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Digital Display Technology: An Introduction to

Digital SignageDigital signage is a viable and effective communications tool, but

companies taking the first step in signage deployment will be much more successful on the playing field if they understand the basics of what digital media is and how it operates. Learn the basics of digital

signage and how to make it most effective.

2© 2013 NetWorld Alliance LLC | Sponsored by Life’s Good

Contents

Page 3 About the sponsors

Page 4 Introduction | Signage 101

Page 5 Chapter 1 | LED/LCD screens CCFL vs. LED PVA/S-PVA vs. IPS Edge-lit and direct-lit for LED 4K/Ultra High Definition

Page 10 Chapter 2 | Plasma screens Channeling full-motion Prices and sizes Beating back the burn-in beast

Page 13 Chapter 3 | Future technologies Interactivity and targeted advertising 3D OLEDs Transparency Screen sizes

Page 18 Chapter 4 | Commercial vs. consumer Screen makeup Warranties

0 Chapter 5 | Content

Page 22 Chapter 6 | Social media integration

Page 24 Chapter 7 | Markets and techniques Video walls Vertical displays Sectors for opportunity

Page 26 Conclusion | What’s next?

Digital Display Technology: Learning the Basics of Digital Signage

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About the sponsors

Published by Networld Media Group© 2013 Networld Media GroupAll photos courtesy of LG, unless otherwise specified. Written by Travis K. Kircher, contributing editor, DigitalSignageToday.com Tom Harper, president and publisherJoseph Grove, senior vice presidentRebecca Bearden, custom content project manager

LG is a solutions provider with industry experts offering tailored display solutions for vertical markets, including digital signage, corporate communications, retail, QSR/foodservice, hospitality, healthcare, education and government. Customers’ specific needs are identified and turnkey display solutions are developed to build brand image, enhance the quality of customer experience and produce immediate return on investment.

DigitalSignageToday.com, operated by Louisville, Ky.-based Networld Media Group, is the leading online publisher of news and information on the emerging world of digital signage, dynamic messaging and cutting-edge business communication technologies. The content, which is updated every business day and read by professionals around the world, is provided free of charge to readers.



Introduction

It’s no secret in today’s business land-scape that digital signage is one of the most effective and eye-catching com-

munications mediums on the market. Spend time with any marketing profes-sional and it’s easy to feel the excitement generated around digital technology. The enthusiasm is electric. Convinced by the vibrant colors and sharp resolution that a digital display provides, CEOs are ready to deploy dozens of displays under their company’s banners. But before signing on the dotted line and rolling out the cash, it’s important to understand exactly what digital signage is and how it works. What kind of display will best meet the deployment needs: plasma or LCD? What are the pros and cons of each? How will digital technology change in the next five, 10 or 20 years? What about terminology — what is the language of digital technology?

Digital signage is big business for com-panies in a variety of sectors, and is only expected to get even bigger. Worldwide digital out-of-home (DOOH) will grow at a compounded annual growth rate of 15.2 percent from 2011 to 2016, according to New York-based research firm Magna Global. During that same timeframe, DOOH advertising revenue is expected to double to $5.2 billion from $2.6 billion.

Far too many signage deployers launch a huge project without having a firm grasp on the basics. More often than not, these misguided efforts wind up costing the deployer lots in terms of sunk cost. This is unfortunate, particularly when the mistakes could have been avoided had the deployer only taken the time to learn some basic facts about the business.

We’d like to thank LG Electronics Inc., whose kind sponsorship of this guide en-ables us to bring it to you at no cost.

Worldwide digital out-of-home (DOOH) will grow at a compounded annual growth rate of 15.2 percent from 2011 to 2016. During that same timeframe,

DOOH advertising revenue is expected to double to $5.2 billion from $2.6 billion.

Source: Magna Global

Signage 101



Digital signage is a form of out-of home advertising that appears on some type of digital display

— most often a plasma screen or LCD. Increasingly, deployers are turning to LED technology, which consumes less energy and costs less to operate.

The type of content on the signage can vary. It may take the form of colorful slides that are flashed on the screen in 10-second intervals. It may be a list of text that is up-dated regularly, such as a roster of arriving or departing flights displayed in an airport lobby. The content can consist of scrolling stock prices, a live CNN news feed or even dramatic, full-motion video.

When purchasing a digital display, one of the first terms one should come to grips with is “burn-in.”

Burn-in — also referred to as “image reten-tion,” “ghosting” and “image shadowing” — is the dreaded phrase that no digital signage operator wants to hear. It usu-ally occurs on displays that continuously run static content, such as logos, banners, crawling text and similar graphics that remain on the screen for long periods of time. When the picture changes and the static content is removed, a faint “ghost” or “shadow” of the content may remain.

Burn-in not only can be distracting, but it can also decrease the effectiveness of the digital signage.

Burn-in typically affects any phosphor-based monitor or display, including cath-ode ray tubes (CRTs) and — particularly of interest to those who plan on deploying digital signage — plasma screens.

Given the absence of any significant burn-in issues relative to plasma screens, it’s advantageous to remember this rule: If the digital display will include static content, it’s probably best to use LCDs or LEDs.

One example of such an application would be a digital menu board in a quick-service restaurant. Such a menu board might hang over the cashier stations and list the indi-vidual food items offered, along with the prices of those items. Although prices may change from time to time and the individu-al items listed might change as the restau-rant customizes its advertising for different meals, the rows of text likely will appear in the same general areas. After several weeks, this is likely to create a burn-in is-sue for plasma screens. In this instance, an LCD would be a better fit.

