Playback, splicing & LED control.

A video wall splicer accepts one or more video sources, scales and arranges them as windows or layers, and distributes the result across a large multi-display or LED canvas.

A media server plays and composes content. A splicer or screen-management system scales, windows, switches and routes sources. An LED controller maps the finished canvas to the LED cabinets and receiving cards.

GLMedia can design available multi-device configurations for canvases up to 38,400 × 2,160 pixels at 60 Hz. This is a system-level configuration, not the stated capacity of one individual processor.

Yes. The system can exchange horizontal resolution for vertical resolution, with available designs reaching up to 6,480 pixels in height. Final limits depend on the total pixel load and selected signal architecture.

Yes, compatible NovaStar COEX and A10s Pro configurations can be designed for up to 120 Hz workflows. Final frame rate depends on the LED modules, driver IC, firmware, bit depth, resolution and complete signal chain.

No. These systems perform different roles and are selected only when the source count, canvas geometry, live switching, playback, redundancy or LED load requires them.

Yes. GLMedia can design and operate large-scale technical video systems for ultra-wide, tall, distributed and multi-surface LED canvases. Available multi-device configurations can reach 38,400 × 2,160 pixels at 60 Hz, or exchange horizontal resolution for designs up to 6,480 pixels in height. The final architecture is calculated from total pixel load, frame rate, bit depth, color sampling, outputs and redundancy.

Yes. GLMedia can design and operate workflows that receive, switch, scale, window, route and play multiple HD (1280 × 720), Full HD (1920 × 1080) and 4K UHD (3840 × 2160) signals at the same time. The exact number is determined by the source-and-destination matrix, frame rate, color sampling, bit depth, required layers, I/O cards and backup path.

Yes. GLMedia can coordinate multiple players and media servers so their outputs operate as one organized playback system across a large canvas or several screens. Available configurations can provide up to 16 synchronized 4K outputs at 3840 × 2160 and 60 Hz. The synchronization, cueing, content distribution and backup method are defined for the show workflow.

Yes. Barco E2, Christie Spyder and NovaStar H15 screen-management layers can be selected to combine sources with different resolutions and aspect ratios into windows, layers or destinations on the same canvas. GLMedia matches scaling, frame rate, color, latency and routing requirements before the signal reaches the NovaStar LED-control layer.

Depending on the project, GLMedia can integrate disguise media servers for playback and composition; Barco E2 for presentation switching and screen management; Christie Spyder for image processing, windowing, scaling and switching; NovaStar H15 for modular video wall splicing; and NovaStar MX6000 Pro COEX with A10s Pro receiving cards for LED mapping and distribution.

Send the event date and venue, canvas dimensions and total resolution, every source and its format, number and resolution of outputs, required windows or layers, 60 Hz or 120 Hz target, cable or fiber distances, primary and backup requirements, content-playback plan and whether GLMedia should provide operators and the complete technical video system.

Yes. GLMedia has operational experience running live shows in which multiple outputs were sent simultaneously to different equipment and destinations, including main LED canvases, auxiliary displays, stage-return and confidence monitors, presenter tools and coordinated playback. We document the source-to-destination matrix, resolution, timing, operator and backup path for every required output.

Yes. GLMedia can provide and integrate confidence monitors that show the current slide, next slide, speaker notes, remote participants or a dedicated return. Presenter timers can show time remaining, count up or down, clocks and cue messages. These tools are coordinated with playback, switching, intercom and technical direction so the presenter sees the right information without changing the audience feed.

Yes. GLMedia can develop a project-specific iPad application or browser-based control panel for authorized functions such as triggering cues, selecting sources or presets, operating presenter timers, monitoring system status and controlling defined playback or interactive sequences. The exact interface, network, user permissions and backup controls are designed around the run of show.

Yes, when connectivity, latency, security and venue access allow it. GLMedia can configure remote automation for authorized compatible functions such as triggering cues, changing presets or sources, controlling playback and timers, distributing content, monitoring status and assisting the operator. Control can run from another position in the venue or an external location. Critical functions and recovery retain local control, manual bypass and a tested backup path.

The behavior is defined and tested before the event. Critical functions retain a local operator or control path, safe states, manual bypass and recovery procedures so the remote link is not a single point of failure. Depending on the system, operation can hold the last approved state, transfer to local control or execute the documented backup path.

