Crisp Resolution · Seamless Splicing · Energy-Efficient & Silent · Flexible Customization

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Ultra slim 28mm thickness 600-337.5mm indoor fine pitch LED display

Compatible with P0.9, P1.25, P1.56, P1.875, P2.5.

Ultra light weight only 4.3kgs/cabinet

Cabinet size: 1000*250 1000*500 500*500 500*250mm 750*250mm

P1.25 1.538 1.86 2.0 2.5

Module size:640*320mm

T Series 640*480mm Indoor LED Display

Pixel pitch, brightness, packaging and cabinets — the decisions worth settling before you sign.

1. The room decides the pixel pitch

2. SMD or COB — the choice that decides your maintenance bill

3. Refresh rate, grayscale and whether the screen will be filmed

4. Cabinet size decides the finished shape

5. What a complete quote contains

6. Price ranges, honestly stated

7. Seven questions to send before you sign

8. Frequently asked questions

9. Planning a fine pitch indoor installation?

Most indoor LED projects don't go wrong because the panels were poor. They go wrong because the pixel pitch was picked from a photo, the cabinet size never fitted the wall, or the quote quietly left out the steel structure and the spare modules.

Below is the checklist we run through with buyers before anything is manufactured — the questions that decide whether the screen looks right on opening day and still looks right in year five. If you take one thing from this page, take the order: the room comes first, the panel comes last.

Pixel pitch is the distance in millimetres between the centres of two neighbouring pixels. It is the single number that sets how far away the screen can be viewed before individual LEDs become visible, and it is the number most often chosen for the wrong reason.

Two rules of thumb do most of the work. The minimum viewing distance in metres is roughly equal to the pitch in millimetres, so a P2.5 screen is watchable from about 2.5 m but not from the front row of a tight boardroom. For an image that looks genuinely sharp rather than merely acceptable, work with three times the pitch: a P1.5 screen lands near 4.5 m.

Walk the actual room with a tape measure before you accept anyone's recommendation, because the worst seat in the house is the one that matters, not the middle of the room.

Read the numbers in that order and the pitch almost selects itself. A P0.9 to P1.2 wall is built for control rooms, boardrooms and broadcast studios, where the nearest person sits about a metre away and expects the image to hold at three.

At P1.5 you are covering executive meeting rooms, hotel lobbies and premium retail, watchable from 1.5 m and clean at 4.5 m. P1.9 suits showrooms, museums, visitor centres and conference halls, with two metres as the earliest seat and six metres as the point where it looks properly finished.

P2.5 is the workhorse of retail, churches, studio backdrops and mid-size halls, good from 2.5 m and sharp by seven. P3 to P4 covers ballrooms, stage backdrops and large auditoriums viewed from three to twelve metres. P6 and above belongs in very large indoor spaces where budget and viewing distance both point the same way.

  One caveat that saves a lot of rework: if the screen will ever appear on camera, treat the camera as the closest viewer. Phones and broadcast cameras resolve detail differently from the human eye, and a P3 wall that looks fine in the room can look coarse in a live stream.

Work backwards from the light on the screen. A darkened studio or theatre needs only 400 to 600 nits, and what matters there is not peak brightness but fine dimming quality: 14-bit processing or better, so the picture stays smooth at 20 percent output instead of banding.

Offices, retail floors and ordinary meeting rooms sit comfortably at 600 to 1,000 nits, which is the sweet spot for the majority of indoor installations. A bright lobby with daylight through glass calls for 1,200 to 2,000 nits, where contrast and surface reflection start to matter more than raw output. Any screen facing direct sun or sitting in a glazed atrium needs 2,000 nits and above, and at that point you are also buying heat load, cooling and a higher average power bill along with it.

Until a few years ago, COB packaging was reserved for the smallest pitches. Now it is a mainstream option across the indoor range, and the decision usually comes down to how the screen is treated and how fine the pitch is.

SMD is the traditional construction: individual red, green and blue LEDs soldered to the board surface. It is the economical choice at P1.9 and above, single lamps can be repaired in the field, and it performs perfectly well when the screen hangs out of reach in a well-lit room. The trade-off is exposure. Those lamps sit proud of the surface, so they are vulnerable to knocks, to cleaning, and to humidity, and at close range they tend to produce more moiré on camera.

