Stage and event LED screens in Dubai

What stage and event LED screens are

A stage LED screen is a large video display built from LED cabinets that lock together, used as a backdrop behind a stage, as side screens showing a live camera feed, or as scenery. An event LED screen is the same equipment used at weddings, conferences, launches, concerts and exhibitions. Cabinets are usually 500 × 500 mm or 500 × 1,000 mm.

It's also called an LED backdrop, an LED wall, a stage video wall, a stage background screen or a concert screen.

A working screen is more than panels. The system has six parts:

• Cabinets, each holding LED modules, a power supply and a receiving card.
• A structure that holds them: a wall frame, a ground support that stands on the floor, or a truss they hang from.
• A video processor, which takes the picture from a laptop, camera or media player and maps it onto the cabinets.
• Power distribution, sized for the screen at full brightness.
• Signal and power cables between the cabinets.
• Content, made at the screen's own resolution.

Who buys one:

• Venues: hotel ballrooms, wedding halls, conference centres, school and university auditoriums, clubs and lounges, community and worship halls.
• Event, AV and production companies building their own stock.
• Exhibition stand builders, and companies that exhibit several times a year.
• Studios for filming, streaming and virtual production.
• Companies with their own town-hall or training stage.

Who shouldn't: anyone who needs a screen once or twice a year. Rent it.

Buying or renting: which makes sense

Rent for an occasional event. Buy when you'll use the screen often enough that rental fees pass the purchase price. In Dubai, a published rental rate for an indoor P2.5 screen is AED 300 to 450 per square metre per day, against a purchase price of roughly AED 2,900 to 5,500 per square metre. On those figures, buying pays back after roughly 6 to 18 event days.

The arithmetic

Take a 6 × 3 metre backdrop, 18 square metres, at P2.5.

Set the dearest rental against the cheapest purchase and the screen pays for itself in about 6 days of hire. Set the cheapest rental against the dearest purchase and it takes about 18. Like for like, it's 10 to 12.

The rental rates are from a Dubai rental company's 2026 guide, which says its packages include processors, trusses, delivery, set-up and on-site support (Magnum). The purchase range is a Dubai supplier's published price for indoor P2.5 to P3.9 screens (UP2).

The comparison flatters buying a little, because a rental price includes labour and an owned screen doesn't. One manufacturer's guide suggests dividing the purchase price by the cost of a single rental: under 15, buying is likely to save money, and over 20, renting is safer. It puts the line at about 12 events a year for renting and 15 or more for buying, and adds 10% a year for maintenance and 10% extra modules as spares (Reiss Display).

What it means in practice

What ownership adds

• A place to keep it. A permanent screen stays on the wall. A portable one needs dry, cool storage for its flight cases. One guide counts 10 to 12 large road cases for a typical system.
• People who can run it. A permanent screen needs someone trained to switch it on, choose sources and deal with a fault. A portable one needs a crew to build and strike it.
• Maintenance. Modules fail, and a screen that's moved is knocked. Budget for spares and servicing.
• It ages. Finer pitches get cheaper every year. A screen bought today will look ordinary in seven years, though it will still work.

What ownership gives

• A screen that's always there. A venue with a permanent backdrop sells it with every booking, at no extra cost per event.
• No set-up day. Hired screens need hours to build and strike, and the hall is often charged for them.
• A known quality. The same screen, calibrated once, with content made to fit.
• Income. Venues charge clients for the screen. Event companies hire it out.

We'll tell you if the numbers say rent.

Fixed or rental-grade cabinets

A fixed-installation cabinet is made to go on a wall once and stay there. A rental-grade cabinet is made to be built and taken apart hundreds of times: die-cast aluminium, quick locks, handles, corner protection and flight cases. Buy fixed cabinets for a permanent stage and rental-grade for a screen that travels.

The rental-grade figures are from a manufacturer's range, which lists die-cast aluminium panels of 7 to 9 kg in 500 × 500 mm and 500 × 1,000 mm sizes that can be mixed in one wall (ViboLED).

Which to buy

• A permanent backdrop on a ballroom or auditorium wall: fixed cabinets with front service. They sit flatter, cost less and look like part of the room.
• A screen that moves between rooms or venues: rental-grade, with flight cases.
• A hall where the stage is sometimes at one end and sometimes the other: rental-grade on a wheeled ground support, or two fixed screens.
• A stand builder or event company: rental-grade, in one pitch and one batch so every cabinet matches every other.
• Outdoor events: rental-grade outdoor cabinets, sealed to IP65.

