LED boarding software

The wall is one picture. The software has to think that way.

LED boarding software drives the advertising boards around a pitch: the perimeter run, the fascia above the stand, the ribbon under the upper tier. This is what that job actually involves, what separates one product from another, and how USM Boarding does it.

The job

What the software is actually for.

An LED perimeter is not a screen in the sense a television is. It is a long, thin, physically awkward surface, often 19584 pixels wide and 144 high, built from cabinets that were installed by different people in different years and do not all have the same pixel pitch. Artwork arrives from a sponsor agency at whatever size that agency felt like exporting. Something has to get one onto the other, at the right moment, without anybody in the stand seeing the seam.

That is the whole job, and it splits into four: lay the artwork onto the wall, queue it, fire it at the right second, and afterwards prove it ran. A product can be excellent at one of those and poor at the next, which is why demonstrations look alike and match days do not.

The fifth thing, the one nobody asks about until it happens, is what the system does when the playout PC dies at 20:41 with a sponsor contract still running.

Before you buy

Five things worth testing on a demo.

Every product in this market demos well. These are the questions that separate them, and any vendor should let you try all five on your own wall with your own artwork.

  • Give it your worst artwork. A sponsor JPEG at the wrong aspect ratio, on a run whose cabinets are not the same pitch. How many clicks until it is on the wall and looks right, and who has to be in the room to do it.
  • Time the press. From key press to a changed wall. USM measures 347 ms at the median on a two-screen stadium rig, and the slot transition itself is a single frame, so a rotation never shows a tear or a black gap.
  • Pull the network cable out of the main PC. Mid-match, in the demo. USM fails over to the backup PC after about five seconds of silence on a one-second heartbeat, and the backup has been mirroring all along rather than starting cold.
  • Ask for last week’s report. Not a screenshot: the file a sponsor would accept. USM logs to a hundredth of a second and exports the fixture as PDF or Excel.
  • Ask who can build the content. If only the operator can, every late change is a phone call to the venue. USM projects are edited in a browser and played out on the rig, so the marketing department can prepare a fixture from the office.

How USM works

Four words, and you have the whole product.

The model is deliberately small. An operator who understands these four can run a fixture, and there is nothing else to learn before they can.

  1. Media

    The artwork as the agency delivered it. A picture or a video file, imported once.

  2. Sequence

    That artwork laid onto the wall: scaled, cropped, spanned across panels, saved and reusable next week.

  3. Playlist

    A queue of sequences for one screen. The rundown the operator watches during the match.

  4. Cue

    Which playlist runs on which wall. One key press coordinates several screens at once, in sync, on a single frame.

Measured, not claimed

The numbers a technical buyer asks for.

Press to wall
347 ms at the median, on a two-screen stadium rig
Slot transition
one frame, atomic, with no black between sequences
Failover
about 5 s of silence on a 1 s heartbeat, then the backup PC has the wall
Proof of play
logged to 1/100 s, exported per fixture as PDF or Excel
Wall sizes in service
3840 x 1080, 2100 x 120, 6144 x 96, 10460 x 120, 19584 x 144
Screens per PC
one included, up to nine on one licence
Outputs
DVI and HDMI to the LED processor, plus NDI for broadcast and streaming
Runs on
Windows, with CasparCG doing the rendering

The same thing, six names

Boarding, banners, hoardings, perimeter, fascia, ribbon.

The trade has never agreed on a word. In Belgium and the Netherlands it is boarding. In Germany it is Bandenwerbung and the software is Bandensoftware. In the United Kingdom it is often hoardings or perimeter advertising, in the United States ribbon boards and fascia. Agencies say banners; broadcast says the perimeter.

They all describe the same surface, and the software problem is identical in each: a long strip of LED, sponsor artwork that does not fit it, and a rotation that has to hit its second. If you arrived here searching for one of those words, this page is about the thing you meant.

What differs by market is the contract behind it. UEFA fixtures bring their own rules about redundancy and about what may appear. Domestic leagues bring their own about how long each sponsor holds the wall. Both come back to the same two capabilities: a backup that genuinely takes over, and a log a rights holder will accept.

Try it on your own wall.

Send us the geometry of your perimeter and a sponsor file that has given you trouble. We will tell you what it takes to get it on the boards, and whether we are the right answer for you.

Talk to us