Every LED screen is a different shape and a different number of pixels. We map it first, then compose to it. Here is why that matters.
Scroll to map the screens01 · Measure
Why not stock footage?
Because the screen is not a television.
Most disappointing LED content in this market is a stock clip forced onto a canvas it was never made for. One ribbon screen, one piece of 16:9 artwork, four ways to put it there. Three of them are what most venues get.
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Two thirds of the message is off the screen.
Anamorphic, explained
The illusion works from one place. We build for that place.
An anamorphic piece is drawn in forced perspective for a specific viewing position. Move the viewer and watch what happens.
Plan viewWhat the viewer sees
Stand in the cone and the two faces read as one deep space. This is the spot we design for.
The layouts we build for
Any shape. Any size. Any number of screens.
No two screens are the same shape. We map the pixels first and compose to them. These are the layouts we build for most, from a simple portrait to Simtech's see-through Ghost.
Around 1:3, portrait
The Portrait
Tall vertical, one surface, entrance or feature wall
Content that reads from the far end of a corridor and still holds up at arm's length. Vertical composition, slow reveals, a subject that fills the height without cropping.
Three surfaces mapped as one, an inverted U
The Portal
Two uprights and a horizontal span you walk between and under
Content has to travel up one side, across the top and down the other as a single motion, and hold up at arm's length as people pass through it.
Around 2:1 to 3:1, landscape
The Feature Wall
Wide landscape wall behind a bar, stage or gaming zone
The classic canvas, at a size no television reaches. Content needs a focal point and room to breathe, not a stretched broadcast frame.
Landscape, often 3:1 to 4:1, high brightness
The Billboard
Large outdoor display for advertising and special marketing effects
Seen from far away, in daylight, by people moving past. Bold graphics, big type, high contrast and short holds. Anamorphic tricks work here at scale.
Four portrait faces, mapped as one continuous strip
The Column Wrap
Four faces around a structural column, seen from every side
No front and no back. Content flows around corners without a seam and nothing important sits on an edge.
Extreme landscape, 10:1 and beyond
The Ribbon
Long, low strip above a gaming bank or along a fascia
Stock footage letterboxed here is a black bar with a postage stamp in it. Content has to travel along the length and hold long enough for a seated player to catch it.
Two landscape faces, mapped as one
The Corner
Two walls meeting at ninety degrees, the anamorphic canvas
The illusion works from one place. We map the sightline first and build the scene to it. From anywhere else it still has to look intentional.
Any, viewed from below
The Ceiling
Overhead canvas above a bar, atrium or high-limit room
No up or down. Movement stays slow because everything overhead feels faster, and brightness stays gentle or it lights the room.
1:1, mapped as a circle
The Circle
Round LED, a disc or a ring, hung as a feature or set into a ceiling
There are no corners to hide in and no top to anchor to. Content has to be built radially so it reads from every side and nothing important is clipped by the curve.
Custom, mapped to the exact outline
The Curve
Curved and organic shapes: waves, arcs, wrapped fascias, sculptural forms
A shape that is not a rectangle cannot take rectangular content. We map the outline first and compose along the curve so motion follows the form instead of fighting it.
Any, with the room visible through it
The Ghost
Transparent LED, see-through and double-sided. Simtech's Ghost.
The screen has no background. Whatever is behind it is part of the picture, so content is built on black with open space in the design, and it has to read correctly from both sides.
Any, viewed from above at an angle
The Floor
LED floor, walked on, seen from standing height
People stand on it and look down at it from a few feet away, so detail has to be coarse, motion has to be calm underfoot, and the picture has to survive being partly covered.
Each screen its own canvas, timed as one
The Sync
Two or more separate screens, one animation running through all of them
The screens are apart on the wall but the content is one piece. A dragon that leaves the left screen has to arrive on the right at the right moment, at the right size, with the gap accounted for. Every player is frame-locked.
Many small landscape screens in a line
The Bank
A row of jackpot toppers above a bank of machines, playing as one
Each topper is small and low resolution on its own. Together they are one long canvas with regular gaps. Content that works on one topper looks broken across ten.
What we need from you
Five numbers and a photo.
If it is a Simtech screen we already have all of this. If not, this is the whole tape-measure phase.
01Canvas in pixelsWidth by height of the whole surface, per face if there are several.
02Pixel pitchP1.5, P2.5, P3.9. It sets how fine the detail can be.
03Number of surfacesOne wall, four faces of a column, two sides of a corner.
04Where people standNearest and farthest viewing distance, and the angle they arrive from.
05A photo of the screen in placePhone photo is fine. It tells us more than a drawing.
The next step
Which one is yours?
Name the venue if it is a Simtech screen. Otherwise tell us the shape and where people stand, and we will map it.
