We strive to create products which are environmentally balanced, outdoor LED walls are low power consumption.
Our outdoor LED displays are compatible with various input formats, such as DVD players, cable TV, internet & intranet etc.
These
are highly customized LED display video walls, every LED display
screen is customized regards to pixel pitches, resolution, sizes, shapes
etc.Our LED display enjoys long life, they are weatherproof
units & can tolerate dust, humidity or rain.
Due to DIP technology that is used the outdoor video walls are sturdy, durable & very bright. Unlike other LED video walls, Priva Outdoor Led Display are
viewable in direct sunlight. The picture quality is not compromised in
our solution, hence the display is crystal clear despite it`s a day time
or night time.
Priva LED display screen wall for outdoor applications is a module based LED video wall solution. The technology used for outdoor LED display is DIP. As this is a module based solution, it can be molded into any shape or size.
Led Display , Led screen, Led Display Screens, Fixed Led screen , LED wall Shenzhen Priva Tech Co., Ltd. , https://www.privaled.com
LED Video Wall And LED Display Screens
Sharing Projection: The Next Internet Economy Gold Mine
"Warwolf 2," which spent 5 billion yuan to set a new record for the historical box office of domestic Chinese films, is a game-changing work that truly reflects the potential of the Chinese film market. However, despite such success, industry experts estimate that at least half of China's population remains outside the modern movie-going experience. This presents a challenge that "shared projection" aims to address.
Historically, the mid-1990s marked the peak of moviegoers in China, thanks to the widespread popularity of "video halls." These venues were more than just places to watch films; they were hubs of cultural exchange. Despite their association with negative activities like illegal gambling, the sheer number of video halls demonstrated the strong demand for cinematic experiences among Chinese audiences. However, issues such as piracy and illegal gambling practices eventually led to the decline of the video hall culture.
In contrast, the formal cinema industry has evolved with a clearer understanding of copyright laws. Formal cinemas invest heavily to ensure compliance, focusing on the release of new films with cutting-edge visual effects. This approach has effectively eliminated opportunities for pirated products. As a result, the cinema line has become the successor to the video hall culture. Yet, while the cinema line dominates, there remains a portion of the market that is underserved—those seeking diverse, offbeat, and historical films.
This gap represents the difference between the "screening system" and the "on-demand system." Video halls, centered around on-demand screenings, resemble today's "online video platforms," whereas cinemas operate more like traditional broadcasters. Just as TV and online platforms now coexist, could video halls make a comeback and complement cinemas?
The Need for On-Demand Viewing Spaces
At the BIRTV exhibition held on August 23, 2017, Shenzhen Dingjunshan Technology showcased a "on-demand theater authentication management platform" product. This platform integrates internet and smart mobile terminal services with a digital cinema smart player, offering a complete line of offline movies, core devices, and an online operating service platform.
Experts from the China Film Institute of Science and Technology noted that a great film’s value extends beyond its release period. Blockbusters like "Mermaid," "Captive of the Demon," and "Warwolf 2" have opened new markets for post-release screenings. For instance, while "Warwolf 2" achieved record-breaking viewership, reaching over 140 million people, a significant portion of the population still hasn’t experienced it in a cinema setting.
While streaming platforms offer continuous viewing on mobile phones, PCs, and TVs, these methods lack the immersive experience of a large screen. Home projectors struggle to replicate the quality of cinema, and even with 100 to 150-inch screens, they fall short of the cinematic experience offered by theaters.
A professional "on-demand theater" should aim to preserve the impact of large screens while scaling down the size and cost, offering tailored viewing spaces for differentiated, offline, and historical films. This service is somewhat akin to KTV offerings, with small halls of 4-6 meters wide and seating for 10-20 people. Food and drinks can also be served, creating a hybrid entertainment model that combines cinema with other leisure activities like KTV or internet cafes.
This vision resembles an enhanced version of the video hall culture of the past, with more advanced technology but a similar industrial structure. Its goal is not only individual viewing but also fostering social interaction.
National Advocacy for Shared Projectors
On April 21, 2017, the State Administration of Press, Publication, Radio, Film and Television issued a notice regulating the operation and management of on-demand cinemas and theaters. This marked the beginning of national support for the "sharing economy" and a new frontier in consumer culture.
Why is the on-demand theater considered a "shared projector"? Unlike TVs or smartphones, its appeal lies in the "large-screen projection effect." A 5000-lumen laser projector can create a screen four meters wide, costing approximately 25,000 yuan. This contrasts sharply with home TVs and the millions required for traditional cinema equipment.
Such a large screen is impractical for most households, and privately owned large screens see limited use. A professional on-demand venue can offer a richer content experience, especially for popular films that aren't immediately available online. Producers benefit from the extended revenue stream during the "rear panel period."
Thus, on-demand theaters represent a "two-way sharing"—providing consumers with large-screen experiences and producers with long-term, effective channels for large-screen viewing. Solving the copyright issue is critical for success.
Successful copyright protection in the current cinema market shows that scarcity and exclusivity drive consumer desire. Similarly, point-to-play video must offer unique content to attract viewers. Without proper IP protection, the costs of equipment and management won't be balanced by consumer demand.
From the content side, producers must see additional benefits from point-to-point screenings. Long-term licensing agreements, rather than one-time sales, are essential for sustainable growth. Additionally, advancements in IP protection laws, increased enforcement, and growing consumer respect for IP rights support the on-demand theater model.
Internet technology plays a crucial role in the on-demand theater business. Digital cinema technology has revolutionized film distribution, replacing physical copies with digital files. While CD-based systems have simplified distribution, they lack the flexibility and IP control needed for historical films. Internet-based distribution ensures operational elements like content access, copyright protection, and fee collection.
Encouraging on-demand theaters aligns with broadband internet proliferation and the development of copyright systems. This shared projector model reflects both economic and social conditions.
Expanding the Social Value of Cultural Industries
In 2017, China's mainland market had 40,000 screens, making it the world's largest screen market. However, per capita screen numbers remain low compared to the U.S., Japan, or Europe. With 400 films produced annually and countless historical works gathering dust in archives, many valuable films go unappreciated.
TV and online platforms occasionally feature older films, but their broadcast systems mirror the cinema's focus on new releases. Historical works receive less attention due to copyright restrictions and poor viewing equipment.
On-demand movies offer a solution: flexible viewing schedules, re-releases of historical films, and extended viewing times. This model unifies economic, social, and industrial values while addressing industry gaps and connecting diverse needs.
In conclusion, shared big-screen viewing and on-demand releases are not only policy-driven but also a natural industry progression and consumer demand. From a hardware perspective, this represents a massive opportunity, with potential for 400,000 small and medium-sized screens beyond the existing 40,000 large ones."