Buying portable cabinets well

• One batch. LEDs from different production batches differ slightly in colour. Buy the whole stock together, with spares from the same batch.
• A common pitch. P2.6 and P3.9 are the workhorses of the hire trade, so extra cabinets can be cross-hired to make a bigger wall.
• Both cabinet sizes? 500 × 1,000 mm builds a big wall faster. 500 × 500 mm gives more shapes. Many buyers take mostly the tall size with some squares.
• Flight cases that hold six or eight cabinets on wheels.
• Spares. Modules, power supplies, receiving cards, and data and power cables.
• Coated modules stand up to handling better than bare LEDs.

Where screens go on a stage

A stage can carry LED in five places: a central backdrop for the main content, side screens that show a camera feed of the speaker or performer, a strip above or below the stage, panels on the floor, and small faces on a lectern or DJ booth. Most venues need the backdrop only.

• Central backdrop. The main screen behind the stage. It carries the event's branding, presentations and video. This is what "LED backdrop" and "stage background screen" mean.
• Side screens. One each side of the stage, showing a close-up from a camera, so the back rows can see faces. The industry calls it image magnification. It's worth having once the furthest seat is beyond about 25 metres.
• A full-width wall. The backdrop and sides merged into one wide screen, with the camera picture placed inside the content.
• Split and shaped backdrops. Columns, strips and blocks of screen with gaps between, lit from behind. A creative look for concerts and launches. See flexible and curved LED screens.
• Header and footer strips. A banner above the stage for a title or sponsor, or a low strip along the stage front.
• LED floors. Load-bearing panels under a toughened surface, for dance floors and catwalks. A specialist product, heavier and more costly than wall cabinets.
• Lecterns and DJ booths. A small screen as the front face, showing a logo or animation. These are also sold as LED DJ booths and stage light boxes.
• Ceiling panels, in clubs and filming studios.
• Entrance and foyer screens, which welcome guests and show the agenda. An LED poster does this job without installation.

Backdrop height on the stage

• Lift the bottom edge. People standing on stage hide the lower part of a backdrop from the audience. Start the picture at about head height above the stage floor, 1.8 to 2 metres, or accept that the lower band will carry only background.
• Or go to the floor for a full-height look, and keep text and logos in the upper two-thirds.
• Leave room for lighting. A screen behind a speaker is a bright light behind them. Stage lighting has to be strong enough from the front to balance it, or faces go dark to the eye and on camera.

How big the screen should be

Size a stage screen from the furthest seat. A common rule sets the screen's height at one-sixth to one-eighth of the distance to the furthest viewer, the shape at 16:9, and the width at about two-thirds of the stage. Then round to the cabinet size, which means multiples of half a metre.

The rule and the half-metre rounding are from a manufacturer's sizing guide, which gives the example of a 24-metre room needing a screen 3 to 4 metres high (Royal Display).

A worked example

A hotel ballroom 30 metres long, with a 12-metre stage across one end and a 5-metre ceiling.

1. Height from distance. 30 ÷ 8 = 3.75 m and 30 ÷ 6 = 5 m. Call it 4 metres.
2. Check the ceiling. With the stage 0.6 m high and the screen starting 0.5 m above it, a 4-metre screen tops out at 5.1 m. It doesn't fit. Drop to 3.5 metres.
3. Width. Two-thirds of a 12-metre stage is 8 metres. At 16:9, a 3.5-metre screen would be 6.2 metres wide. Stage screens are often wider than 16:9, so take 8 × 3.5 metres.
4. Round to cabinets. 8 × 3.5 m is 16 by 7 cabinets of 500 mm. That's 28 square metres.
5. Check the back row. At 30 metres, a 3.5-metre screen is slightly under the rule. Add two side screens, or accept it for a room that's rarely full to the back.

Other things that set the size

• The ceiling, more often than the audience, in hotels.
• The content. Presentations are 16:9. A wider screen needs content made for it, or the slide sits in the middle with branding either side.
• Sightlines. Chandeliers, columns and balcony fronts.
• The budget. Area drives cost directly. A slightly smaller screen at the right pitch beats a bigger one that's too coarse.
• Doors and lifts, for anything that has to be carried in.