As a general rule, LCDs have a greater longevity, are lighter and are able to handle static content better than plasma screens.

Chapter 1 LED/LCD screens

ADFLO

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In a color LCD panel, each pixel is made up of three liquid crystal cells. Light passing through the filtered cells creates the colors seen on the LCD.



Traditional tube sets had been around for more than 50 years when LCDs were in-troduced. It took LCDs less than five years to catch up to CRTs in terms of popularity and usage. But the advent of the LCD is paving the way for advancements in dis-plays, namely the LED.

In fact, projections show that by year’s end, LED backlit sets will surpass LCDs, which use CCFLs. But that’s not to say LCDs will go the wayside, experts say. CCFLs are cheaper to produce, keeping LCD prices lower. And plenty of cost-conscious cus-tomers will be attracted to those displays.

Typically, digital signage has consisted of panels of glass filled with liquid crystal matter. A panel of cold cathode fluorescent light (CCFL) tubes, similar to those used in office buildings, is placed behind those panels to illuminate the image.

LED backlighting is becoming a more pop-ular option, providing an array of benefits that may make it a better choice compared with CCFL backlighting.

Environmental impact is one area where LED backlighting holds a commanding

edge compared with CCFLs. Both direct- and edge-lit LED backlit panels can result in up to a 50 percent reduction in power consumption. And environmental con-cerns over mercury in CCFLs have already led to their being banned from landfills in several states. Unlike CCFLs, LEDs don’t contain mercury.

Along with the environmental benefits, most people who view an LED back-lit screen would agree the image simply looks better. Although it’s difficult to pinpoint exactly why that is, LED back-lit displays of-fer an improved contrast ratio, resulting in “blacker” blacks and more vibrant colors.

Of course, although most digital signage deployers would like to base their buy-ing decisions primarily on environmental impact, price and cost of operation tend to drive most purchasing decisions. At pres-ent, LED back-lit displays do tend to be more expensive than CCFL screens.

Over time, though, LED back-lit displays can end up costing much less. The main area of cost savings, obviously, is the lower power consumption of LED back-lit displays. Although the U.S. Energy Infor-

CHAPTER 1 LED/LCD screens

Pros ConsLCD

LED Reduced power consumptionBetter image qualityImproved contrast ratioLast longer and more durableRequire less spaceSimpler and easier to install

More expensive

Contains mercuryLower price



mation Administration projects electricity costs to remain fairly stable over the next few years, other business expenses, such as insurance and labor costs, are projected to increase dramatically. Any area that offers a 50 percent cost reduction is certainly beneficial to a business owner.

LEDs are solid state devices whereas CCFLs are not, meaning LEDs last longer and are more durable than CCFLs. As with any other type of bulb, CCFLs are susceptible to breaking under heavy shock or loads. Under normal operating condi-tions, increased durability should translate into lower maintenance costs and fewer replacements.

Of course, there is the size difference between LEDs and CCFL screens. LEDs, with their tiny lights and little heat gener-ated when they are lit, require less space in which to be contained because of their size and because few heat-reducing items, such as fans, are required inside. Super-slim LEDs measure a mere 1.2 inches in thickness, compared to 4 inches for CCFL monitors. The size of LEDs make them simpler and easier to install.

PVA/S-PVA vs. IPSThere are a number of variations of LCD monitors.

Patterned vertical alignment and super patterned vertical alignment displays are considered middle-of-the-road LCDs be-cause, while offering wider viewing angles and better color reproduction than other types of displays, they possess slower re-sponse times, which is critical in properly displaying moving content or that which switches quickly.

Vertically aligned panels are applauded for their higher contrast ratios and in provid-ing better black levels. On the downside, PVAs experience what is known as color shifting, which is when the image viewed from one angle changes or “shifts” when viewed from a slightly different angle, mak-ing various uneven brightness levels across the display. Color shifts also cause a loss of shadow detail in dark scenes when viewed directly from the center.

PVA screens are not considered as strong as in-plane switching (IPS) panels. IPS technology, which has existed for approxi-mately 20 years, enables wider viewing angles and higher-quality color reproduc-tion. IPS panels use pairs of electrodes that run horizontally across the electric field within a display. The approach keeps liquid crystals inside parallel to the front of the panel, increasing viewing angle. IPS temperature

Deployment of such displays are consid-ered advantageous in that they can pro-cess high-speed signals without data loss, project vivid and clear graphics and don’t lighten when touched. Disadvantages of


IPS technology uses ultra-high resolution mechanics, leading to sharper images.



the technology are that response times are not as quick as other screens, and produc-tion of the panel can be very expensive. In fact, compared to general display produc-tion, few of the high-end monitors are manufactured.

Edge-lit and direct-lit for LEDAs stated previously, LED displays offer an array of advantages compared to other screens. There are generally two types of LED displays.

Edge-lit units contain LED bulbs around the edge of the screen, arranged behind the bezel with a light guide pushing light toward the center of the screen. The main advantage is that they help keep display depth as thin as possible.

Direct-lit LEDs provide more uniformity of brightness across a set because the bulbs are positioned directly behind the display panel and go across the panel. The design makes slimming down such sets more complicated.

With both designs, deployers have en-hanced capabilities to dim and/or brighten certain sections of a screen. Being able to dim portions of the screen helps reduce the amount of light that leaks through to darkened pixels, and the end result is blacks that appear darker and more realis-tic. Since black levels are crucial to con-trast ratio, the deeper the blacks, the more the picture and colors appear to pop.

