[{"data":1,"prerenderedAt":549},["ShallowReactive",2],{"blog-pixelight-sera-present-au-salon-satis-2021":3,"blog-related-pixelight-sera-present-au-salon-satis-2021":532},{"id":4,"title":5,"author":6,"body":7,"category":517,"date":518,"dateModified":519,"datePublished":518,"description":520,"extension":521,"faq":522,"hreflangPair":522,"image":523,"lang":524,"meta":525,"navigation":526,"path":527,"publishDate":522,"published":526,"seo":528,"slug":529,"stem":530,"video":522,"__hash__":531},"blog\u002Fblog\u002F2021-09-29-pixelight-sera-present-au-salon-satis-2021.md","Écrans LED pour studios broadcast et production audiovisuelle — cas SATIS 2021","Pixelight",{"type":8,"value":9,"toc":500},"minimark",[10,23,26,31,36,43,99,109,113,207,211,215,222,227,307,311,322,382,386,393,397,404,408,411,445,448,452,466,480],[11,12,13,14,18,19,22],"p",{},"Pixelight était présent au ",[15,16,17],"strong",{},"salon SATIS 2021"," (9 & 10 novembre 2021, stand A46) — l'événement broadcast francophone de référence réunissant ",[15,20,21],{},"14 000 professionnels"," de l'audio, du cloud, de l'intégration AV, de la postproduction, du workflow et du broadcast media. Le SATIS est le carrefour annuel où les intégrateurs AV, les studios de production et les diffuseurs évaluent les technologies d'affichage pour leurs projets.",[11,24,25],{},"Le marché broadcast est l'un des plus exigeants pour les écrans LED : les spécifications techniques sont dictées par les contraintes des capteurs de caméra, non par la seule perception humaine.",[27,28,30],"h2",{"id":29},"contraintes-techniques-du-led-pour-broadcast-et-studios","Contraintes techniques du LED pour broadcast et studios",[32,33,35],"h3",{"id":34},"pourquoi-le-taux-de-rafraîchissement-est-critique","Pourquoi le taux de rafraîchissement est critique",[11,37,38,39,42],{},"Une caméra broadcast capte à 25 fps (PAL) ou 29,97 fps (NTSC). Si le taux de rafraîchissement de l'écran LED n'est pas synchrone avec la fréquence caméra, des ",[15,40,41],{},"bandes horizontales"," (banding) apparaissent sur le signal vidéo — une image catastrophique pour un direct TV ou un tournage publicitaire.",[44,45,46,59],"table",{},[47,48,49],"thead",{},[50,51,52,56],"tr",{},[53,54,55],"th",{},"Taux de rafraîchissement LED",[53,57,58],{},"Résultat à l'image",[60,61,62,71,79,91],"tbody",{},[50,63,64,68],{},[65,66,67],"td",{},"1 920 Hz",[65,69,70],{},"Banding visible sur caméra 25\u002F30 fps",[50,72,73,76],{},[65,74,75],{},"3 840 Hz",[65,77,78],{},"Banding marginal (acceptable post-prod)",[50,80,81,86],{},[65,82,83],{},[15,84,85],{},"7 680 Hz",[65,87,88],{},[15,89,90],{},"Aucun banding — standard broadcast",[50,92,93,96],{},[65,94,95],{},"15 360 Hz",[65,97,98],{},"Optimal pour captation ultra-rapide (sports, slow motion)",[11,100,101,102,105,106,108],{},"La gamme ",[15,103,104],{},"IKONE PRO P2.6"," de Pixelight est calibrée à ",[15,107,85],{}," — le standard broadcast pour les wall LED de studio.",[32,110,112],{"id":111},"spécifications-led-pour-usage-broadcast","Spécifications LED pour usage broadcast",[44,114,115,125],{},[47,116,117],{},[50,118,119,122],{},[53,120,121],{},"Paramètre",[53,123,124],{},"Valeur recommandée