Resolution

The pixel count follows from the size and the pitch. For a 6 × 3 metre screen:

A full HD picture is 1,920 × 1,080. So a 6 × 3 metre screen at P2.6 shows HD content at full detail, and at P3.91 it shows less than HD. That's fine from 15 metres and visible from 4.

Pixel pitch, brightness and refresh rate

Choose the pixel pitch from the nearest viewer, at about 1 metre of distance for each millimetre of pitch. Indoor stage screens are commonly P1.95 to P3.91 at 800 to 1,500 nits. Outdoor ones are P2.6 to P4.81 at 5,000 nits or more. For anything filmed, ask for a refresh rate of 3,840 Hz.

The pitch ranges and brightness figures follow the same manufacturer's rental range. The distance rule is the common one and gives a starting point. Look at a sample at the real distance before ordering.

Pitch

• The nearest viewer at an event isn't in the audience. They're on stage, a metre from the screen, and on camera. For a backdrop that appears in photographs and video of people standing in front of it, go a step finer than the audience needs.
• Wedding stages are photographed at close range all evening. P2.6 is the practical choice, and P1.95 if the budget allows.
• Finer isn't always better. P1.95 costs far more than P3.91 and looks the same from the back of a hall.

See LED modules and pixel pitch for how pitch works.

Brightness

• Indoors, less is better. A screen at 1,200 nits behind a speaker overwhelms the stage lighting. Most indoor events run a screen at 20 to 40% of its maximum.
• So low-brightness quality matters. A good screen keeps smooth colour and no flicker when dimmed. A poor one shows banding in dark scenes. Ask to see the sample dimmed, with a dark image.
• Outdoors in daylight, nothing under 5,000 nits survives the sun.

Refresh rate and grey scale

• Refresh rate is how often the screen redraws. One manufacturer's guide calls 3,840 Hz a sensible baseline for professional cameras and live streaming (EagerLED). Below that, phones and cameras show dark bands rolling across the screen.
• Grey scale is how many steps each colour has. More steps give smooth skies and skin. It matters most when the screen is dimmed.
• Contrast. Black-faced LEDs give deeper blacks under stage lighting.

Screens that look right on camera

A screen that looks perfect to the eye can look wrong on camera, with rolling bands, a ripple pattern or shifted colour. Three things prevent it: a refresh rate of 3,840 Hz or more, enough distance and a little blur between camera and screen, and a camera set to match the screen. Test with the real camera.

Every event is filmed now, if only on phones, so this applies to any stage screen.

• Rolling bands come from a low refresh rate against the camera's shutter. A high refresh rate fixes it for most cameras. Dimming a cheap screen makes it worse.
• Moire is the ripple or rainbow pattern that appears when the screen's pixel grid meets the camera sensor's grid. It depends on pitch, distance, lens and focus. It disappears when the screen is slightly out of focus, which is why a presenter standing 2 or 3 metres in front of the screen, with the camera focused on them, usually solves it.
• Colour. Cameras see LED colour differently from eyes. A screen set to a white that matches the stage lighting, around the lighting's colour temperature, looks natural on video.
• Brightness for camera. The screen must balance the light on people's faces. Too bright, and faces become silhouettes.
• Flicker at low brightness. Check the screen on camera at the brightness you'll use, not at full.
• Wide shots and close shots. A wide shot shows the screen sharply and tests the pitch. A close shot blurs it. Decide which shots matter.

For venues

• Ask for 3,840 Hz and see it on a phone camera and a professional camera before you buy.
• Tell clients' video crews the screen's resolution and refresh rate.
• Keep a camera-friendly preset on the processor: lower brightness, the right white.

For a studio that films against the screen all day, the requirements go further. See the virtual production section below.

Hanging or stacking: structure, weight and power

A stage screen is either fixed to a wall frame, stacked from the floor on a ground support, or hung from a truss or roof points. At 28 to 36 kg per square metre for rental-grade cabinets, an 18-square-metre backdrop weighs 500 to 650 kg before its structure, so the support must be engineered.

What we do

We design and make wall frames, ground supports and stage surrounds in our own workshop, and install screens on them. Overhead rigging, where a screen hangs from a truss or roof points above people, is done by a specialist rigging company working to the venue's rules. We coordinate with them.

