This page is organised as a set of questions, because that is how a display specification is actually settled. Answer them in order and the design falls out of the answers rather than out of a catalogue. Along the way we deal with the rolling LED poster, which behaves quite differently from a fitted wall, and with the way 400 kilometres of road between our plant near Győr and the Danube shape the site visit, the fitting window and the shape of the quotation.
LED wall in Vukovar — manufacturing, installation, quote
Vukovar earns its living where the Vuka runs into the Danube. The river port there is the largest inland harbour in Croatia, the D2 carries freight through the town between Osijek and Ilok, and the industrial ground at Borovo Naselje, laid out around the footwear works that Tomáš Baťa founded in 1931, is still where a large share of the local workforce goes in the morning. A display specified for this town therefore has two audiences that rarely overlap: people at work on a site, in a warehouse or on a quay, and people in the commercial centre. Very little in the technical brief is shared between them.
Who is standing in front of it, and for how long?
A quay, a workshop and a shop interior are three different briefs
On the port apron the reader is outdoors, at distance, often in a vehicle, and glances for a second or two, so the surface has to be legible with the sun low over the water and carry very little at a time. In a production hall at Borovo Naselje the reader is close, indoors, and returns to the same board repeatedly through a shift, so density of information matters more than size. In a shop in the centre the reader is a passer-by at three or four metres with time to stop. Establish which of the three you are designing for before anyone quotes a diagonal, because the answers pull in opposite directions.
What size can actually be built?
A module twice as wide as it is tall, and the arithmetic that follows
There is one tile shape, and it is twice as wide as it is tall: 32 centimetres by 16, laid flat, never stood on its end. Everything follows from that. Ask for 5.12 metres by 2.88 and you get sixteen tiles across and eighteen down, exactly, which is why that size exists and 5.20 by 2.90 does not. Anything buildable is a multiple of the tile in both directions; everything else has to be rounded to one. Run that arithmetic against the drawing before the number goes into an internal budget, because budgets are written in round metres and the grid is not.
How fine does the pixel pitch have to be?
Arm's length, across a room, across a yard
Three brackets cover almost every case, and the one you need is dictated by the closest person who will read the surface rather than by the room's average. Somebody at arm's length or a metre or two away, in a museum room or at a reception counter, will see the structure of anything coarser than P2.5, so the fine bracket of P1.5 to P2.5 is warranted. At the width of a room, say five to ten paces, the middle bracket from P2.5 to P4 is what the eye can actually use. Out across a yard, a hall floor or a car park, the coarse bracket of P4 to P8 delivers the same apparent quality for a small share of the money, because past about twenty metres the finer grid is invisible.
Would a rolling poster do the job instead?
Four different builds on one frame, from a foyer to open daylight
A poster in this sense is an upright digital placard rolling on castors, and the detail most often missed is that one frame accommodates four separate builds. The two GOB versions, at P1.5 and P2, put a hardened close-viewing surface where visitors stand within a metre of it, such as a lobby or a shop doorway. The P2.5 indoor version is the everyday choice for an office, a reception or a museum visitor area. The P2.5 outdoor version, in its sealed cabinet, is rated at 4,500 to 5,000 nits and stays readable in open daylight, which is what a unit beside a hotel door or at the port gate genuinely requires. Four specifications, one product, and the position decides which of them, not the budget line. In Vukovar the consequence is a calendar one: across 400 kilometres a poster travels as freight and is working within days of arriving, whereas a fitted wall begins with a site visit and proceeds from there.
How does the picture reach the screen?
A live feed, a network, or a schedule that runs itself
Two honest cases exist. Either the content is live, with an HDMI source connected and somebody driving it, or it is scheduled, with a playlist loaded so the surface runs unattended and switches itself on and off to a timetable. Scheduled content covers what most commercial installations actually do. New material reaches the controller three ways: across the building's own network, wirelessly, or on a stick carried to the machine. The wireless option deserves attention in the older buildings of the centre, where taking a data run to the screen position means disturbing a finish that was expensive to restore.
What do 400 kilometres add to the offer?
A preparation day, an overnight, and rows you can see
The road distance is 400 kilometres. At that range we schedule two days on site, one to prepare and one to fit, with the team sleeping locally instead of making the return drive tired, which is both safer and better work. None of it hides inside the rate per square metre: transport, the daily allowance and the hotel appear as their own lines, so you can hold them up against a Croatian quotation and see exactly what the journey costs. Panels drawn from the same production batch go into the crate as spares, since batch-to-batch colour can drift over the years, and the guarantee period is a year, extended to two on the higher specifications.