broadcast",[60,126,127,135,143,151,159,167,175,183,191,199],{},[50,128,129,132],{},[65,130,131],{},"Pitch",[65,133,134],{},"P1.9 – P2.6 (invisible sur capteur 4K à 3 m)",[50,136,137,140],{},[65,138,139],{},"Taux de rafraîchissement",[65,141,142],{},"≥ 7 680 Hz",[50,144,145,148],{},[65,146,147],{},"Signal d'entrée",[65,149,150],{},"HD-SDI (SMPTE 292M), 3G-SDI, HDMI 2.0",[50,152,153,156],{},[65,154,155],{},"Synchronisation",[65,157,158],{},"Genlock Black Burst ou Tri-Level Sync",[50,160,161,164],{},[65,162,163],{},"Processeur image",[65,165,166],{},"Brompton Tessera SX40, Novastar MCTRL4K, Colorlight X16",[50,168,169,172],{},[65,170,171],{},"Profil colorimétrique",[65,173,174],{},"DCI-P3 (couverture > 90 %)",[50,176,177,180],{},[65,178,179],{},"Calibration colorimétrique",[65,181,182],{},"\u003C SDCM 3 (uniformité ≤ 2 % Delta E)",[50,184,185,188],{},[65,186,187],{},"Luminosité",[65,189,190],{},"800 – 1 500 cd\u002Fm² (studio éclairé)",[50,192,193,196],{},[65,194,195],{},"Protection",[65,197,198],{},"IP43 (studio indoor)",[50,200,201,204],{},[65,202,203],{},"Poids",[65,205,206],{},"\u003C 8 kg\u002Fm² (fixation murale légère)",[27,208,210],{"id":209},"cas-dusage-studios-led-en-production-av","Cas d'usage : studios LED en production AV",[32,212,214],{"id":213},"_1-studios-xr-extended-reality-décors-virtuels","1. Studios XR (Extended Reality) — décors virtuels",[11,216,217,218,221],{},"Le studio XR remplace les décors physiques et les effets de fond vert par un ",[15,219,220],{},"mur LED immersif",". Le fond est capté en direct par la caméra sans incrustation — l'acteur et le décor LED sont dans le même espace physique.",[11,223,224],{},[15,225,226],{},"Avantages du wall LED XR vs green screen :",[44,228,229,242],{},[47,230,231],{},[50,232,233,236,239],{},[53,234,235],{},"Critère",[53,237,238],{},"Green screen",[53,240,241],{},"Wall LED XR",[60,243,244,257,270,283,296],{},[50,245,246,249,252],{},[65,247,248],{},"Reflets sur acteur",[65,250,251],{},"Reflets verts à corriger",[65,253,254],{},[15,255,256],{},"Reflets naturels (ambiance cohérente)",[50,258,259,262,265],{},[65,260,261],{},"Profondeur de champ",[65,263,264],{},"Fond à recalculer",[65,266,267],{},[15,268,269],{},"Bokeh naturel sur fond LED",[50,271,272,275,278],{},[65,273,274],{},"Temps de post-prod",[65,276,277],{},"3 – 5 h\u002Fmin de contenu",[65,279,280],{},[15,281,282],{},"\u003C 30 min\u002Fmin",[50,284,285,288,291],{},[65,286,287],{},"Interaction avec décor",[65,289,290],{},"Impossible (fond incrusté)",[65,292,293],{},[15,294,295],{},"Acteur peut interagir avec éléments LED",[50,297,298,301,304],{},[65,299,300],{},"Coût de production",[65,302,303],{},"Élevé (post-prod)",[65,305,306],{},"Investissement initial, puis économies récurrentes",[32,308,310],{"id":309},"_2-plateaux-tv-et-journaux-télévisés","2. Plateaux TV et journaux télévisés",[11,312,313,314,317,318,321],{},"Les ",[15,315,316],{},"plateaux d'information"," et les émissions en direct utilisent des murs LED comme ",[15,319,320],{},"fonds de plateau dynamiques"," — cartes géographiques animées, graphiques de données, fonds d'ambiance.",[44,323,324,338],{},[47,325,326],{},[50,327,328,331,333,336],{},[53,329,330],{},"Zone