What to check

• The wall. Blockwork and concrete take a frame directly. Partition walls need a frame that carries the load to the floor.
• The floor. A ground-stacked screen puts its whole weight on a narrow strip. Stages and raised floors have load limits.
• Stability. A tall, thin wall of cabinets wants to fall forward. Ground supports are braced back and weighted. Outdoors, wind is the governing load.
• Roof points. A venue's rigging points have rated loads, and the venue will ask for a rigging plan.
• The weight in writing. A proper quotation states the screen's total weight. EagerLED's guide lists what a complete quotation should include: the cabinet layout, pixel map, total weight, power estimate, processor list, cable plan and spares.
• Service access. Front-service cabinets for a screen against a wall. A walkway behind, about 60 cm, for rear service.
• Ventilation. Cabinets give off heat at the back. A screen boxed into a tight recess overheats.

Power

One manufacturer gives indoor panel power as 750 watts per square metre at maximum and 225 on average (Leeman). On that basis:

• Size the supply for the maximum. A white slide draws several times what a dark video does.
• Anything over a few kilowatts needs a three-phase supply, with the load balanced across the phases.
• A dedicated distribution board with breakers and earth-leakage protection, close to the screen.
• Keep it separate from sound. Screens and audio on the same circuit can put a hum in the speakers.
• Switch-on surge. Cabinets should power up in groups, a second apart.

Processors, control and content

A video processor sits between your sources and the screen. It takes pictures from laptops, cameras and media players, scales them to the screen's exact resolution, and switches between them cleanly. For a venue, a simple wall panel or tablet that recalls presets is what turns a technical system into one staff can use.

The processor

• Inputs. HDMI for laptops, SDI for cameras, network for media players. Count what an event will plug in, and add two.
• Capacity. A processor drives a set number of pixels. A wide wall may need a larger one or two working together.
• Switching and layers. Cutting between a presentation and a video without a black flash. Showing a camera picture inside a background.
• Presets. "Presentation", "wedding", "camera with background", recalled at a touch.
• A spare. The processor is the one part whose failure blanks the whole screen. Venues that can't afford a dark stage keep a backup.

Control for a venue

• A simple panel by the stage or in the AV room: on, off, source, brightness.
• Laptop points on stage and at the control desk, labelled.
• A media player holding the venue's own content, so the screen never shows a desktop.
• Remote access for us to diagnose a fault without a visit.
• Training. We train your team at handover, and leave a one-page guide by the controls.

Content

• Make it at the screen's resolution. Content made at the screen's own pixel size looks sharp. Content scaled from another shape is soft, stretched or cropped.
• Give clients a template. A venue should hand every client and planner a one-page specification: the pixel size, the safe area, the file formats. It saves an argument on every event day.
• Unusual shapes. A screen of 8 × 3.5 metres isn't 16:9. Either design for it, or place a 16:9 picture in the centre with branding at the sides.
• Keep text off the bottom. People on stage hide it.
• Dark backgrounds look richer, glare less and use less power.
• Loops for arrivals. A slow, quiet loop for the hour when guests arrive.
• Wedding and event templates. Names, dates and monograms dropped into a ready design.

We design content and templates sized for the screen we install.

LED screens for venues: ballrooms, halls and auditoriums

A venue that hosts events most weeks should own its screen. A permanent LED backdrop becomes part of the room: it sells with every booking, needs no set-up day, and replaces the printed backdrops and hired projectors that clients would otherwise bring. Fixed cabinets on a wall frame, with simple controls, are the usual answer.

Hotel ballrooms and wedding halls

• The screen replaces the printed backdrop. Each event gets its own design at no print cost.
• P2.6, since couples and guests are photographed in front of it.
• Divisible rooms. A ballroom that splits into two or three needs a screen in each part, or one portable screen on a wheeled frame.
• Appearance when off. A black screen on a ballroom wall has to look intended. A fitted surround in the room's finish, made in our workshop, frames it.
• Charging for it. Many venues include the screen in the hall hire. Others price it as an extra.

Conference and training rooms

• Presentations and video calls on a screen bright enough to leave the lights on.
• Fine pitch, since text is read. See indoor LED screens.

School, university and community halls

• Assemblies, performances, graduations and exams on one screen, replacing a projector that needs a dark hall.
• Tough and simple. Front-service cabinets, a protective coating at the lower rows, and a control panel a teacher can use.
• A stage screen and a scoreboard in a sports hall can be the same screen.

Worship halls

• Words and translation for the congregation, readable in a lit hall.
• Quiet design. A screen that sits behind a frame or within the architecture.

