and form factor. They are also uniquely adaptable to a wide variety of applications with differing requirements for size, shape, viewing distance and environment.

As an image-display technology, the LED display wall may be one of the new kids on the block but it is already distinguishing itself. The future for LED display walls looks bright. AVT

Article contributed by Christie Digital

less nature of the images. The tiles of an LED display wall are de-signed in such a way that they touch each other without increasing the distance between the pixels from one tile to the next. Moreover, the nature of the area surrounding the LEDs in a typical tile makes it difficult from a normal viewing distance to see where the tiles join.

CONFIGURATION OPTIONSA wide variety of LED display tiles are available in the market. These are fundamentally divided into indoor and outdoor models. Pixel pitch, discussed above, is a further point of differentiation. What all of these products have in common is extreme modularity. The small form factor of typical LED tiles make it easy to create a display wall of arbitrary size, aspect ratio and shape.

LED tiles are also typically quite thin, often with a depth of less than 10cm. One intriguing consequence is the ability to mount the tiles along a curve. Depending on the radius of curvature and the model of tile, convex curves as well as concave curves can be ac-commodated. The small sizes typical of LED tiles offers considerable flexibility in the size and the shape of a display wall.

One of the most important choices when purchasing an LED dis-play wall is the pixel pitch. The best pixel pitch depends on both the desired pixel count in the final image and the expected distance of viewers. As an example, Figure 2 illustrates the display wall sizes re-

Illustration of pixel pitch Recommended display size to achieve 1920 x 1080 resolution (estimate to be used as a guideline only)

LED Display Pixel Pitch Optimal viewing distance: Pixel pitch x 8

Optimal Viewing dDistance from LED Display: (approx.)

1.9mm 1.9 x 8 15 feet

2.5mm 2.5 x 8 20 feet

3mm 3 x 8 24 feet

4mm 4 x 8 32 feet

* To calculate optimal viewing distance in meters instead of feet, the formula is pixel pitch x 2.5. (Estimate to be used as a guideline only)

Table 1: Suggested optimal viewing distances*

Technical specifications Christie LED025-MDisplay technology

pixel pitch • 2.5mm

pixel configuration • 3-in-1 (1R1G1B)

pixel density • 160,000 pixels/m2

maximum calibrated brightness

• 800 nits (cd/m2)

aspect ratio • 1:1

contrast ratio (full field) • 5000:1

viewing angle • 160° H, 140° V

refresh rate • >_3200Hz

scan rate • 1/16

color temperature • 2700-9300K

color space • 110% NTSC

display colors • 281 trillion (16-bit)

Signal inputs • HDMI (HDCP) • DVI (HDCP)

Power input rating • 100-240 VAC @ 50-60Hz

power consumption per cabinet

• 40W typical • 120W maximum

heat output • 109 BTU/hr typical • 328 BTU/hr maximum

Environment operating temperature • 32-104°F (0-40°C)

operating humidity • 10-90% non-condensing

storage temperature • 14 -131°F (-10-55°C)

environment • Indoor

IP rating • 30

LED lifespan (50% brightness)

• 100,000 hrs

runtime • 24/7

Physical tile dimensions (installed) • (WxHxD): 18.9 x 18.9 x 3.49" (480 x 480 x 88.54mm)

tile area • 2.48 ft2 (0.2304m2)

tile resolution • 192 x 192 pixels

tile weight • 23.4lbs (11.5kg)

cabinet design • Die-cast aluminum

service access • Front and rear service only

module dimensions • (WxH): 6.3 x 6.3" (160.0 x 160.0mm)

module resolution • 64 x 64 pixels

installation options • Flat • hanging • concave

stacking height • 20 units1

orientation • 360 degrees2

Certification • UL60950 • FCC • CE • EMC RoHS, RCM

Warranty • Three year parts and labor limited warranty• Contact an authorized Christie representative

for full details of our limited warranty• Extended warranty option available for

a one-time fee at time of purchase

1 With appropriate structure. Contact Christie if height exceeds 20 units. 2 Varies by local building codes

Front view

4X M10X1.5X20

420[16.54]

420[16.54]

88.54[3.49]

177.5[6.99]

480[18.90]

0/AACTIVE DISPLAY

160[6.30]

160[6.30]

LED025-M MODULE(2.5MM PIXEL PITCH QTY:9)

678.82[26.73]ACTIVEDISPLAY

480[18.90]

O/AACTIVE DISPLAY

30[1.18]

30[1.18]

Back view

4X M10X1.5X20

420[16.54]

420[16.54]

88.54[3.49]

177.5[6.99]

480[18.90]

0/AACTIVE DISPLAY

160[6.30]

160[6.30]



480[18.90]

O/AACTIVE DISPLAY

30[1.18]

30[1.18]

Side view

4X M10X1.5X20

420[16.54]

420[16.54]

88.54[3.49]

177.5[6.99]

480[18.90]

0/AACTIVE DISPLAY

160[6.30]

160[6.30]



480[18.90]

O/AACTIVE DISPLAY

30[1.18]