Yes. GLMedia can integrate touch-enabled displays, interactive screens, kiosks and custom interfaces for product exploration, wayfinding, schedules, questionnaires, audience participation and controlled content selection. The interaction can connect to web applications, media servers, show-control commands, sensors or external data, depending on the approved project design and available hardware.

Project-specific primary and backup signal paths can be designed when required. The exact redundancy level and equipment availability are confirmed for each project.

Yes. Depending on project qualification, date and scope, GLMedia can provide complete technical production, operated video systems, or equipment-only and white-label packages for production partners.

GLMedia can supply, rent, integrate and operate ATEM 1 M/E Constellation 4K, ATEM 2 M/E Constellation 4K, ATEM Television Studio HD8/HD8 ISO, ATEM Television Studio Pro 4K and ATEM Mini Pro through a formal technical joint venture. These models are not part of GLMedia's physically owned inventory. Our personnel have hands-on experience with these systems and the capability to configure and operate them. The exact model and availability are confirmed for each date and project.

Yes. ATEM 2 M/E Constellation 4K can receive up to 20 standards-converted 12G-SDI inputs and generate 12 auxiliary outputs. Camera count, other sources, formats, destinations and backup are designed for the project. This input capacity does not mean that twenty owned cameras are automatically included; the camera package is confirmed separately.

Yes. ATEM Television Studio HD8 ISO can record all 8 inputs as separate files and supports up to 8 remote cameras over Ethernet or the internet, including tally and camera control. Network, recording, synchronization, latency, operators and the recovery path are validated before the show.

GLMedia has 3 confirmed vMix licenses and 12 confirmed Resolume licenses. They are assigned to the playback or live-production systems defined for each project. The number of operating computers, software editions, video interfaces and backup paths is confirmed for the date and scope.

GLMedia can configure disguise GX 3 with up to three 4K outputs through VFC and disguise VX 4 with four VFC slots, selectable output formats and capture of up to 16 3G-SDI sources or four 4K sources. When the rider requires Hippotizer, GLMedia can subrent Tierra+ or the appropriate current platform, providing four genlocked 4K outputs and synchronized control.

Yes. GLMedia has Dataton WATCHOUT available for synchronized multi-display playback in conferences, corporate events, installations, museums, experiences and systems using projectors, LED walls and monitors. Required node count, resolutions, displays and licenses are defined for the canvas.

Yes. GLMedia can coordinate playback, lighting, automation and interactive experiences through SMPTE LTC/MTC timecode, Crestron, grandMA3 and compatible protocols such as DMX, Art-Net, MA-Net, CITP, OSC, MIDI and TCP/UDP. Compatibility, programming, offsets, permissions and recovery are tested for the actual configuration before the event.

Depending on the project, GLMedia can operate PlaybackPro Plus for prepared clips triggered one at a time, Mitti or QLab for Mac cue lists, and Resolume when live composition or manipulation is required. Software is selected according to formats, output count, external control, redundancy and operator experience.

Yes. GLMedia can design the control hierarchy, trigger matrix and recovery plan to coordinate compatible ATEM, media servers, playback, lighting, laser, automation, audio and LED destinations. Depending on the show, the master can be grandMA3, a timecode source or the show caller. A coordinated system does not eliminate operators; it defines responsibilities, cues, confirmations and fallback.

grandMA3 can act as master for music shows, touring productions and programmed sequences when the receiving devices and protocols are compatible. It can run lighting and trigger video or media-server cues through the agreed interface, such as MA-Net, DMX, Art-Net, CITP or OSC. GLMedia validates commands, feedback, offsets and recovery; we do not assume every device accepts every protocol.

SMPTE LTC or MTC timecode is appropriate for choreographed content, tracks, openings and sequences that must repeat exact timing. In corporate shows and general sessions, where a presenter can run early or late, a show caller calls cues over intercom and operators execute GO. Both methods can be combined while retaining manual backup triggers.

Yes. GLMedia can program stacked actions in Bitfocus Companion so a Stream Deck button, touch screen or web interface executes a compatible sequence—for example, cutting ATEM to camera, triggering PlaybackPro Plus or Resolume and selecting the LED source through the switching layer. Modules, commands, firmware and feedback are tested for the actual system; the macro does not replace the operator or backup plan.

Before load-in, GLMedia requests the house system and responsible operator; inputs, outputs, connectors, resolutions and frame rates; authorized network and control access; timecode source and format; reference or genlock; intercom and show caller; cue numbering; venue restrictions; and primary, backup, manual-bypass and recovery paths.