plateau",[53,332,131],{},[53,334,335],{},"Surface",[53,337,187],{},[60,339,340,354,368],{},[50,341,342,345,348,351],{},[65,343,344],{},"Fond principal (interview)",[65,346,347],{},"P1.9 – P2.5",[65,349,350],{},"8 – 20 m²",[65,352,353],{},"800 – 1 200 cd\u002Fm²",[50,355,356,359,362,365],{},[65,357,358],{},"Bandeau inférieur",[65,360,361],{},"P3.9 – P4.8",[65,363,364],{},"1 – 2 m²",[65,366,367],{},"600 – 1 000 cd\u002Fm²",[50,369,370,373,376,379],{},[65,371,372],{},"Cyclo LED 360°",[65,374,375],{},"P2.5 – P3.9",[65,377,378],{},"30 – 100 m²",[65,380,381],{},"1 000 – 1 500 cd\u002Fm²",[32,383,385],{"id":384},"_3-studios-de-création-publicitaire","3. Studios de création publicitaire",[11,387,388,389,392],{},"Les agences de production publicitaire utilisent des walls LED pour ",[15,390,391],{},"tourner les publicités en décor virtuel"," — produits flottant dans des espaces conceptuels, changement de décor en quelques secondes sans reconstruction de plateau.",[32,394,396],{"id":395},"_4-studios-broadcast-corporate","4. Studios broadcast corporate",[11,398,399,400,403],{},"Les entreprises de grande taille investissent dans des ",[15,401,402],{},"studios broadcast internes"," pour la communication corporate : discours de direction, formations vidéo, événements hybrides. Un wall LED P1.9 – P2.5 de 6 – 12 m² crée un environnement de production professionnel sans réserver un studio externalisé.",[27,405,407],{"id":406},"intégration-dans-le-workflow-av","Intégration dans le workflow AV",[11,409,410],{},"Le wall LED Pixelight s'intègre nativement dans les workflows broadcast :",[412,413,414,421,427,433,439],"ol",{},[415,416,417,420],"li",{},[15,418,419],{},"Signal source"," : HD-SDI depuis régie, HDMI depuis laptop, NDI via réseau",[415,422,423,426],{},[15,424,425],{},"Processeur"," : Brompton Tessera SX40 ou Novastar MCTRL4K (inclus selon gamme)",[415,428,429,432],{},[15,430,431],{},"Genlock"," : synchronisation avec régie broadcast via Black Burst (PAL) ou Tri-Level Sync (HD)",[415,434,435,438],{},[15,436,437],{},"Calibration"," : étalonnage colorimétrique pré-installation (Delta E \u003C 2 sur ensemble du wall)",[415,440,441,444],{},[15,442,443],{},"Monitoring"," : carte de contrôle avec reporting température, tension et état des modules",[446,447],"hr",{},[27,449,451],{"id":450},"faq-écrans-led-pour-broadcast-et-studios-av","FAQ — Écrans LED pour broadcast et studios AV",[11,453,454,457,458,461,462,465],{},[15,455,456],{},"Quelle est la distance minimum entre la caméra et le wall LED pour éviter le moiré ?","\nLa distance minimum dépend du pitch et de la résolution du capteur caméra. Règle empirique : ",[15,459,460],{},"distance (m) ≥ pitch (mm) × 1 000 \u002F résolution capteur (MP)^0.5",". Pour un P2.6 avec une caméra 4K (8 MP) : 2,6 × 1 000 \u002F 2 828 ≈ ",[15,463,464],{},"0,9 m minimum",". En pratique, les studios XR positionnent la caméra à 3 m minimum pour un rendu optimal et éviter toute interaction entre le motif de la dalle LED et le capteur.",[11,467,468,471,472,475,476,479],{},[15,469,470],{},"Peut-on connecter un wall LED Pixelight directement à une régie OB (Outside Broadcasting) ?","\nOui. La gamme IKONE PRO accepte le ",[15,473,474],{},"HD-SDI (SMPTE 292M)"," et le ",[15,477,478],{},"3G-SDI"," — les