Clubs, lounges and restaurants with a stage

• Backdrops, DJ booth fronts and strips, often shaped and run with the lighting.
• Late hours and smoke effects are hard on equipment. Sealed, coated modules last longer.

What a venue should ask for

1. A survey of the wall, the power and the sightlines.
2. A drawing showing the screen in the room.
3. The weight and the power in writing.
4. A sample seen at the real distance, dimmed, and on camera.
5. Controls simple enough for the duty manager.
6. A client specification sheet.
7. Spare modules from the same batch.
8. A maintenance contract after the warranty.

Concert and outdoor event screens

Concert and festival screens are large outdoor rental-grade walls, flown from a stage roof or stacked on ground supports, at P3.91 to P4.81 and 5,000 nits or more, sealed to IP65. They're almost always hired, with the rigging and crew. Buying makes sense for a production company, or for a venue with a permanent outdoor stage.

• Size. A concert backdrop of 10 × 6 metres and two side screens of 4 × 6 metres is about 108 square metres. This is a different scale from a ballroom.
• Side screens matter most. At a concert, most of the audience watches the performer on the side screens.
• Wind. An outdoor screen is a sail. Flown screens are designed with a wind limit, at which the screen is lowered. Ground-stacked screens are ballasted and braced.
• Weather. Outdoor cabinets are sealed front and back. Connectors, processors and power distribution need shelter.
• Daylight. A screen for an afternoon event needs full outdoor brightness. For a night-only event, less.
• See-through screens. Mesh and strip screens let wind and light through, weigh less, and suit large creative backdrops. See transparent LED screens.
• Power. From generators, sized for the maximum load, with a backup.
• Crew. Riggers, LED technicians, a video director and camera operators.
• Permissions. Public events need the organiser's event permit and the venue's approval of structures. The organiser arranges these.

If you're organising a single outdoor event

Hire it. A rental company brings the screen, the structure, the generator and the people, and takes them away. A screen on a truck or trailer is the quickest form. See mobile and vehicle LED screens.

If you run an outdoor venue

A beach club, a sports ground, a school field or a drive-in with a permanent stage can own a fixed outdoor screen. Then it's an outdoor LED screen installation, with a permanent structure and a permit, and we build those.

Exhibition stands and trade shows

An LED wall on an exhibition stand is seen from 1 to 3 metres, so it needs a fine pitch, P1.95 to P2.6, and it must go up and come down inside the organiser's build schedule. Stand builders and frequent exhibitors buy rental-grade cabinets. A company that shows once a year should hire.

• Fine pitch. Visitors stand close and read. A P3.9 wall that's fine on a stage looks coarse on a stand.
• Brightness. Exhibition halls are brightly lit. 1,000 nits and more keeps the picture strong.
• Shapes. Corners, curves, arches, columns and hanging rings draw the eye across a hall. Rental cabinets with arc locks curve by about 15 degrees per joint.
• Built into the stand. The screen is usually framed by the stand's joinery, with the cabinets on a ground support hidden behind. We make frames and surrounds in our workshop.
• The organiser's rules. Every show has an exhibitor manual with height limits, rigging rules, build times and power ordering. Stand drawings showing the screen are submitted for approval. Read it before choosing the size.
• Power is ordered from the venue in advance, by the kilowatt. Order for the screen's maximum.
• Build time. A quick-lock wall of 10 square metres goes up in an hour or two with a practised crew.
• Content. A stand screen needs a short loop that makes sense without sound and in three seconds.

Alternatives for a small stand

• LED posters, freestanding, with no build at all. Three or four joined make a backdrop. See LED poster displays.
• An LCD video wall for very close viewing. See LED video walls.

Buy or hire for exhibitions

By the earlier arithmetic, a 10-square-metre P2.5 wall hired at AED 300 to 450 per square metre per day costs AED 9,000 to 13,500 for a three-day show. Bought, it's roughly AED 29,000 to 55,000 on the published range. Three or four shows a year pays for it within a year or two. You'd still need a crew to build it and a place to keep it.

Virtual production and filming walls

A virtual production wall is an LED screen that stands behind actors or products and shows the background, filmed live by the camera so no green screen is needed. It demands more than an event screen: a fine pitch of P1.5 to P2.6, a refresh rate of 7,680 Hz, accurate colour and a processor that locks to the camera.

The filming figures are from two manufacturers' guides. One recommends P1.2 to P2.5, at least 3,840 Hz, 600 to 1,500 nits and a wide colour range (Royal Display). The other asks for 7,680 Hz and says most commercial and broadcast studios use P1.9 to P2.6 with cameras 8 to 15 metres away (Unilight).

