Guide Visual G10 Series Outdoor Rental LED Video Wall 7680Hz IP65 Concert Stage Panel
Specified for Daylight, Weather and the Load-Out
An outdoor rental screen answers to three unforgiving critics: the sun, the weather, and the 2 a.m. strike. A panel that ignores any one of them turns into a problem the production manager has to solve on site, in front of a schedule. The G10 Series Outdoor Rental LED Display is drawn up around those three conditions rather than around a catalogue photo. Everything below is a spec decision that traces back to a real moment on a real build.High Noon, Two Hundred Metres, and a Camera
Outdoor image failure comes in two flavours. The first is ambient light: the brighter the sun, the more output a panel needs before the picture reads at all. The G10 runs at 4500–5000 nits, so the image holds its contrast in direct daylight instead of flattening to grey. The second is temporal. A camera samples the screen in short exposures, and when the panel refresh and the shutter disagree you get black banding across the footage. At up to 7680Hz the G10 refreshes far beyond typical shutter speeds, so broadcast, livestream and press cameras capture a clean frame — day or night.
The Joint That Decides Image Quality
Step back from a large outdoor wall and your eye quietly averages the seams between cabinets. If the frames are not dimensionally identical, those seams compound into a visible grid — and the bigger the wall, the more the grid shows. The G10 cabinet is die-cast: molten aluminium alloy injected into a hardened steel mold under pressure, so every unit comes off the mold to the same tolerance and abuts its neighbours accurately. The cast body also brings the strength to stay square across many cycles, and a metal thermal path that carries heat away from the LEDs during long daytime operation.Vibration Is the Enemy of Data
On a travelling screen, signal is only as dependable as its weakest physical link. Flat ribbon interconnects flex at every load-in, and a hairline break in one conductor presents itself as a dead column, centre-stage. The G10 routes signal through a hardwired path — control box, HUB board, receiving card and modules joined by fixed conductors rather than flexing ribbon, so the data path is built to take road vibration and temperature swing. It also shortens field repair: a technician replaces a module, not a wiring loom.Design for the Failure, Not the Promise
Every outdoor fleet eventually has a component give out — usually at the worst possible moment, because that is when the gear works hardest. The useful engineering question is not whether it will fail, but what the wall does when it does. The G10 is built to degrade gracefully. The power stage is redundant, so a single supply can drop out and the panel keeps running on the rail that remains. Signal is dual-path, with a second network route the system takes over automatically if the primary is interrupted. The audience sees continuity; the crew sees a warning they can act on between sets.Geometry a Designer Will Actually Ask For
An outdoor stage seldom wants a flat rectangle. The G10 couples cabinets tool-free and self-aligning, and the frame takes flat, concave, convex and angled builds — flown from truss or grounded on stack, in 500×500 mm and 500×1000 mm bricks. Anti-collision protection guards the PCB electronics through transport and repeated assembly, so a creative shape does not turn into a maintenance bill. With IP65 sealing, the same cabinet earns its place in a downpour as in a heatwave.Matching Pitch to Throw Distance
Pitch is the gap between pixels, and it fixes the closest a viewer or lens can sit before the image starts to break apart. Read it as a throw-distance decision: P2.6 where the front rows and VIP cameras are close; P2.976 for corporate stages and mixed indoor–outdoor shows; P3.91 for festival and touring main stages, the outdoor volume pitch; P4.81 for stadium-scale walls seen from far back. All four share one cabinet and one control platform, so a single fleet covers the whole season.Technical Specifications
G10 Series Cutting Angle Cabinet — indoor P1.5–P3.91; outdoor P2.6–P4.81.
| Model | Indoor | Outdoor | |||||||
|---|---|---|---|---|---|---|---|---|---|
| P1.5 | P1.9 | P2.6 | P2.97 | P3.91 | P2.6 | P2.9 | P3.91 | P4.81 | |
| Pixel pitch (mm) | 1.5625 | 1.953 | 2.604 | 2.976 | 3.91 | 2.604 | 2.976 | 3.91 | 4.81 |
| Pixel density (dots/m²) | 409,600 | 262,144 | 147,456 | 112,896 | 65,536 | 147,456 | 112,896 | 65,536 | 43,264 |
| Scan mode | 1/40 | 1/32 | 1/32 1/16 | 1/28 | 1/16 | 1/16 1/24 | 1/21 | 1/16 | 1/13 |
| LED type | SMD1212 | SMD1415 | SMD1415 | SMD1415 | SMD2121 | SMD1515 | SMD1515 | SMD1921 | SMD1921 |
| Module resolution (dots) | 160x160 | 128x128 | 96x96 | 84x84 | 64x64 | 96x96 | 84x84 | 64x64 | 52x52 |
| Module size (mm) | 250x250 | ||||||||
| Cabinet size (mm) | 500x500x85 | ||||||||
| Cabinet weight (kg/pc) | 7.4 | 7.7 | |||||||
| Cabinet material | Die-casting Aluminum | ||||||||
| Service | Rear / Front Maintenance | ||||||||
| Brightness (cd/m²) | 800-2000 | 3500-5000 | |||||||
| Avg. power (W/m²) | 320 | 400 | |||||||
| Max power (W/m²) | 800 | ||||||||
| Protection rating | IP30 | IP54 / IP65 | |||||||
| Refresh rate (Hz) | 3840-7680 | ||||||||
| Gray scale (bit) | 14-16 | ||||||||
| Radian | -10°~+15° | ||||||||
| Viewing angle (°) | 160°/160° | 140°/140° | |||||||
| Contrast | 6000:1 | 3000:1 | |||||||
| Life time (hours) | 100,000 | ||||||||
| Operating temperature (°C) | -10~+45 | ||||||||
| Operating humidity (RH) | 10~60% | 10~80% | |||||||
Project Inquiry
Tell Us the Site, the Sun and the Schedule
Send us your pitch, wall size, quantity, rigging method and location.
We will answer with a cabinet layout, a power and signal topology sized to your rig, and the full datasheet — plus a sample module if you want to judge it in your own daylight.
Email: sales@sqledisplay.com
Website: www.guide-led.com
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