
Festival main stage — daylight
Daylight behind the screen is the hard part: the surface has to stay readable against a bright sky, and the wall has to be flown from truss with cabinets light enough for the rigging budget.
Built, struck and trucked every week — weight, locking speed and spares decide the cost.
Touring economics come down to three numbers: how many cabinets fit in a case, how fast two crew can close a joint, and how quickly a dead module can be swapped mid-show. Picture quality is table stakes; the cabinet is what you actually buy.
Our rental platform uses die-cast aluminium cabinets with quick-lock latches, cast corner guards and front-and-rear service, in 500 × 500 and 500 × 1000 formats so a wall reaches height in fewer pieces.
Indoor and outdoor variants share one cabinet geometry and one control system, so crew training, flight-case layouts and spare stock stay identical across both.

Daylight behind the screen is the hard part: the surface has to stay readable against a bright sky, and the wall has to be flown from truss with cabinets light enough for the rigging budget.

Seen from ten metres to eighty, and captured by broadcast cameras throughout. High refresh rate is not a spec-sheet flourish here — it is what stops the camera seeing scan lines.

A one-day build in a public plaza, with an audience seated from three metres. Fine pitch on a rental cabinet is the awkward combination — it needs the cabinet flatness of a fixed install and the build speed of a touring product.

Weather is the variable. An outdoor-rated rental cabinet, cable connectors that survive rain, and a build that can be de-rigged quickly if wind load rises.
Tell us the screen size and the closest viewing distance and we will run the same numbers for your actual site.