Because edge-lit screens are thinner, they also are lighter. That makes them easier to maintain. And with the screens be-ing so light, moving and mounting them are not as difficult or time-consuming as other displays. Back-lit screens are bulkier,

but they are considered superior to their edge-lit counterparts when it comes to picture quality because of the fact that the light modules inside are distributed evenly across the screen.

Whether deployers should choose one or another hinges on a variety of factors. Among them:

The content they will display Where the screen will be hung Aesthetics Expense to operate Cost

4K/Ultra High DefinitionThe latest addition to the LCD digital sig-nage space came with the launch of the 4K or ultra-high definition display. Standard high-def is 2K; this next evolution displays twice the pixel count.

The 4K technology is slowly rolling out in the consumer space, as costs are high and content is rare. But it is making early headway in the digital display market with strategic rollouts.

During the 2012 Summer Olympics in Great Britain, visitors to London, Glasgow, and Bradford could see the Games in ultra-high definition glory on 15-meter screens.

Visitors to McCarran Airport in Las Vegas can view wayfinding information in one of the first permanent installations of 4K digi-tal signage, featuring two 84-inch displays from LG.

The Consumer Electronics Association defines 4K or Ultra-High Definition tech-nology as displays that have a resolution of



http://en.wikipedia.org/wiki/Great_Britain


at least 8 megapixels with a vertical resolu-tion of at least 2,160 pixels and a horizon-tal resolution of at least 3,840 pixels. The UHD display must have an aspect ratio of at least 16:9 and at least one digital input capable of carrying and presenting native video at a minimum resolution of 3,840 × 2,160 pixels.

The 4K resolution of 3840 × 2160 sim-plifies video scaling from the popular high-definition source formats 720p and 1080p. A 1080p video source can be scaled perfectly by simply doubling each pixel horizontally and vertically, using 4 pixels on the 4K display to represent each pixel from the 1080p source. Similarly, a 720p source pixel can be tripled horizontally and vertically, using 9 pixels on the 4K display for each pixel from the 720p source.

Major display manufacturers have launched 4K displays, including LG, Sony, Viewsonic and others.

Adoption of 4K of UHD technology suf-fers somewhat from a chicken-and-egg conundrum, as there is not yet a lot of 4K-resolution content in the market. But 4k production capabilities are growing, and the digital signage use makes sense because the content can be custom-pro-duced for the installation. LG Electronics has announced an agreement with Korean terrestrial broadcaster KBS for the creation of 4K Ultra HD content. The technology is also finding its way into cinemas via digital projection systems.

Although 4K displays can upscale standard HD content, content produced natively in the format will give better results.




Plasma screens have long been heavyweights in the digital signage field, the display of choice for many

deployers looking for monitors that can project messaging in high-definition and with the ability to dynamically broadcast content. As the price of LCDs plummets and the ease of LED mobility increases, plasmas are beginning to lose ground in the market.

After LCDs, plasma screens still make up the second-most popular display choice when it comes to digital signage. Although plasma screens are not the most popular choice among consumers, that doesn’t mean plasma technology is inferior.

They have some advantages over LCDs and LEDs. As with anything else, the per-formance of the display should be evalu-ated with regard to the type of application it’s being used for.

Whether watching television, working on a computer or staring at a digital display, screen size is important. The general per-ception (though for business and logistics reasons this is not always the case) is that bigger is better, but there is a wide variety of choices when it comes to size. A digi-tal screen can be as small as a 1.25-inch smartphone display or as large as a 108-inch plasma screen.

Plasma displays traditionally have pre-vailed when it comes to large screen sizes.

“The plasma guys are trying to go bigger because they still have an edge there on the very large displays,” said Sean Moran, pres-ident of the Out-of-Home Media Networks business unit in the Technicolor services division of Paris-based Thomson.

But plasmas seem to be losing their grip on the marketplace, faced with rising compe-tition from LCDs and LEDs. Moran says he is witnessing a gradual increase in LCD screen sizes; in fact, he recently attended a conference where a 100 inch LCD was showcased.

“Of course these are in small quantities, but if they’re going there, I think they’re probably going to take this market away,” Moran said. “So that’s had a real negative impact on the plasma program.”

Experts say the gradual drop in cost has resulted in a market that leans heavily toward LCDs.

Ryan Cahoy, vice president of sales and marketing for Toronto-based Rise Vision Inc., a digital signage provider, estimates that 95 percent of the digital signage projects his company installs in financial

Chapter 2 Plasma screens

The biggest difference between LCD and plasma screens is the design of the pixels.

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institutions or universities use LCDs rather than plasma screens.

“The prices have come down a lot,” Cahoy said. “Where you’re doing more static-type content, LCD is what we call a much more durable technology.”

Scott Koller, senior vice president of sales and marketing for Minneapolis, Minn. based digital signage provider Wireless Ronin Technologies Inc., takes an even stronger stance.

“We will probably never quote a plasma,” Koller said. “We haven’t quoted a plasma in a year. Unless a client wants something above 46 or 50 inches, which is as high as LCD goes, we won’t quote a plasma.”

Channeling full motionThere is one significant difference be-tween LCD and plasma screens, however: the contents of the pixels. On an LCD, the pixels are filled with liquid crystals. A plasma screen uses gas plasma. That means plasma screens can do without one key component that LCDs require.

LCD panels need the backlight to create an image because liquid crystals can’t cre-ate light. However, plasmas don’t have a backlight because the process of charging a sub-pixel creates light.