Three levels of filming wall

• A backdrop for streaming and interviews. A flat wall behind a presenter, showing a still or a slow video. Any good 3,840 Hz screen at P1.9 to P2.6 does it. This is what most podcast, corporate and product studios need.
• A wall for commercials and product films. Higher refresh, better colour, a curve, and careful lighting. The background is played back, not generated live.
• A full virtual production stage. The background is a 3D scene that moves with the camera, which needs camera tracking, a rendering computer and operators. The wall is one part of a large system.

What the same guide says it costs

• Panels: about US$1,200 to 1,800 per square metre at P2.6, 1,800 to 2,500 at P1.9 and 2,500 to 3,500 at P1.5, as market ranges.
• A small stage of 30 to 50 square metres: US$63,000 to 133,000 as a complete system.
• Processor: US$3,000 to 15,000.
• Media server and rendering: US$15,000 to 80,000.
• Camera tracking: US$15,000 to 50,000.

What we supply

We supply and install the LED wall, its structure, the processor and the power. Tracking, rendering and the 3D content are a production specialist's work, and for a full stage we work alongside one. For a streaming or product studio, the wall and a media player are the whole system.

Getting it right

• Test with your camera before buying. Bring it to the sample.
• Distance. Keep the subject 2 to 3 metres off the wall, so the wall falls slightly out of focus and its light doesn't spill onto them unevenly.
• Reflections. A glossy screen face shows studio lights. Ask for a matt black surface.
• Lighting. The wall lights the subject a little. It doesn't replace studio lighting.
• Noise. Fan-cooled cabinets are audible on a quiet set. Ask for fanless.

What they cost

A stage LED screen costs roughly AED 2,900 to 5,500 per square metre installed for indoor P2.5 to P3.9, on a Dubai supplier's published range, and AED 5,500 to 9,000 for fine pitch. A manufacturer gives factory prices of US$800 to 2,000 per square metre for rental-grade cabinets. Structure, processor and power are extra.

Factory prices exclude shipping, duty, structure and installation.

Our own guide prices:

Prices are quoted excluding VAT, with payment 50% on order and 50% on completion.

What moves the price

• Area. The largest factor.
• Pixel pitch.
• Fixed or rental-grade, and indoor or outdoor.
• Refresh rate and LED quality, for filming.
• The structure: wall frame, ground support or surround.
• The processor and the number of inputs.
• Flight cases and spares.
• Content and templates.

For a full breakdown, see our LED screen price guide.

Owning a screen: care, crew and mistakes to avoid

An owned screen lasts for years if it's kept clean, cool and handled with care, and if someone on your staff knows how to run it. Manufacturers quote 100,000 hours for the LEDs. In practice, permanent screens age gently, and portable ones are worn out by handling.

Care

• Permanent screens: dust the face with a soft brush, keep the ventilation clear, and have the screen checked and recalibrated yearly.
• Portable cabinets: always in flight cases, never stacked loose, never dragged. Most damage is to corner LEDs during building and striking.
• Storage: dry and cool. A hot, humid store shortens a screen's life. Power the screen up every few weeks if it's unused, since LEDs absorb moisture when idle.
• Spares: modules, power supplies, receiving cards and cables, from the same batch as the screen.
• A log of faults and replaced modules.

After-sales from us

• Training for your staff at handover.
• A 1-year warranty, and maintenance contracts afterwards with scheduled visits.
• An on-call operator for event days, if you'd like a technician to run the screen for an important event.
• Content and templates made to the screen's size.

Mistakes

1. Buying a screen you'll use three times a year.
2. Renting every week for years without doing the sum.
3. Rental-grade cabinets on a permanent wall, or fixed cabinets that have to move.
4. Sizing the screen for the stage and not for the back row.
5. A pitch chosen for the audience, when the screen is photographed from 2 metres all night.
6. A low refresh rate that bands on every phone.
7. No sample seen dimmed.
8. Ignoring the ceiling height until installation.
9. A power supply sized for the average.
10. A partition wall asked to carry half a tonne.
11. Hanging a screen overhead without qualified riggers.
12. No processor backup at a venue that can't go dark.
13. Controls only the installer understands.
14. No content specification for clients, so every event starts with stretched slides.
15. Mixed batches, so half the wall is a different white.