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Video ads by channel / Event LED walls

Trade show and event LED walls.

Rendered pixel for pixel to the wall, encoded for the media server, and built to work in a hall that caps the sound.

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01

The medium

An event wall is not bought media. The screen belongs to the exhibitor or its AV company, and the film is made for that one wall: its native resolution is the pixels per cabinet times the cabinets on each axis, rarely 1920 by 1080, and anything scaled up in the processor looks soft. The content plays from a media server, and each server wants its own files: disguise asks for a keyframe on every frame in codecs such as HAP or NotchLC, WATCHOUT 7 recommends ProRes 422 HQ, and Resolume plays its own DXV.

The room sets the rest. Messe Frankfurt caps sound at 70 dB(A) at the edge of a stand and requires GEMA permission for music; CEATEC measures 80 dB two meters from the booth; NAMM allows 85. At some shows, speakers and video walls must appear on an approved rigging plan.

No exhibitor manual we read sets a flash limit, so the television thresholds are the working rule, above all when the stage is streamed.

02

The specs

Quoted from the platforms' own pages. The source and the date each was read are under the table.

PlacementRatioResolution and fileLengthSound and captionsSafe zone and rules
disguise media serverAny, up to 16kQuickTime HAP, HAP Alpha, HAP Q, DXV version 2, Animation or NotchLC; TGA, TIFF or DPX sequences; up to 16,384 pixels in one directionSet by the showEmbedded audio uncompressed stereo, 16-bit, 44.1 kHzNo delta frames: a keyframe on every frame; very large textures play faster as HAP or DXV
Dataton WATCHOUT 7AnyProRes 422 HQ for opaque content, ProRes 4444 Alpha for transparency; HAP Q for the highest quality in that family; 10-bit HEVC for HDRSet by the showNot coveredH.264 accepted only up to level 5.2, as a last resort; the asset manager transcodes
Resolume Arena and Avenue (search snippet)AnyDXV at normal quality by default, high quality only if gradients band; alpha only when the source has itSet by the showNot coveredDXV decodes on the graphics card, and only inside Resolume
Messe Frankfurt stands (presentation factsheet)n/an/an/aNo more than 70 dB(A) at the edge of the stand; music needs GEMA permissionAudience area at least 2 m wide inside the stand; lasers need approval; no pyrotechnics; a stand in breach can be shut down
The NAMM Shown/an/aDemonstrations up to 3 minutesNo more than 85 dB, measured by the floor team; speakers pointed into the boothWarnings, then closure of the booth for the day
E3 2020, Los Angeles Convention Center (GES policy; the show was cancelled)n/an/an/a85 dB maximum, read from the closest aisleEvery speaker and video wall on a rigging plan approved by GES and the venue
  1. disguise, supported file formats (legacy help), read October 27, 2026
  2. Dataton, video encoding best practices for WATCHOUT (March 2026), read October 27, 2026
  3. Resolume, rendering to DXV (search snippet), read October 27, 2026
  4. Messe Frankfurt, factsheet for presentations on stands, read October 27, 2026
  5. The NAMM Show, sound policy, read October 27, 2026
  6. GES, sound policy for speakers and video walls (E3 2020), read October 27, 2026
  7. Ofcom (ITC legacy), guidance note on flashing images and regular patterns, read October 27, 2026
  8. CEATEC, exhibitor manual on sound (search snippet), read October 27, 2026

An event wall is production, not a media buy: the pixel map, frame rate and codec come from the client's AV company. CES and ISE keep their sound limits inside exhibitor portals, so none is quoted. The native-resolution rule is from an LED supplier's guide (Dynamo LED Displays, third party), not a manufacturer standard, and the flash note is legacy television guidance used as the working threshold.

03

How we build an ad for it

Directed by people, made with AI, finished by hand. You approve the script and the sound before any footage is made.

  1. Pixel for pixel to the map

    We start from the AV company's pixel map and render at the wall's native resolution, one pixel of content to one LED, even when that is an odd ultra-wide canvas. No 1080 master is scaled up in the processor, and the render is checked on a pixel grid with a labeled border before doors open.