Most industry analysts agree that full-mo-tion video appears much more cinematic on a plasma screen, thanks to the lack of backlight. “Plasma is what is called an ‘emissive dis-play,’ ” said Bill Gerba, CEO of Fort Lau-derdale, Fla.-based digital signage provider

WireSpring Technologies Inc. “Every pixel makes its own light and is sending its own light out. As a consequence, the colors are very vibrant. If a pixel is black, there’s no light coming out of it, so it’s a true black. With LCD, on the other hand, there’s a film that basically makes the different colors, but there’s a backlight behind it. To make black, for example, the pixel gets filled in so that it doesn’t let the light from the backlight pass through. Consequently, the big shortcoming of the LCD is that blacks aren’t as black — colors aren’t as vibrant — as they are on plasmas.”

In addition, plasma screens generally have a higher refresh rate, meaning they are able to handle fast-moving video better than LCDs. That, plus the added vibrancy and color depth of a plasma screen, generally makes it the top choice of consumers who want to use it simply for in-home enter-tainment purposes.

“For home theater, many prefer plasma screens,” said Bob House, COO at Tempe, Ariz.-based NORVISION Inc., a digital signage solutions provider. “The picture is a little better than on LCDs, and fast mo-tion, such as a baseball flying at 100 mph, is clearer. However, LCD technology is catching up fast.”

Prices and sizesAnother advantage of plasma screens is the overall price tag. A 46-inch LCD display may cost $3,000 or more, while a 50-inch

CHAPTER 2 Plasma screens

Plasma screens generally have a higher refresh rate, meaning they are able to

handle fast-moving video better than LCDs.



plasma screen may run from $2,000 to $2,500. Because plasma screens are easier to manufacture, their cost is lower relative to LCDs.

Plasma screens also are facing growing competition from the LCD market in the area of screen size. Plasmas gener-ally have held a monopoly on screens in sizes greater than 50 inches, but LCDs and LEDs are making inroads onto that playing field. While the largest digital displays on record are plasma screens, companies are beginning to offer LCD screens in the 52-, 65-, 70-and even 100-inch range, albeit for higher prices.

Before deployers purchase the display, however, it’s important to understand the message being communicated to the view-er. If the message will have a lot of static content in areas of high ambient light, an LCD is probably the best option. But if full-motion video is a critical part of the messaging, then a plasma screen is prob-ably the right choice. Knowing the message can help determine the medium.

Beating back the burn-in beastDigital signage typically runs for several hours at a stretch, sometimes even 24 hours a day. And in most cases, signage is dealing with at least some static content — usually a considerable amount of it. Digital signage deployers have to pay closer atten-tion to burn-in effects than the typical con-sumer watching television in the evening.

While most experts agree that plasma screens still need to make progress in the area of burn-in mitigation, some propo-nents of plasma technology argue that plasma screens have come a long way toward minimizing the effects of burn-in.

“Burn-in (or premature aging of the phos-phor) was a concern in the first-generation plasmas years ago, but this problem has long since been drastically reduced — particularly now that we’re in the tenth generation of plasma technology,” said An-drew Nelkin, CEO of Secaucus, N.J. based Panasonic Professional Display Company, a provider of digital signage screens. “While it’s true that any TV can retain images, plasma is on par with CRTs that were used in the signage business for decades.”

CHAPTER 2 Plasma screens



Chapter 3 Future technologies

Though digital signage remains in its infancy, the technology contin-ues to evolve quickly. Developers

routinely find new ways to make screens more efficient, more vibrant and more cost-effective.

“New technology translates into one thing: new opportunities,” said Dan Smith, direc-tor, commercial products, LG Electronics USA. “New opportunities to serve your customers, new opportunities to break new ground and — last but not least — new op-portunities to get a leg up on the competi-tion. If deployers can recognize these new technologies as they develop and harness their power and meld them to somehow meet consumer demand, they’ll be in a very enviable position as the future unfolds.”

New technologies generally do one of three things; replace the existing technology at higher performance, replace it at a lower cost or create a new product category. Any one of these three actions will cause a market and application shift expanding existing markets or creating new markets. With an eye on these trends, you can lead your customer to more impactful ways of doing business.

Interactivity and targeted advertising If there’s one thing industry experts agree on, it’s that interactivity — the ability of the consumer to manipulate the digital display — will become an increasingly important feature on digital signage.

Digital touchscreens and interactive kiosks are everywhere, ranging from the self-ser-vice airport check-in kiosks to touch-ac-

tivated wayfinder displays in colleges and universities. But Tim Buchholz, senior vice president of corporate communications for Point of Purchase Advertising Internation-al, an international trade association based in Washington, D.C., says he expects those displays increasingly to target customers based on their interactive choices.

In fact, he says he believes the time may come when a display will be able to size up a prospective customer as soon as he walks into the room.

“I also think there will be interactive devic-es that will be able to understand the de-mographics of a particular individual who might be passing by a digital sign and be able to serve up information very targeted to the demographic of that individual,” Buchholz said. “Facial recognition and stuff like that, I think, will be quite advanced by that time, and they’ll be able to send out demographic information and basically have it served up on demand without that

The 3D Wayfinder, powered by ProMultis, allows two customers simultaneously to use an interactive screen to quickly generate a route to their destination while being courted by targeted promotions from nearby stores.



CHAPTER 3 Future technologies

person’s interaction with it at all, except their being in proximity to the display.”