30[1.18]

Corporate offices Worldwide offices

Christie Digital Systems USA, Inc. Cypress ph: 714 236 8610

Christie Digital Systems Canada Inc. Kitchener ph: 519 744 8005

Australia ph: +61 (0) 7 3624 4888

Brazil ph: +55 (11) 2548 4753

China (Beijing) ph: +86 10 6561 0240

China (Shanghai) ph: +86 21 6278 7708

France ph: +33 (0) 1 41 21 44 04

Germany ph: +49 2161 664540

India ph: +91 (080) 6708 9999

Japan (Tokyo) ph: 81 3 3599 7481

Korea (Seoul) ph: +82 2 702 1601

Mexico ph: +52 55-4744-1790

Republic of South Africa ph: +27 (0) 11 510 0094

Russian Federation and Eastern Europe ph: +36 (0) 1 47 48 100

Singapore ph: +65 6877 8737

Spain ph: +34 91 633 9990

United Arab Emirates ph: +971 4 3206688

United Kingdom ph: +44 (0) 118 977 8000

United States (Arizona) ph: 602 943 5700

United States (New York) ph: 646 779 2014

Independent sales consultant offices

Italy ph: +39 (0) 2 9902 1161

For the most current specification information, please visit www.christiedigital.comCopyright 2015 Christie Digital Systems USA, Inc. All rights reserved. All brand names and product names are trademarks, registered trademarksor tradenames of their respective holders. Christie Digital Systems Canada Inc.’s management system is registered to ISO 9001 and ISO 14001.Performance specifications are typical. Due to constant research, specifications are subject to change without notice.Printed in Canada on recycled paper. 4149 Oct 15

Christie Velvet – Merit Series 2.5mm Indoor LED tile






SPONSOR PRODUCT DATA SHEET | Christie Velvet Series Indoor LED Tiles sSPONSOR PRODUCT DATA SHEET | Christie Velvet Series Indoor LED Tiles p

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Superior technology, superior visuals

Christie Velvet LED displays are extensively tested and comply with industry standard certifications. This ensures that Christie Velvet is safe and emission free, giving you the confidence to deploy in any environment.

Christie Velvet LED displays

1 Select models only.

Tighter pitches combined with larger diodes create a high fill factor for clearer visuals

Christie VelvetStandard LED tile

Low fill factor

High fill factor

Featuring true 24/7 operation, Christie® Velvet™ LED displays create high-impact, seamless visuals which are perfect for corporate settings, hospitality venues and retail stores. Their modular design can be configured into any size or shape for unmatched creative freedom. Benefit from the low energy consumption and the long service life of LED technology and create brilliant display walls that last.

When you choose Christie, we work with you every step of the way to map out a solution that will bring your vision to reality. Through our expert advice and working alongside our extensive network of partners, determining the Christie Velvet solution that best meets your needs is easy.

3.0 pixel pitch (mm)

1 pixel

3.0mm

Christie Velvet LED display 2.5mm pixel pitch

CHRISTIE VELVETCHRISTIE VELVETCHRISTIE VELVETCHRISTIE VELVET

CHRISTIE VELVETCHRISTIE VELVETCHRISTIE VELVETCHRISTIE VELVET

Christie – the complete solution provider

With our extensive range of display technologies, audio, processing and content management systems, we help customers create the world’s most memorable shared experiences. Discover how Christie can tailor a solution for you.

85 years of industry-leading experience

Christie has been helping customers create the best shared experiences through a full range of leading-edge products, services and technologies that can be seamlessly integrated together to create the most advanced display walls.

Christie’s focus on engineering and innovation has placed us at the forefront of LED technology. Our award-winning Christie MicroTiles® and Entero® HB rear-projection LED DLP® display cubes have set standards for scalable LED technology, and with the launch of Christie Velvet LED displays, we continue to raise the bar for visual spectacles around the world.

Choosing Christie gives you access to 85 years of industry-leading expertise in creating and sharing the most impressive visual installations and applications. Working alongside an extensive network of partners and dealers, Christie can custom-tailor a custom LED display wall solution to meet your needs.

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Display wall solution components – just add great content

Sports and racebook application in Las Vegas, NV casino

Christie Spyder X20 Unmatched 20 megapixel video processing matrix switching and integrated source monitoring.

Christie Phoenix Network distributed open content management system for simultaneous encode, decode and display of audio-visual data.

Christie Jumpstart Easy-to-use, powerful content management solution.

DVI / HDMI Cat5, fiber extenders

3rd Party media server

ECU

Christie Velvet LED display

Media server options

1slect models only






SPONSOR PRODUCT DATA SHEET | LG 55VH7B p SPONSOR PRODUCT DATA SHEET | LG 55VH7B p






SPONSOR PRODUCT DATA SHEET | LG 55VH7B p SPONSOR PRODUCT DATA SHEET | LG 55VH7B s






SPONSOR PRODUCT DATA SHEET | X2O pSPONSOR PRODUCT DATA SHEET | X2O p





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