Twelve starter walls for the shows and installs that come up most, each built from a panel in the database and sized to a real video format. Open one and the planner loads it with every figure derived: panels and spares, rigging, circuits, data runs and the pack list. Change the panel or the size and everything recomputes.
A conference or product-launch keynote wall in exact 16:9, indoors, flown from truss.
16 × 9 of a 500 mm cabinet is exactly 16:9, so 1080p content maps without letterboxing. The BP2 V2 at 2.84 mm reads clean from about 3 m, which covers a front row of seated delegates. One VX1000 carries all 16 runs.
One of a pair of camera-feed screens beside a stage, 16:10, flown.
Plan one and pack two. 3.9 mm is enough for a camera close-up seen from 10 m and more, and the 500 mm cabinet gives 4.0 × 2.5 m in eight columns. A VX600 has ports and pixels to spare for one screen; two screens on one processor need a VX1000.
One of the pair of tall screens beside a concert stage, 3 wide by 8 high, indoors, flown.
The usual concert layout is a backdrop plus two portrait screens at the sides carrying camera close-ups, so plan one of these and pack two. Three columns by eight rows of the 500 mm cabinet give 1.5 × 4.0 m, taller than 9:16, so the camera feed is cropped to portrait in the processor. Eight rows sit at the limit RigPlan assumes for this cabinet, which Absen does not publish; check the rigging manual before flying it higher.
The same portrait side screen for a festival stage, on outdoor 500 × 1000 cabinets, flown.
Same 1.5 × 4.0 m footprint as the indoor version, but four rows of the tall PL3.9 Pro V3 cabinet instead of eight rows of squares, which halves the panel count and the hang time. IP65 at 5,000 nits holds up in daylight; Absen publishes a 20 m hang height. Pair it with the festival main stage template for the backdrop.
An outdoor main-stage wall, 10 × 6 m, high brightness, flown from the roof truss.
The PL3.9 Pro V3 is IP65 front and rear at 5,000 nits, in 500 × 1000 cabinets that halve the panel count and the hang time. Six rows of the tall cabinet reach 6 m; Absen publishes a 20 m hang height, so the frame is nowhere near its limit. Wind bracing and ballast come from the site, not this list.
A virtual-production wall for camera, 15 × 6 m at 2.84 mm, 10-bit processing.
The BP2 V2 became the reference panel for xR at 2.84 mm and 7,680 Hz. Twelve rows sit inside its published 20-high hang limit. At 11 million pixels the wall needs two MX40 Pro processors, and 10-bit halves what each port carries, which is why the data plan shows more runs than the corporate wall of the same panel.
A 5 × 3 m boardroom or breakout screen at 1.95 mm, for viewers two metres away.
At 1.95 mm the eye rule puts the nearest comfortable viewer at 2 m, so this suits a room where people sit close. Ten columns of the 500 mm cabinet give 16:10, and 2,560 × 1,536 px is more than a 1080p feed fills, so send native content or scale in the processor.
A 6 × 1 m ground-stacked strip on the front of a riser, 2.6 mm, bright enough for a club.
Twelve cabinets in two rows, ground-stacked on base frames, so no bumpers or points. The RB2.6F is the bright one of the Ruby line at 2,500 nits, which survives haze and moving lights. A VX600 is plenty; the runs are short.
A 12 × 7 m outdoor touring wall of one-metre cabinets, planned with tour spares.
The Vanish V8T is a 1,000 × 1,000 mm outdoor cabinet rated to hang 22 high, so seven rows is comfortable. Tour spares are 10% with a minimum of four, because a touring rig cannot cross-hire a tile in a strange city on a Sunday. At 8.9 mm the wall is for a crowd 9 m back and beyond.
A 6 × 3 m stage wall at 2.5 mm for a conference or an AGM, flown, the size a hotel ballroom asks for.
Twelve by six of the 500 mm cabinet is 6 × 3 m, a 2:1 stage format at 2,400 × 1,200 px. Two columns per port keep it at six runs on one VX1000; add a row and every column becomes its own run, twelve of them. Absen publishes no hanging limit for the PL2.5 Pro V2, so the six rows sit inside the eight RigPlan assumes; check the Absen rigging manual before flying higher. At 2.5 mm the front row is comfortable from about 2.5 m.
A 4.9 × 2.7 m reception wall at 1.5 mm, wall-mounted and front-serviced, planned as a permanent install.
Eight by eight of the 608 × 342 mm cabinet is exactly 16:9 at 3,072 × 1,728 px, so 1080p and UHD content scale cleanly. The LD-FE153 is a wall-mounted install module and Sharp publishes no flown limit, so the planner opens it in install mode: the 563 kg sits on the structure, not on rigging points, and a second MX40 Pro stands by as the redundant processor. At 1.5 mm the nearest comfortable viewer stands about 1.5 m away.
A 3.7 × 2.1 m meeting-room wall at 1.9 mm, exactly 1080p, wall-mounted.
Six by six of the UpanelS 1.9 cabinet is 1,920 × 1,080 px, so a 1080p feed maps pixel for pixel with nothing scaled. Unilumin publishes a 20-high hang limit for a hanging beam, which a mounted wall never reaches; the 270 kg goes on the structure. Six runs fill the six ports of a VX600, with a second unit as the redundant processor. At 1.9 mm the front row sits about 2 m back.