We manufacture fixed LED walls in Győr, 384 road kilometres from here, and install them with our own fitters. This page is deliberately unglamorous: it works through the sequence a Litija buyer should follow, from counting who will actually see the thing, through the module arithmetic and the pitch decision, to the point where we say plainly that a great many enquiries from a town this size are better answered by a free-standing unit than by anything bolted to a building.
LED wall in Litija — manufacturing, installation, quote
Litija is a place people pass through on a timetable. The town sits on the Sava where the valley narrows, the Ljubljana to Zidani Most railway runs along its northern bank, and a large share of the working population leaves in the morning and returns in the evening on that line or on Ljubljanska cesta beside it. There is no visitor economy to speak of; the audience for a permanent screen is a known, repeating set of residents, commuters and shift workers at places like the Predilnica Litija spinning works on Kidričeva cesta. That changes what a display is for, and it should change what you buy.
Count the audience before you count the pixels
A repeating audience is worth more than a large one
Start with a number you can defend. How many people pass the intended position in a day, at what hours, on foot or in a vehicle, and how many of them are the same people tomorrow? Around the station and along Ljubljanska cesta the flow is concentrated into two narrow peaks and is made up largely of the same faces every working day. That is a different asset from a stream of strangers, and it rewards different content. The Sitarjevec mine above the town draws visitors on tour days, but that is a trickle beside the daily movement through the station, and no permanent screen should be sized on it. A repeating audience gets bored quickly and notices change immediately, which means the value of a screen here lies in what is new on it rather than in how big it is. It also means a modest surface, refreshed weekly, outperforms a large one showing the same loop for a season. Before we quote a size we would rather you counted; a screen sized by ambition rather than by traffic is the most common way to waste money on this product.
Turn the opening into whole modules on paper
Steps of 32 across and 16 up, decided before anything is ordered
Each tile is a landscape unit measuring 32 centimetres by 16, and it cannot be cut down. The finished wall is therefore assembled from whole columns and whole rows, and its dimensions come from a list rather than from a wish. An office reception with a 300 centimetre usable width takes nine columns - 288 centimetres - and the leftover 12 centimetres becomes part of the surround. Do this arithmetic before the budget is signed off rather than after. We ask for the clear opening in centimetres and a photograph showing what is above, below and beside it, then return the achievable rectangles nearest to your intention. The wall is then built to that exact figure in the workshop, because nothing about it can be adjusted once the panels are cut and the frame is welded.
Match the pitch to the shortest sightline in the room
The nearest habitual viewer sets the number
Pixel pitch is chosen from where people actually stand, and the person standing closest wins the argument. Inside a foyer or a shop where customers approach to within a couple of metres, P1.5 to P2.5 keeps text and photographs looking like text and photographs. A hall, a canteen or a showroom with a normal viewing range of five to ten metres works well at P2.5 to P4 and costs appreciably less. A surface read across a yard or from a road takes P4 to P8, and specifying finer than that is spending on detail the eye cannot resolve at that range. The error that cannot be undone runs the other way: a pitch too coarse for the room is obvious on the first day and can only be fixed by replacing the panels. We measure rather than estimate, which is one of the things a survey visit is for.
Begin with one unit and extend the line when the content earns it
Five free-standing posters driven as one picture, 320 centimetres wide by 192 high
The free-standing LED poster is a wheeled digital placard that needs no fitter, but its more useful property is that the units chain. Their controllers link so that several posters standing side by side behave as a single continuous image surface rather than as separate screens each looping the same file. The favourite arrangement is five units: five widths of 64 centimetres give a picture 320 centimetres across and 192 centimetres high, which is close enough to 16:9 to take ordinary video without letterboxing. The commercial consequence is what matters in a town of this size. You do not have to decide the final surface at the outset and find the whole budget in one year. Buy one, put it in the entrance, live with it for a season and learn what your content actually needs; add a second and a third when the case is proved, and arrive at the full line only if it turns out to be justified. Nothing is fixed to the building at any stage, so the arrangement can be a wide band across a foyer, a pair either side of a door, or a row down one wall, and it can be rearranged on a quiet afternoon by your own staff.
Budget the journey from Győr as two days, not one
What 384 kilometres actually costs you
384 road kilometres is at the shorter end of our Slovenian range but it is still not a same-day return with a loaded van and a working day at the far end. A mounted installation is planned as a survey trip that records the structure, the supply and the access, followed by a fitting trip with a preparation day and one night's accommodation for the crew. Both journeys appear in the offer as their own items - kilometres and subsistence separately from the wall itself. We keep them visible on purpose, because it lets you compare the equipment price against a Ljubljana supplier without having to guess how much of a bundled rate is road. It also makes the case for a free-standing unit legible: where there is no fitting trip, that whole block of the quotation is simply absent.
Settle the cover period and the spares before production starts
Twelve or twenty-four months, and a crate that contains its own repairs
The guarantee is either twelve or twenty-four months and it is chosen and written down at order stage, not discovered at handover. Which you should take depends on how the wall is used: a surface running twelve hours a day in a public entrance is a different proposition from one used for two meetings a week. Every delivery includes reserve modules in the crate. That is not a courtesy, it is the service model for a site 384 kilometres from the workshop - a failed tile comes out from the front and a spare goes in, done by your own maintenance staff in an afternoon with us on a video call. For anything mounted outside and visible from a public road there are official requirements; we play no part in that procedure and predict nothing about it, but we prepare the drawings, loads, mass, power and luminance data the submission needs.
