Below is a straight technical brief for anyone in Brežice weighing up a fixed LED surface, written around the questions clients here actually ask first: what such a screen is genuinely good at, how the tile size and the room decide the pitch, why the picture dimensions cannot be chosen freely, what a screen must do differently when its readers arrive from six countries, whether a rolling poster is the better purchase, and what the 357-kilometre road distance from Győr adds and does not add to the price.
LED wall in Brežice — manufacturing, installation, quote
Brežice is a border town in the most literal sense: the Obrežje crossing on the Ljubljana–Zagreb motorway sits a few minutes away, the railway runs to the frontier at Dobova, and a very large number of the people who pass through the municipality in a year have a passport from somewhere else. That gives a permanent display here an unusual brief. A screen in the lobby of a hotel at Terme Čatež, Slovenia's largest spa complex, is read by Slovenian, Croatian, Austrian, German, Italian and Hungarian guests in the same afternoon. A screen at the gate of a manufacturer such as Kovis, which builds brake discs and bearing housings for the European rail industry, is read by drivers who may not share a language with the gatehouse at all. Meanwhile the old town along Cesta prvih borcev, with the castle at its head and the 1914 water tower on Bizeljska cesta behind it, works to different rules again. One town, three audiences, and no single specification that suits all of them.
What does a fixed LED surface do better than the alternatives?
Where it beats a projector, a television and a printed board
It is worth being clear about the competition. Against a projector, a LED surface wins on light: it produces its own, so it holds contrast in a bright room, needs no darkening and has no lamp to replace or beam to be walked through. Against a large television, it wins on size and on shape — a television comes in the sizes a factory makes, whereas a LED surface is assembled to the proportions of the wall it is going on, including long and narrow ones no television is sold in. Against a printed board it wins on everything except initial cost, and loses on that alone. Where it does not win is in a small meeting room with a controlled light level and a fixed 16:9 requirement, where a good large television is cheaper and perfectly adequate. We say so when that is the case. The surfaces that earn their keep in Brežice are the ones doing something the alternatives cannot: a wide format above a reception counter, a bright picture in a daylit spa lobby, a shape that follows an arch or a corridor, or a display that has to survive weather outside a building rather than inside one.
How is the pixel pitch decided?
By the nearest reader, in every case
The pitch is the distance in millimetres between adjacent lamps, and it is chosen from the shortest distance at which the picture will be examined, not the average one. In a hotel reception where guests stand at the desk a metre and a half away while they check in, the surface has to survive that inspection: P1.5 to P2.5 is the band, and anything coarser draws attention to its own construction. In a conference room or a training hall at Brežice's Faculty of Tourism, where the audience sits between five and twelve metres back, P2.5 to P4 produces a picture nobody analyses. Outdoors the arithmetic loosens considerably. A display on a building facing a car park, read at thirty metres or more by people arriving, works properly between P4 and P8, and specifying finer than that is spending money on resolution the eye cannot recover at that range. The mistake we correct most often is a fine tile bought for a large space because it looked impressive at two metres in a demonstration — a distance at which nobody will ever stand in front of the finished installation.
Why can the screen not simply be the size of the wall?
Because a module is 32 centimetres wide and 16 tall, and cannot be cut
Modules are always mounted in landscape orientation. Each takes up 32 centimetres of the width and 16 centimetres of the height, and the finished surface is those two counts multiplied out — so the permitted sizes come in steps, not in a continuum. Seven columns by fourteen rows gives 2.24 by 2.24 metres, a square. Fifteen by seven gives 4.80 by 1.12 metres, a long banner shape that suits a corridor or a run of wall above a counter and that no television manufacturer makes. The constraint bites when a space has already been designed. A recess formed at 4.50 metres cannot hold a 4.50-metre screen, because 450 is not a multiple of 32; you take 4.48 metres from fourteen columns and let the frame absorb the two centimetres, or you widen the opening to 4.80. Because Brežice is 357 kilometres away, this is a conversation to have while the builder is still on site rather than after the fit-out is finished. Send the aperture and the tolerance in each direction and we will return the buildable sizes with their masses and current draw attached.
Does a rolling poster remove the installation problem?
Four builds on one frame, from a fine indoor tile to a sealed outdoor cabinet
The LED poster is a portrait screen on a wheeled base, and it is offered in four constructions on the same chassis: P1.5 GOB and P2 GOB for close inspection indoors, a P2.5 indoor build, and a P2.5 outdoor cabinet version for positions exposed to weather. The indoor builds run at 700 to 800 nits, which is right for a lobby, a shop or a corridor; the outdoor cabinet runs at 4,500 to 5,000 nits so it stays readable under an open sky. Choosing between them is a matter of where the unit will stand, not of how much you want to spend, and all four sit on an identical frame so the footprint and handling do not change. What the poster removes is the entire installation apparatus. Nothing is bolted to a wall, so there is no scaffold, no access platform, no structural opinion and no making good afterwards. At 357 kilometres a wall installation means our crew travelling, staying overnight and working a scheduled two-day window; a poster is delivered by carrier and switched on by your own reception staff. For the arrivals hall at a spa hotel, a bank branch on Cesta prvih borcev, a car showroom on the approach road or a foyer at the sports hall, that difference decides the purchase far more often than any argument about picture quality.
How do six languages fit onto one screen?
Sequencing, iconography and the mistake of splitting the surface
The instinct with a multilingual audience is to divide the screen into panels, one per language. It is almost always the wrong move: each language ends up in a quarter of the area, so every version is too small to read, and the surface looks busy without communicating anything. The better approach is sequencing — the same message held for a few seconds in each language in turn, at full size, cycling through the set. A reader waits at most a few seconds for their own version and gets it at a legible size when it arrives. Second, use pictograms wherever a pictogram will carry the meaning. Directions, facilities, opening and closing, wifi, parking and safety instructions all work better as symbols than as translated sentences, and they work for the reader whose language is not in your set at all. Third, put the languages in the order your visitors actually arrive in and revisit that order seasonally; the mix on the Obrežje corridor in August is not the mix in February. The controller handles the scheduling for all of this, so the sequence and the seasonal variation are set once rather than managed daily.
What does 357 kilometres actually cost?
The lines you should expect to see, itemised and questionable
Brežice sits 357 road kilometres from our works in Győr, on the same corridor our vehicles use to reach the rest of the lower Sava valley and the Croatian sites beyond it. That is a long day out and back for a survey, and a job with an overnight stay for an installation of any size. Those costs are quoted as their own lines — transport, mobilisation, accommodation and the daily allowance — rather than being spread invisibly through a rate per square metre. You should be able to read a quotation and see which part of it is the display and which part is the road; if you cannot, ask, and ask the same of any competitor. What the distance does not change is the warranty, which runs one or two years according to specification, or the way spares are handled. Replacement modules and a spare power supply are delivered with the installation and remain in your building. A failed module is then a short job for your own maintenance staff, guided by us over a video call, because the front face releases individually without touching the panels around it. The alternative — a screen dark for a fortnight while a part crosses two borders — is exactly what that box of spares exists to prevent.