He says having this ability will be critical for marketers in the future because today’s consumer is becoming very adept at ignor-ing random advertising.

3DHigh-definition screens offer such crisp and impactful displays that viewers feel as if they’re in the action. Three-dimensional content stands out in that it reaches out to viewers, in a sense, and brings the action to them.

While ordinary digital signage provides a wealth of opportunities for businesses, like all forms of media, it can grow stale if new avenues are not explored. Eventually, people will become immune to standard 2D digital signage in the same way they have become immune to advertisements on television or roadside billboards.

Three-dimensional technology has become more widespread in the consumer digital market, as manufacturers look to offer new, innovative ways to enhance the view-ing experience. In the digital signage field, deployers are looking to use the advance in presentation as a means for connecting with an audience.

While 3D technology has existed for decades, one of the drawbacks, of course, is that 3D viewing generally requires the use of special glasses. That can make the opportunity to reach consumers tricky, especially when the window for doing so is so small. Auto-stereoscopic technology, however, offers a solution.

Auto-stereoscopic 3D, or “without glasses,” is created by interlacing multiple channels of the same content (still or video) that are captured at slightly different perspectives and combined into one final composite im-age that is seen as three dimensional by the viewer. With the advent of high-definition displays and fast graphics processors and the aid of strategically placed barriers or lenses in front of the display, the interlac-ing is done at the screen level, thus negat-ing the need for glasses. The screen is wearing the glasses so the viewer doesn’t have to.

Within the 3D realm, there are two types of ways to view content. Passive 3D uses the familiar glasses that contain a blue and a red lens – or these days they can look much like polarized sunglasses with shaded lenses -- that bring together im-ages when viewed, creating the illusion of depth. Active 3D involves battery-powered glasses that contain small LCD screens that dims the sunglass-like lenses to create the 3D effect.

StrandVision




Cost, however, has been prohibitive to consumers as 3D technology advances. A pair of active glasses can run $150 and only work on 3D sets made by the same manu-facturer. However, as demand rises, cost for 3D displays has sunk. When such dis-plays were widely introduced a few years ago, they could go for as much as $12,000. Today, depending on the size and capabili-ties, they can run a few thousand dollars – or less, depending on the manufacturer and distributor.

OLEDsPut reliable OLED technology on every-one’s Christmas wish list, from digital signage deployers all the way down to the devoted couch potato who wants better picture quality on his big-screen TV. In theory, OLED display technology would use the electroluminescent properties of organic compounds to provide an image that would consume less power than a plasma screen or LCD.

“OLEDs — organic LEDs — are basically light-emitting diodes,” Gerba said. “They’re little, tiny components that actually emit light. Because of that, they kind of combine the best elements of plasma and LCD.”

OLEDs are essentially the same as plasma, with vibrant color, true black and high con-trast, WireSpring Technologies’ Gerba said.

“But like an LCD, they don’t suffer any kind of burn-in problems,” he said. “Right now, they are phenomenally expensive, and they’re made in very small screen sizes, but obviously if consumer demand wills it, that will change.”

Many experts believe OLED technology could be used to create cardboard-thin portable displays that could be rolled up like a towel. It also might pave the way for displays that could be stitched into clothing.

TransparencyLooking into the future, deployers will find opportunities in see-through technology.

The thin layers, acting like glass panels, measure as much as 47 inches diagonally and can show content in high-definition. The screens are capable of running ads and other messaging, then vanishing to show a particular product or item.

The displays can transition from complete transparency to displaying graphics or animation, allowing the products to appear and disappear before customers’ eyes as the display changes from transparent to opaque. The capability to combine digital signage with a glass wall expands options

LG’s incorporated 4-color pixels and color refiner features with an advanced OLED (organic light-emitting diode) panels.




for end-users and architects. Both the con-tent and the product behind the window are visible, allowing the digital display to augment the physical display and add mes-saging or information simultaneously.

The approach creates a new shopping experience by displaying graphics in ways that coordinate with the store interior or goods on display.

The displays are hailed as a creative way to advertise and promote products near the point of sale. Such systems generally con-sist of the transparent LCD, an LED light-ing system and a video server. Transpar-ent LCD panels use ambient light, which reduces the power required to operate the screens since there is no backlight.

Deployers can run content almost any-where they can fit a screen — on retail dis-plays, on the doors of standup coolers and on glass museum cases. Screens already have made their way into some retailer set-tings and convenience stores.

Screen sizesScreen size is critical to the success of a digital signage campaign. But a deployer must determine the right fit for its strategy.

Currently, the world’s largest digital display is a 108-inch LCD developed by Sharp Electronics Corp. No doubt display manu-facturers will continue to up the ante as time goes on, but LG’s Smith believes sig-nage deployers should think twice before they make the assumption that bigger is always better.

“When you stop and think about it, any LCD or plasma screen that is 100 inches or greater in size is going to be tremendously difficult to get into business environ-ments,” Smith said. “How many elevators can handle that size of a piece of equip-ment coming into it? I don’t know of many that are designed that large. So while everybody talks about these large screen sizes, in some regards, you have physical limitations with regard to infrastructure within buildings that can accommodate that type of size to get it to the deployment point. Yeah, if you go into a stadium, sure you’ve got big loading docks to get in. But in a normal office building? No way.”

Smith doesn’t downplay the effectiveness of super-sized screens in certain applica-tions, but he suggests that deployers think through the logistics thoroughly before purchasing a 108-inch screen.