standards des régies OB. L'entrée genlock permet la synchronisation avec le signal de référence de la régie. Pixelight fournit une documentation d'intégration complète pour les ingénieurs broadcast.",[11,481,482,485,486,489,490,493,494,499],{},[15,483,484],{},"Quel processeur recommandez-vous pour un studio XR de 100 m² ?","\nPour un studio XR de 100 m², le ",[15,487,488],{},"Brompton Tessera SX40"," est notre recommandation : il gère jusqu'à 8,3 millions de pixels, supporte le HDR natif et dispose d'un calibrage colorimétrique en temps réel. Alternative à moindre coût : le ",[15,491,492],{},"Novastar MCTRL4K"," pour des setups jusqu'à 4 millions de pixels. ",[495,496,498],"a",{"href":497},"\u002Fcontact","Contactez Pixelight pour l'ingénierie de votre studio XR ou plateau broadcast",".",{"title":501,"searchDepth":502,"depth":502,"links":503},"",2,[504,509,515,516],{"id":29,"depth":502,"text":30,"children":505},[506,508],{"id":34,"depth":507,"text":35},3,{"id":111,"depth":507,"text":112},{"id":209,"depth":502,"text":210,"children":510},[511,512,513,514],{"id":213,"depth":507,"text":214},{"id":309,"depth":507,"text":310},{"id":384,"depth":507,"text":385},{"id":395,"depth":507,"text":396},{"id":406,"depth":502,"text":407},{"id":450,"depth":502,"text":451},"technologie","2021-09-29","2025-01-15","Écrans LED P1.9–P2.6 pour studios broadcast, XR, postproduction et corporate : refresh ≥7680Hz, HD-SDI, genlock, DCI-P3. Guide Pixelight pour professionnels AV. Cas SATIS 2021.","md",null,"\u002Fimages\u002Fblog\u002Fpixelight-sera-present-au-salon-satis-2021.jpg","fr",{},true,"\u002Fblog\u002F2021-09-29-pixelight-sera-present-au-salon-satis-2021",{"title":5,"description":520},"pixelight-sera-present-au-salon-satis-2021","blog\u002F2021-09-29-pixelight-sera-present-au-salon-satis-2021","TPI5YNtLQjgp6-AWib11v9y1Gf-1pJFz48-MJYJkVqA",[533,539,544],{"title":534,"description":535,"date":536,"category":517,"slug":537,"path":538,"lang":524},"Accroche et fixation structure mur LED : guide technique 2026","Comment fixer et accrocher un mur LED en 2026 : structures autoportantes, fixation murale, suspension, calculs de charge. Guide technique complet Pixelight.","2026-05-14","accroche-fixation-structure-mur-led-guide-2026","\u002Fblog\u002F2026-05-14-accroche-fixation-structure-mur-led-guide-2026",{"title":540,"description":541,"date":536,"category":517,"slug":542,"path":543,"lang":524},"Affichage LED façade et vitrine extérieure : guide 2026","Écrans LED en façade et vitrine extérieure en 2026 : réglementation, luminosité, formats, contraintes techniques et budgets. Guide complet Pixelight.","affichage-led-facade-vitrine-exterieure-guide-2026","\u002Fblog\u002F2026-05-14-affichage-led-facade-vitrine-exterieure-guide-2026",{"title":545,"description":546,"date":536,"category":517,"slug":547,"path":548,"lang":524},"Câblage et connectique mur LED : guide technique 2026","Tout comprendre sur le câblage et la connectique d'un mur LED en 2026 : câbles data, alimentation, distances, sections, normes électriques. Guide Pixelight.","cablage-connectique-mur-led-guide-technique-2026","\u002Fblog\u002F2026-05-14-cablage-connectique-mur-led-guide-technique-2026",1782945870616]