  2. Composed for the aisle

    A stand wall is seen from the aisle at walking pace, often across several screens. The canvas gets more than one focal zone, the brand sits at head height and above the crowd, and nothing important crosses a tile seam or hides behind a lectern.

  3. Encoded for the server it plays on

    disguise gets HAP, HAP Q or NotchLC with a keyframe on every frame, Resolume gets DXV, WATCHOUT 7 gets ProRes 422 HQ or 4444 with alpha; H.264 only where nothing else will play. The frame rate is agreed with the AV team to match the processor and any camera filming the stage.

  4. Silent for the floor, mixed for the stage

    Halls cap stand sound, 70 dB(A) at the edge in Frankfurt and 85 at NAMM, so the booth loop tells its story without sound. Keynote and stage content gets a mix to the show's limit, and music is composed for the job or cleared, since the exhibitor holds the license.

  5. Loops for the day, cues for the keynote

    A show day needs seamless loops that run for hours without a visible seam; a keynote needs a cued version the operator triggers, with alpha layers so live titles and speaker names can sit on top. They are made as separate deliverables.

  6. Flash-safe in a dark hall

    No exhibitor manual we read sets a flash rule, so we work to the television thresholds: no more than three flashes in any second over a quarter of the screen, and no strobing red. On a stage that is streamed or broadcast, that is a requirement rather than a courtesy.

04

Films that fit

Finished Filmito films, labeled with what each one is. Hover or tap to play.

bosch Tiernahrung, Factory tour film
bosch Tiernahrungbosch Tiernahrung, a 73-second animated factory tour; animation like this is rendered natively to a wall's pixel map rather than scaled from a 16:9 master.
Team.blue, Product launch
Team.blueTeam.blue, a 62-second product launch film, the kind of reveal a keynote wall plays on cue. 16:9 master shown.
ACIK SafePass, Brand film
ACIK SafePassACIK SafePass, a 164-second brand film; a booth loop would take its strongest images, silent, while the full film plays on cue at the stage.

All client films

05

What to order

A show season repeats the wall in new halls with new pixel maps and new announcements, so a monthly flow of loops, keynote cues and re-renders suits Growth.

One adLaunch, 60 seconds$1,495

A full minute. Brand film territory. Used in lobbies, decks, hero placements. First cut in 3 days, 2 revision rounds, 16:9 and 9:16 included.

Launch on the pricing page
Every monthGrowth$2,497 per month

4 unique ads every month. Different angles, not shorter cuts.

Growth on the pricing page
06

Questions about event LED walls

What resolution should LED wall content be?

The wall's native resolution, which is the pixels per cabinet times the number of cabinets on each axis, taken from the AV company's pixel map and rendered one to one. Content scaled up in the processor looks soft, so we never deliver a 1080 master for a larger wall.

Which file does the media server need?

disguise wants HAP, HAP Q, NotchLC or DXV in a QuickTime file with a keyframe on every frame; Resolume plays its own DXV; WATCHOUT 7 recommends ProRes 422 HQ, or 4444 for alpha. H.264 is a last resort. We deliver to the server the AV company names.

How loud can a trade show stand be?

Each show sets its own limit: 70 dB(A) at the edge of the stand at Messe Frankfurt, 80 dB measured two meters from the booth at CEATEC, 85 dB at NAMM. We make the booth loop work without sound and mix stage content to the show's figure.

Can we play music on a stand in Frankfurt?

Only with GEMA's permission, which Messe Frankfurt requires and the exhibitor obtains. Music we compose for the film can be cleared for the stand; commercial tracks need their own license.

Does a video wall need approval?

Often. At E3 2020, GES and the venue required every speaker and video wall on an approved rigging plan, and Messe Frankfurt approves lasers and similar effects. The exhibitor and the AV company file it; we deliver content that fits the approved wall.

Are flashing visuals allowed on an event wall?

No exhibitor manual we read sets a flash rule, but the accepted thresholds are television's: no more than three flashes in any second over a quarter of the screen, and no saturated red flicker. On a streamed or broadcast stage they apply in full, so we design to them.

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