Broadcast studio LED wall
A broadcast studio LED wall replaces the painted set or the green screen: it must appear on camera without banding or moiré, with accurate colour. Artixium designs LED walls for TV sets, XR studios and virtual production.
Which LED walls for a broadcast studio?
LED displays engineered for the camera, not just for the eye.
Virtual production LED volumes
A curved LED wall that surrounds the set: the background is filmed directly, and the screen lights the actors too.
Colour fidelity, refresh rate and scan are set for the camera sensor, with no banding or moiré in the rushes. Beryl XR is built for this; for a tightly curved or demountable volume, Boron 2 XR gives the same performance in a lighter cabinet.
The curve and height of the volume are sized with the director of photography, based on the lenses and camera moves planned.
TV studio LED walls
A fixed backdrop wall for news, shows and streaming studios.
On for hours under the lights, it keeps deep blacks, stable colour and a flicker-free image on camera. Beryl XR equips fixed studios.
Pixel pitch is chosen from the distance between camera and wall: the closer the presenter is framed to the screen, the finer the pixel pitch has to be to avoid moiré. A broadcast studio LED wall is also matched to the colour science of the studio cameras.
Interchangeable LED sets
An LED wall that moves from one shoot to the next: commercials, music videos, brand content.
The set changes from take to take without moving the crew. The Beryl touring range goes up and comes down quickly between productions.
The same set of screens serves several productions a year, as a flat wall or a curve depending on the set.
XR stages
An LED wall that works as the set for the audience in the room and as the background for the camera.
Frame rate and camera sync have to be exact so the image holds on site and on the broadcast. The audience sees a living set, the camera a background with no flicker or lag.
On an XR stage, the LED wall, sometimes with an LED floor, extends the virtual set rendered in real time. Products from the XR/VP range, such as Beryl XR, are built for this kind of shoot.
We build LED for every kind of production
Artixium supplies LED walls to film studios, broadcasters, production agencies and film schools: sets where the screen is filmed as much as it is watched.
Film and series
The set is filmed, not keyed in: the screen lights the scene too.
TV studios
News, shows and streaming: a set that changes without moving the crew.
Built for the camera
We specify for the camera before the eye: colour fidelity, refresh rate and scan have to suit the sensor, with no banding or moiré in the rushes.
XR events
An audience in the room and one at a distance, with images only the camera sees.
Integrated into the set
An integrator from our network connects the wall to the render engine and camera tracking; the production supplies the virtual sets.
Schools and university studios
Students trained in virtual production on professional equipment.
Fixed or touring
And the wall follows the set’s rhythm: permanently installed in a studio, or taken down between shoots.
Why shoots are moving from green screen to LED
Both put a set behind the cast. Only the LED display is already in the image when the camera rolls.
Criterion
Green screen
LED wall
The set is filmed, not keyed in
Green screen
The set arrives in post: keying, green spill cleaned off skin and hair, then compositing.
LED wall
The set is in the camera as it rolls. What is approved at the monitor is what comes out.
The light comes from the set
Green screen
That light has to be recreated, and it never quite matches.
LED wall
The wall lights the scene: reflections on bodywork, the colour of a sunset on a face, the glow of a tunnel.
Crew and cast see the set
Green screen
The cast plays against a green cloth. Decisions are made three weeks later.
LED wall
The director frames inside the final set and the cast plays in it. Decisions are made on the floor.
Need advice ?
Our broadcast studio LED wall projects
Why choose Artixium for a broadcast studio LED wall?
We manufacture the LED screens for your stage and coordinate the integration through our network of integrators, from choosing the pixel pitch to the first shoot.
Direct from the manufacturer
We design and manufacture the LED screens. An integrator from our network handles the structure, cabling and video chain, with one technical contact at Artixium for the screen.
Colour calibration is a service in its own right: on request, on new cabinets or on a wall already installed, in our workshops near Lyon or on site.
Easy to integrate into your video chain
The Beryl XR and Boron 2 XR run on Brompton processing as standard, and other screens in our range can be adapted for XR on request. The integrator receives the technical data needed to connect them.
Support over time
France-based technical support, spare parts and a warranty of up to 5 years: we remain your contact for the screen long after delivery.
Our broadcast studio LED wall products
Visit our showroom
- Plan your visit
Configure your LED screen
- Configure my screen
Frequently asked questions
Why does refresh rate matter on a studio wall?
A camera samples the panel far faster than the eye. Below a high refresh rate the sensor catches the scan and you get banding across the frame. Our XR platform runs at 7680 Hz so the wall stays clean from 24 fps cinema to high-speed capture.
How close can talent stand to the wall?
Close, provided the pixel pitch matches the shot. A P1.9 volume holds up at short camera distances and shallow depth of field; the right pitch is chosen from the tightest planned framing, not from the wall size.
Does it work with our existing pipeline?
Genlock, NDI and 12G-SDI are supported, and the platform is used with Unreal Engine, disguise and Pixotope. We validate the routing with your VFX and camera-tracking teams before the first shoot.
Will the cabinets be audible on set?
No. The fine-pitch cabinets are fanless, so there is no fan noise or vibration for the sound recordist to fight.
What pixel pitch does an LED volume need?
It follows from the distance between the wall and the closest camera position, and from the focal lengths you shoot on: the pitch has to be fine enough that the LED grid does not resolve in frame. We calculate it from your stage plan and lens set, which is the only honest way to answer it.
How do you avoid moire on camera?
Moire comes from an interaction between the LED grid and the camera sensor, and it is managed through pitch, distance, refresh rate and scan settings together. We commission on site with your own cameras rather than signing off against a datasheet.
How long does a studio installation take?
A permanent volume is typically a few weeks from delivery to sign-off: structure, panels, processing, then calibration. Calibration and camera testing are the part that cannot be compressed, and they decide whether the footage is usable.
Can we use an LED volume for a single production?
Yes, though not from us directly. Artixium manufactures the panels and sells them to studios, integrators and rental houses; for a one-off shoot, a rental house in our network supplies and crews the stage. If the volume is to be permanent, we build it with an integrator from our network, and the specification does not change between the two.
What is the difference between an XR studio and a broadcast set?
A broadcast set films a presenter in front of a backdrop: the wall plays images, fixed or moving, with no link to the camera. An XR studio goes further: the set is rendered in real time and follows the camera, so the perspective stays right. The first asks for reliability and deep blacks, the second for strict sync between wall, camera and render engine.
What is ICVFX?
ICVFX (in-camera visual effects) are effects captured as the camera rolls, on an LED wall, rather than added in post. The set is already in the frame while shooting: that is what separates a virtual production volume from a plain LED backdrop.
Does a studio wall need GOB?
GOB (glue on board) is a resin that shields the LEDs from knocks and handling. The Beryl XR uses MiniLED 4-in-1 instead: four LEDs encapsulated in the footprint of one, which protects them too while keeping each LED repairable one by one, something a GOB module makes close to impossible. For a stage rigged and struck often, ask us to compare the two on your own case.
Tell us about your studio
Volume, backdrop or set piece: send the camera distances and the frame rates you shoot at.