The first file you need is a pixel map
Ask the screen supplier for a drawing showing the exact active pixel width and height, the arrangement of screen sections and their position inside the playback canvas. Give this approved map to the designer before final animation or rendering. Also agree who checks the exported files and when a test version must arrive.
Keep three things distinct: the physical screen in metres, its native resolution in pixels, and the signal sent from the playback system. They can have different dimensions. A standard video signal may contain a smaller active area, while a media server may work with a larger canvas containing several displays. Do not fill these gaps by guessing from the label “4K”.
What belongs in the designer's brief?
| Field | What to agree | Why it matters |
|---|---|---|
| Screen geometry | Pixel map, active width and height, orientation, gaps and corners. | Prevents artwork landing outside the visible area or across an awkward join. |
| Delivery canvas | One complete composition or separate files; exact dimensions and positioning. | Makes the designer's layout match the operator's setup. |
| File specification | Container, codec, frame rate and any agreed encoding limits. | A filename extension alone is not an acceptance test. |
| Colour and audio | Agreed SDR/HDR workflow, audio presence and how sound will be routed. | Avoids assumptions about playback or an unintended soundtrack. |
| Show behaviour | Duration, loop or one-shot playback, opening/closing frames and cue name. | Defines what happens before and after the main content. |
| Approval | Test deadline, final deadline, named approver and version convention. | Gives the team time to correct and replace files reliably. |
Brompton defines 1:1 pixel mapping as matching a content pixel to a display pixel without interpolation. Its processor comparison also shows that scaling features vary by device. Therefore the designer and operator must agree where any scaling takes place; it should not be an accidental last step.
Worked example: a 6 × 3 m LED wall
Consider a hypothetical flat wall built from twelve columns and six rows of 500 × 500 mm cabinets. Assume each cabinet has a confirmed matrix of 192 × 192 pixels. These are example inputs, not a specification for a rental product.
The wall measures 6 × 3 m. Its native canvas is 12 × 192 = 2304 pixels wide and 6 × 192 = 1152 pixels high. The image proportions are 2:1. Design a native full-screen animation at 2304 × 1152 only after the operator confirms that this is the required delivery size and explains how it enters the playback chain.
A supplied 1920 × 1080 video has 16:9 proportions. There are three different choices; they do not produce the same picture.
| Choice | Result | Approval question |
|---|---|---|
| Fit the whole image | The film becomes 2048 × 1152. There are 128 unused pixels on each side. | Should the side regions be black or part of an approved branded layout? |
| Fill the canvas by cropping | The scaled image is 2304 × 1296. A centred crop removes 72 pixels from the top and bottom. | Are faces, captions and logos still visible throughout the film? |
| Recompose the original | The designer creates a dedicated 2:1 layout. | Are editable source materials and time for another approval available? |
Adobe's export reference distinguishes fitting, cropping and stretching. Stretching to another aspect ratio can distort the picture. In this example, choose an intentional layout instead of making people and logos wider just to fill every pixel.
Design for the visible screen
Use the map as a locked reference layer during design, then exclude that layer from the final export. Mark corners, separated screen sections and areas obscured by scenic elements. For an L-shaped screen, decide whether the graphic should read from one preferred viewpoint or whether each face carries its own message. The unfolding of the canvas is not the same as the audience's view.
Agree safe areas for important words, faces and logos from the actual layout. Do not apply a universal margin and assume it solves every installation. Include a difficult sample frame early: small type, the brand logo, a detailed product image and any subtitles. This reveals layout problems while changes are still inexpensive.
Approve playback, not only a preview
Request the operator's export specification instead of choosing the largest available preset. Adobe documents separate controls for dimensions, frame rate and encoding; those controls are not a promise that every player accepts every combination. Keep an editable master, deliver the agreed playback version and provide a small preview for editorial approval.
Label files by destination, language, cue and version, for example “MAIN_EN_OPEN_v03”. Send a short list stating duration, whether audio is present and whether each file loops. A loop should be checked through its end-to-start transition; a presentation opener should be checked through its finish and the next cue.
Common mistakes and the final check
Exporting before the wall is final: reconfirm the pixel map after a size or cabinet change.
Approving one still frame: review the full animation for cropped captions, missing assets and unintended frames.
Testing on another laptop only: test the delivered file in the intended playback chain.
Replacing files silently: issue a new version, update the cue list and have the operator confirm receipt.
Forgetting the audience: check readable detail from the intended positions and include camera tests when the screen will be filmed.
Send your screen layout and a representative content sample with a request for LED screen rental. The LED equipment brief and, when needed, design and visualisation help align the physical screen and the creative work before final production.
Further reading
The linked Brompton documentation explains mapping and processor differences; Adobe explains export controls. For the physical screen choice, the existing screen-size and viewing-distance guide covers the preceding decision. These resources supplement the project-specific specification agreed with your technical team.
Primary references: Brompton mapping glossary, Brompton processor features and Adobe export settings.