COB bonds the LED chips directly to the board and seals them under a protective layer. Nothing is exposed, which makes the surface tolerant of touch, wiping and damp air, and it makes a noticeable difference in dark rooms where less light scatters off the panel and black actually reads as black.

Write-off repair becomes module replacement rather than lamp replacement, which is fast when front access has been designed in from the start. The cost per square metre is higher, and below P1.5 it is almost always the right place to spend.

Put simply: if the screen sits in a lobby where visitors walk past and occasionally touch it, or in a room where the lights stay low, COB pays for itself. If it hangs above head height in a bright hall at P2.5, SMD is the sensible spend.

2.1 At fine pitch, the small numbers carry the price

Below about P1.9, differences between suppliers stop being about LED brand and start being about mechanical precision. Ask for the flatness tolerance between cabinets and between modules within a cabinet, because anything above roughly 0.1 mm between cabinets shows up as a visible seam at two metres.

Three other checks separate a good fine pitch wall from a disappointing one: how the modules behave at the very first grey level, so dark scenes don't blotch; how consistent the colour is across cabinets out of the box, rather than after a lengthy calibration; and whether the manufacturer will supply a calibration report for the actual modules you receive, not for a sample.

Refresh rate is the spec buyers most often leave out and the one most likely to be regretted. Anything under 1,920 Hz tends to produce horizontal banding on video. For meeting rooms, lobbies and any space where people will film the screen with a phone, specify 3,840 Hz as a floor. Broadcast, virtual production and e-sports environments should be at 7,680 Hz.

Grayscale processing matters even more in dim rooms. A 14-bit driver is the common baseline; 16-bit processing is what keeps gradients in a night scene smooth instead of striped, and it is what allows a screen to be dimmed to 20 percent in a darkened studio without losing detail. Pair that with adjustable colour temperature across roughly 3,000 K to 9,300 K, and you can match the screen to the lighting in the room instead of fighting it.

Indoor cabinets come in two habits. The 500 × 500 mm format grows the wall in half-metre steps in both directions, which is flexible for odd spaces but rarely divides cleanly into a 1920 × 1080 signal; you end up with filler panels or a non-standard pixel count.

The 600 × 337.5 mm format is native 16:9 and stacks into 600 × 675 mm cabinets for larger walls, so a 1080p source maps exactly onto the screen with no scaling and no dead pixels at the edges.

  Before you approve a design, ask for a pixel mapping drawing: the finished wall dimensions, how many cabinets each way, the total pixel resolution, and where the power and data runs enter. Any supplier who cannot produce that drawing in a day is not ready to manufacture your screen. Also ask for the weight per square metre, because a fine pitch wall with steel structure is considerably heavier than an LCD video wall, and load-bearing limits are occasionally discovered too late.

4.1 Front access or rear access — decide before the wall exists

Rear service requires a maintenance corridor of roughly 600 to 800 mm behind the screen. Front access uses magnetic tools to pull modules from the viewing side and needs no space behind at all, which matters in hotel lobbies, lift lobbies and any wall that is really a partition.

Front access is the right answer for most retrofit projects; rear access remains quicker for large walls where the corridor costs nothing. Whichever you choose has to be fixed at the design stage, because it changes the frame, the cabling layout and sometimes the cabinet model itself.

The gap between a low quote and a realistic one is rarely the panels. Compare suppliers on installed cost, not unit price, and check that every item below is accounted for:

• A pixel mapping drawing. It tells you exactly what you are buying and whether your content fits.

• Structure and mounting. Steel frame, hanging bars or floor stand, plus anchors and levelling.

• The control system. Sender box, video processor, receiving cards and signal cabling.

• Spare parts. Three to five percent spare modules, plus a spare receiving card and power supply.

• Installation and commissioning. Rigging, power distribution, colour calibration on site, and handover.

• Training and documentation. Operating manual, control software, and a defined remote support window.

• Warranty terms. Which parts are covered, for how long, and how fast replacements ship.