Screen size also takes on legislative signifi-cance when it comes to interactivity. Like

The LG 47-inch transparent LCD display features a full HD resolution in 1080p, and the display features multitouch functionality.




anything else, an interactive touchscreen must be compliant with the Americans with Disabilities Act. That means it should be accessible to anyone traveling in a wheelchair.

“Finding the right screen size is kind of the Holy Grail right now,” Smith said. “It’s all over the board. When you get into the really large sizes, you’ve got to think about someone getting up close to interact with it. You’ve got the requirements of the ADA — those folks have to access the screen, as well. If you have too large of a screen, you generally have to have that higher up so that it’s not sitting as close to the bottom of the floor. But if you have it up too high, people in wheelchairs won’t be able to access the screen because it’s out of their reach.”

Superior resolution will increase the likelihood that the casual consumer will be drawn irresistibly to a digital signage display. Screen sizes are getting bigger than they’ve ever been before — and smaller, too. Picture quality is improving rapidly as resolution goes up.



Digital displays designed for commer-cial use don’t look any different than those made for the average consum-

ers. Looks, however, can be deceiving.

When it comes to the different types of monitors used for digital signage projects within a business, deploying the right type of screen can oftentimes be the difference between success and failure. There are con-siderable differences between commercial- and consumer-grade displays.

First and foremost is the price tag. While consumer products can run a few hundred bucks, depending on the screen size and manufacturer, commercial-grade items can cost thousands. But with it comes higher-grade materials, stronger components and overall better build quality. The durabil-ity that comes with a commercial-grade product means less downtime for the digital signage, increasing the impact of the mes-saging. While commercial-grade products might mean more upfront cost to the de-ployer, the ROI is usually greater.

Screen makeupA flatscreen enclosure is comprised of a bezel which goes around the viewable area of the screen and a casing that covers the back. Commercial screens’ enclosures have been toughened to withstand the “elements” involved in deployments. For example, digital menu boards in restaurants have to withstand high heat and even grease, while screens in rail stations have to be resistant to dust and corrosion.

Commercial displays are designed for more rugged use and over longer continuous periods of time. They’re also outfitted with increased software capabilities, including

the ability to recognize all PC resolutions, including wide formats and different refresh rates in addition to TV/video resolutions.

Commercial-grade screens provide extra inputs that consumer-grade screens don’t have. To accommodate the numerous types of network connections and media playing devices that may be used, commer-cial-grade screens have PC inputs, serial ports, Legacy and VGA inputs as well as the traditional RCA and cable inputs. Commercial-grade screens are also now being equipped with RS-232 inputs, which allow two-way communications between the screen and the sending device.

They also are equipped with internal thermal characteristics and additional fans for proper heat dissipation in both portrait and landscape modes during prolonged run times.

Commercial screens are designed to be used in either portrait or landscape modes.

Chapter 4 Commercial vs. consumer

Since digital signage can be complex, many companies offer an all-in-one solution.



Consumer products only allow for land-scape. Setup is critical from a business standpoint and conveying certain messages or branding.

The flexibility allows for deployers to mount displays in different ways and in a manner that enables operators to make easier con-nections. The screens also are more versa-tile with various types of mounting mecha-nisms and can include locking systems to protect against potential theft or vandalism. Consumer displays typically need special mounting brackets and sometimes cannot use third-party mounts.

WarrantiesCommercial- and consumer-grade displays carry different types of warranties. For instance, many policies covering consumer monitors are voided if a buyer uses them for commercial purposes. That’s because commercial screens are asked to do more than standard consumer products, such as run for longer periods, potentially function in extreme environments and stand up to more wear and tear.

Heavy-duty hardware means longer lifes-pans. Commercial-grade flatscreens are built with heavy-duty parts and compo-nents designed with durability in mind. Along with an increased resistance to deterioration, these high-quality parts also extend the lifespan of commercial screens far beyond that of consumer models, some-thing that is critically important when one considers the difference in operating hours between the two.

Consumer screens in people’s homes are turned on anywhere from one to eight hours a day, and serious TV watchers or gamers may even have them on for 12 hours or more. But many deployers demand 12 to15 hour days out of their screens, and locations like airports may never turn the screens off.

Commercial warranties account for use under tougher conditions. Coverage tends to be longer — generally a few years — and pro-tects a wider range of components and labor. And many repairs are performed on-site.

Picture quality contributes heavily to the suc-cess of a digital signage campaign. Because deployers use an array of hardware sys-tems to project content, commercial-grade screens produce hundreds of different levels of brightness and color to present the richest hues possible for particular computers.

CHAPTER 4 Commercial vs. consumer



Most experts agree technology is not nearly as important as content. Still, some deployers are

easily wooed by new and impressive digital displays that contain all sorts of features. Eager to include the same features in their own deployments, they blow gobs of cash to purchase the displays, only to discover months later that those screens aren’t helping convey their message. Worse yet, in some cases, the features may wind up distracting the consumer from the content.

Once a company decides to move forward with a digital signage deployment, it needs to determine what visuals and information to show. Content, in most cases, will be dictated by the campaign’s intent.

Deployers also will put considerable stock in ways they perceive they can enhance the customers’ experience. Because of the familiar industry adage that content is king, many will incorporate flashy graphics and large screens for immediate pull.

While those can go a long way in attract-ing viewers, companies should lay out their digital signage strategy to determine what to offer beneath the surface.

Content development can be time-consum-ing and can be worked by in-house develop-ers or through firms that specialize in reach-ing viewers. The latter will work closely with businesses, learning their targets, markets and products to help devise effective displays that satisfy the client’s strategy.

