dvLED for Broadcast
On air, the wall is judged by the camera, not the eye. Perfect synchronization, low latency and even, homogeneous light are what keep a set looking right through every shot, every night.
What this room demands
On camera above all
The wall has to look flawless through the lens, where the smallest sync or color error is obvious.
Low latency
Live production leaves no room for lag between source and screen.
Even, homogeneous light
A set wall has to be uniform edge to edge, with no patches, banding or hotspots on camera.
Reliable night after night
A studio runs on a schedule, so the wall has to be dependable and serviceable.
Showtime, held to on camera performance
TRUE supplies ERMAC based XF+ panels for broadcast studios and sets, tuned for synchronization, low latency and homogeneity, so the picture holds up under any camera.
Synchronized and low latency
The ERMAC control system keeps the wall locked and responsive for live production.
Pantone validated color
Color that reads correctly on camera, held across brightness and across batches.
Even across the whole set
High brightness without giving up contrast or black level, uniform edge to edge.
From 0.6 to 2.5
The right pitch for close set walls or wide backdrops, from 60 Hz up to 240 Hz.
Where it earns its place
TRUE walls have carried prime time formats such as The Voice and Big Brother, news production, and live sport including UEFA and Adidas activations.
See it measured in Kassel
The fastest way to judge a wall is to measure it. Book a visit to our Experience Center, or send us your space and we will size it.
Broadcast questions
What makes a dvLED wall suitable for broadcast?
On air, the key factors are synchronization, low latency, color that is correct on camera, and a homogeneous surface. TRUE tunes the ERMAC control system and the XF+ panels together to hold all of these under the lens.
How does TRUE keep the set uniform on camera?
Strict component selection and end to end calibration keep brightness and color even across the whole wall, so there are no visible patches or banding when the camera moves.
Which pitch is right for a studio set?
It depends on how close the camera and talent get to the wall. TRUE covers 0.6 to 2.5 and helps size the right pitch for your set during planning.