• Delivery terms. FOB, CIF or DDP, and who pays duty, freight and site delivery.

• Certification. CE, FCC, RoHS, plus photobiological safety documentation for eye comfort.

The two lines that vanish most often are spares and commissioning. Spares matter because a single failed module is a two-minute fix with a replacement on the shelf and a three-week wait without one. Commissioning matters because a screen calibrated at the factory arrives at your site with a different temperature, a different power supply and a different mounting surface, and the last ten percent of image quality is always found on site.

5.1 The running costs nobody quotes

Average power consumption is roughly a third of the maximum figure on the datasheet, because bright white full-screen content is not what most installations ever display. Budget from the average, not the peak, but size the electrical circuit from the peak. Add the cost of cooling if the screen sits in a sealed room, and factor in the calibration visit you will want in year two or three as LEDs age at slightly different rates.

Indoor fixed installation divides into three bands. P3 to P4 remains the volume segment, where competition is fierce and quality varies most. P2 to P2.5 is where most corporate and retail projects now land, offering a good balance of close viewing and cost. Fine pitch below P1.9 sits in a different bracket altogether. Expect to pay meaningfully more per square metre, sometimes two to three times the volume segment, because of tighter tolerances, COB packaging and heavier calibration work.

The practical advice is to compare the total installed figure per square metre, including structure, control, spares and commissioning. Quotes that differ by a factor of two almost always differ in what they exclude rather than in what the panels are.

1. Which pitch do you recommend for the worst seat in this room, and why?

2. Can you send a pixel mapping drawing with cabinet counts and total resolution?

3. What is the flatness tolerance between cabinets, and how is it verified?

4. What refresh rate and grayscale depth are the modules actually rated for?

5. Is front access possible, and what does rear access change in the frame?

6. How many spare modules ship with the order, and what is the lead time on replacements?

7. What exactly does the warranty cover, and who pays for labour on site?

8.1 What pixel pitch do I need for an indoor LED display?

Start from the closest viewer. As a rule, the minimum viewing distance in metres matches the pitch in millimetres, and the image looks properly sharp at roughly three times that. A boardroom with a front row two metres away belongs at P1.5 or finer, while a ballroom viewed from ten metres works well at P3 or P4.

8.2 Is an indoor LED display better than an LCD video wall?

LED holds the advantage when you need a seamless image, a non-rectangular or curved shape, or a screen larger than about four metres across. LCD walls cost less at small sizes and offer higher pixel density per dollar, but the bezels are always visible and panel-to-panel colour drift becomes noticeable within a few years.

8.3 Should I choose COB or SMD?

Choose COB at P1.5 and below, or wherever the screen is touched, wiped, filmed up close, or viewed in low light. Choose SMD at P1.9 and above where budget matters and the screen is mounted out of reach. Both are mature technologies; the decision is about the room, not about which one is newer.

8.4 What refresh rate do I need if the screen appears on camera?

1,920 Hz is the minimum that avoids obvious banding. Specify 3,840 Hz for meeting rooms, lobbies and event spaces where guests film with phones, and 7,680 Hz for broadcast, virtual production and e-sports.

8.5 Do I need front or rear service access?

Front access removes the need for a corridor behind the wall and suits retrofits, lobbies and partition walls. Rear access needs 600 to 800 mm of space but is quicker for large walls. This has to be decided at the design stage because it changes the frame and cabinet configuration.

8.6 How long does an indoor LED display last?

Modules are typically rated to 100,000 hours to half brightness, which in normal business use translates to roughly seven to ten years before a noticeable drop. LEDs, power supplies and driver ICs age at different rates, so a professional calibration every two to three years keeps the wall looking uniform for longer.

8.7 How much does an indoor LED display cost per square metre?

As a rough structure rather than a quotation: P3 to P4 is the volume band, P2 to P2.5 sits above it and covers most corporate and retail work, and fine pitch below P1.9 is roughly two to three times the volume band because of tighter tolerances and COB packaging. Always compare complete installed cost, including structure, control, spare parts and commissioning.

Crisp Resolution · Seamless Splicing · Energy-Efficient & Silent · Flexible Customization