Content packages can be pre-loaded into signage units, pulled from libraries via the Web and installed through USB-connected portable hard drives. As social media grows in prevalence and relevance, sites such as

Facebook and Twitter might be added to the mix as well.

Networks are optional but highly recom-mended, especially for large-scale signage deployments that cover a wide area that might include multiple cities, states or even continents. A network is an effective empowerment tool that enables deployers to remotely manage their digital displays without leaving the office.

Signage content can be replaced, deleted or updated at the click of a mouse. When in-dividual displays malfunction, alerts can be sent automatically to the network adminis-trator, prompting the deployer to conduct a remote diagnostic (and sometimes repair the display) from hundreds of miles away.

Businesses constantly are looking for a return on their investment. So software can be equipped with features that detect spe-cific information, such as what consumers view, how long they view it and whether the

Chapter 5 Content

NEC

Effective use of the digital technology entails developing and using the right content at the right times.



products or information displayed translate into a sale.

Despite a well-thought-out content devel-opment plan, one of the pitfalls of digital signage is infrequent content updates, which can make displays irrelevant to cus-tomers who remember the messages and tune them out. Keeping content fresh will keep viewers tuned in.

Effective use of the digital technology en-tails developing and using the right content at the right times.

Creating an effective display “is all in the message and creator,” said Alex Richardson, managing director of Selling Machine Part-ners, a leading software and solution pro-vider for multi-channel retailing and kiosk solutions based in Connecticut. “Whatever you can envision probably can be done. The next question is you have to tell a story like Steven Spielberg. What is that story? That’s where the magic comes in. What problem does your product solve for that customer and how will I show that visually in a short amount of time? Shoppers don’t have a lot of time to watch.”

Content, if done right, will put the great-est pinch on a company’s digital signage budget and pose the greatest complexity. The reason: People are needed to develop creatives that meet a specific intent. That can entail shelling out tens of thousands of dollars a year for graphic artists and writers, depending on the market.

Instead of hiring a full-time, in-house staff, businesses can generate content throughout outsourcing or software the enables content development and modification. Doing so still comes at a cost.

Some experts see digital signage as a valu-able extension of a company. And in the end, what displays on a screen defines the effectiveness of the digital signage package.

“Your average retail professional has no experience with digital media,” said Bill Collins, principal of Cincinnati-based DecisionPoint Media Insights, a research consultancy that designs and produces custom consumer research on digital media networks and digital signage. “As the vari-ous venues recognize the value of it and get a positive response, they’ll assign more talented people to it and gradually get bet-ter at it.”

CHAPTER 5 Content



In just the last year, social communi-cation has become part of the digital signage landscape.

The definition of dynamic signage has changed significantly in recent years. Though digital signage remains in its in-fancy, it hasn’t taken long for those in the field to realize that static messaging and looped videos can render the technology in-effective. The push now, more than ever, is to engage people by getting them to interact with a screen.

Interaction is all part of one of the newest strategies for making digital signage more relevant to users. In this age of around-the-clock news, rapid rewards and instant gratification, consumers also want constant connectivity. And they want it in every facet of their lives.

That message is perhaps no more evident than in the exploding popularity of Inter-net social media and networking sites. As digital signage deployers look for new ways to make the technology more valuable — to themselves and to users — they see oppor-tunity by using and mimicking the concepts of sites such as Facebook and Twitter.

Social media and networking have become so pervasive in people’s lives; software de-velopers see its integration into the signage medium as a logical step forward.

“Attention is currency,” said Bill Naft, vice president of business development for LocaModa, a Massachusetts-based devel-oper. “If you can’t get attention and break through the noise, the advertising dollars are probably wasted.”

Social-enabled screens can serve a multi-tude of functions. For instance, some bars are using screens to stage interactive games for visitors who can play against other patrons — whether they are at the same location or elsewhere in the country — by texting answers to the screen with their cell phones. They’re also using signage to in-stantly feed in Twitter messages mentioning certain words or phrases — like the name of the pub or a specific beverage, for example — that would resonate with those inside the establishment. Customers can even send their own messages and photos to be shown on the screen.

All the material, of course, winds through filters that ensure only appropriate content is posted.

Bars and similar establishments where peo-ple congregate socially were seen initially as

Chapter 6 Social media integration

Graffi

ti Bar Tokyo

Green Light Productions created a new kind of bar concept to attract high-end clientele. MultiTouch allowed Graffiti Bar to be made completely interactive by integrating MultiTouch displays to all tables and bars.



the most common spots to use the technol-ogy. However, signage software designers anticipate the strategy expanding to other sectors, some of which are beginning to inquire about integrating the approach into their venues.

Besides physicians’ offices, sporting arenas are considering implementation where fans can post comments about a game or their team from inside the stadium, and govern-ment agencies are weighing how to get resi-dents more ingrained in the functionality of their elected leaders.

But some analysts say they believe winning more widespread acceptance will simply take time, noting that the social media platform is still relatively new to the digital signage industry.

CHAPTER 6 Social media integration



The places and ways in which digital signage can be used seems limited only by one’s imagination. Deploy-

ers are a savvy lot, full of ideas centered around innovation and futuristic engi-neering. Those approaches are on display everywhere from retail establishments to museums to hotels.

Video wallsSingle video screens can easily wow view-ers. A wall of multiple screens — as many as 25 in some projects — can take the experi-ence over the top.

