The old trade, black against brightness, is gone. The image is free to be as good as the content put on it, in five very different kinds of spaces.
An arena-scale image that ships in road cases and rigs in minutes, holding its contrast under show lighting, instead of trucking, powering, and cooling a wall of tiles between cities.
A continuous in-camera backdrop with deep blacks and true color: no moiré, no refresh beat, no panel tiling lines. Actors see and react to their environment live, and the reliance on green and blue screens falls away.
One continuous image flowing across curved geometry and 360° environments, where a wall of flat modules struggles to form a seam-free surface at all.
Contrast and color that hold under full house light, the same image in every seat, and a clean result on camera, for broadcast studios and command-and-control rooms.
A deep, architectural black in a space that can never be darkened, presented as a single calm surface rather than a grid of modules.
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The configurator →
It travels in road cases and rigs in minutes. The surface itself draws no power and makes no heat. The only thing you plug in is the projector.
The one property every setting above shares: contrast that survives when the lights cannot go all the way down.
No seams, no tiles, no pixel grid, so it scales, curves, and reads clean on camera without a matching pass.
The surface itself needs no power and no cooling. It travels in road cases and rigs in minutes, or installs once and disappears. The projector carries the whole electrical budget.