Virtual production asks more of an LED wall than any other job. Refresh rate, colour accuracy and pixel pitch, and what actually matters for in-camera VFX.
Virtual production asks more of an LED wall than almost any other job. In a boardroom the screen only has to satisfy the human eye. In an LED volume it has to satisfy a camera, and a camera is far less forgiving. Get the wall wrong and it shows up as flicker, colour that does not match, or a moire pattern crawling across every shot. Get it right and the wall disappears into the scene, which is the entire point.
If you are specifying for in-camera VFX, these are the things that actually decide it.
The single biggest difference between a display wall and a production wall is refresh rate. A camera shutter and a slow LED refresh fight each other, and the result is banding and flicker on the footage. Virtual production walls need a very high refresh rate to stay clean at the shutter speeds and frame rates a shoot will throw at them. Our MX Series XR panels run at 7680Hz for this reason. It is not a spec to skim past. It is the one that decides whether the footage is usable.
The wall is a light source in the scene, so its colour feeds straight into the shot and onto every reflective surface and face in front of it. That means wide, accurate colour rather than the punchy, oversaturated look that sells a screen in a showroom. Coverage of a wide colour space like DCI-P3 matters here, because the camera will find any gap the eye would forgive.
On a normal screen you choose pixel pitch from the audience viewing distance. On a volume you choose it from how close the camera gets and how much you intend to push in. Too coarse a pitch and the pixel grid shows up in a tight shot. The right pitch keeps the wall clean at the distances the production will actually shoot at, without paying for resolution the camera will never resolve.
Beyond the camera-specific demands, a volume is still a large, permanent LED wall. It has to be colour-matched panel to panel, serviceable, and stable over long shoot days. None of that is glamorous, and all of it is the difference between a wall that holds up in production and one that becomes the crew's problem.
Australia has been building serious virtual production capability, and the Dicolor platform sits behind several of these volumes. Our screens have been used to shoot local indie films through to Marvel movie scenes and everything inbetween. If you are scoping a volume and want to pressure-test the numbers before anything is ordered, that is exactly the sort of conversation worth having early.
Dicolor Quality - Beyond Expectations
Tell us where it is going and how it will be used, and we will recommend the right Dicolor screen.
LED screen display technology for the Australian market. Australian-based sales, technical and service support.