More intricately designed, the technique tiles together a number of monitors to cre-ate one large display. Video walls are com-prised of two main components: content and hardware.

Organizations considering a video wall often believe that it’s necessary to have dis-crete control of each screen in the display. That’s not always the case, however. It’s possible to create an impressive video wall under the control of a single PC. As the content desires of the wall become increas-ingly more complex, so too can the array of PC or media appliances scoped to control and deliver this complexity.

Media players connected via Ethernet cable in a master-slave configuration, with the master player synchronizing content among the indi-vidual screens, offers a host of opportunities to make content more engaging. Screens can even be divided up themselves to add zones. Items such as tickers, clocks or other images can complement the main video.

While not commonplace, video walls have cropped up in several public settings where

deployers might want to display content to large amounts of people and over lengthy distances.

Video walls are as much art as they are content delivery devices. Their sheer size commands attention, and the brightness and vivid colors they project take over their surroundings.

Video walls allow for more space per screen for deployers to customize designs.

Of course, video walls come with heftier price tags compared to single displays. De-pending on the size, a multi-unit setup can cost more than $150,000. But some busi-nesses say the investment is worthwhile.

Risk Management Services in California purchased an 8-foot-wide by 3-foot-high video wall to hang in the executive lobby of its new customer-designed building. The $160,000 display was surrounded by a marble enclosure and outfitted with special lighting and sound.

Chapter 7 Markets and techniques

Graffi

ti Bar Tokyo



Risk Management Services uses the wall to display company information, welcome visiting dignitaries, show sunrises and sunsets from around the world, show mov-ies, sports, news and financial channels and convey corporate information. And between 11 a.m. and 1 p.m., employees can play the Nintendo Wii.

Vertical displaysSometimes, traditional landscape formats simply don’t accomplish a deployer’s goal. Presenting content in a vertical format can be more effective, enhance the customer experience and stand out more easily in a landscape-dominated market.

While a vertical display might seem odd to some, consider that many non-digital verticals have long proven to be effective communication, such as posters and stand-up advertising. Taking the vertical approach with digital technology forces developers to rethink the way they approach content, com-ing up with new methods for conveying mes-sages and promoting products and services.

Some areas where vertical displays can help: In education settings, displays can be anchored in campus bookstores to advertise merchandising specials, branding, campus emergency alerts and surveillance monitor-ing for campus police. Hospitality and inde-pendent hotels can use them for presenting conference/meeting information, wayfinding and to pass along local weather conditions. Corporations see opportunity in vertical screens to broadcast corporate communi-cations to employees, displaying cafeteria menu boards and for video conferencing.

Sectors for opportunityAlmost any non-residential setting is ripe to benefit from digital signage. Besides some of those mentioned above — school campuses, hotels and businesses — below are other venues where digital signage can be implemented and some of the ways in which they can be used. Shopping malls: Merchandising spe-

cials, advertising/branding, visual paging system, emergency alerts, directions/wayfinding/local weather, IP video sur-veillance monitoring screen for security areas, entertainment, kiosks, point-of-sale advertising.

Retail stores (independent and fran-chise): Merchandising specials, advertis-ing/branding, product demonstrations, training on sales floor, communications, visual paging systems, emergency alerts, kiosks, point-of-sale advertising.

Hospitals and clinics: Visual paging systems, emergency alerts, corporate communications to all employees, direc-tions/wayfinding, IP video surveillance monitoring screen.

Gyms and spas: Merchandising specials, advertising/branding, upcoming classes, visual paging system, emergency alerts, locals weather/entertainment/news.

Restaurants: Merchandising specials, advertising/branding, menu boards.

Churches and houses of worship: Infor-mation on sermons and hymns, visuals paging system/emergency alerts, education.

Retail banks and credit unions: Mer-chandising specials on low interest rates on loans or CDs, visual paging system, news and weather.

CHAPTER 7 Markets and techniques



Conclusion

High-definition is here to stay — and that’s good news for everyone. For the committed couch potato,

it’s a great way to watch his favorite TV show. For the digital signage deployer, it’s an effective tool to grab the attention of the consumer and hold it until the message is conveyed. With that in mind, it’s advan-tageous to have a basic understanding of some important terms related to HD, as well as the most prevalent screen resolu-tions on the market.

As anyone in the industry will tell you, digi-tal signage is an exciting field to be involved in, as it’s poised to revolutionize the way advertising is conducted. By intercepting the consumer in a way that is both visually entertaining and informative, digital signage can cut through the annoying clutter of out-dated posters and unwanted direct mailings to engage the prospective customer.

“I don’t want to put down traditional media like posters, print ads and banners, because I think that there will always be a place for such mediums,” said Dan Smith, director, commercial products, LG Elec-tronics USA. “But the problem with print media is it quickly becomes outdated. That poster advertising the orchestral con-cert becomes worthless the moment the curtain is drawn. Then you have to spend additional dollars to create the next poster, and you have to send someone to take down the old one — and quickly, before people start to ignore that ad space.

“Compare that with digital signage, where content can be changed and updated at the click of mouse,” he said. “It’s all in real-time. That’s the greatest advantage.”

Deciding if digital signage is a good invest-ment means answering a few simple ques-tions: What are the company’s needs? What messages need to be communicated to prospective customers? How often do they need to be conveyed? How can the compa-ny best reach consumers where they are?

Once companies know what they want their messaging to achieve, they can decide if digital signage is the right medium. And knowing the basics of the technology will help ensure deployments are appropriate, impactful and cost-effective.

What’s next?


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