LED screens for theatres, cinemas and culture halls

An LED screen for a theatre, cinema or house of culture solves two tasks at once: a stage backdrop that changes the set in a second, and a lobby screen instead of paper posters. An LED screen stays visible with the house lights on, is untroubled by haze and backlight, and no performer walks into the image the way they walk into a projector beam. KazLedPro has been building such screens in Almaty since 2012 and installs them with its own crew.

Our portfolio includes the Zhansugurov Palace of Culture in Taldykorgan (P3 screens totalling 100 m², 2023), the Aksai House of Culture (62 m² of 500×1000 mm cabinets, 2021), the House of Children and Youth in Karaganda with a full stage lighting package (2021), Children's Music School No. 5 named after Mukan Tulebaev in Almaty (2020) and the assembly hall stage of the private KIS school (2025).

Below: how to choose the pixel pitch for the depth of the hall, how a stage screen differs from a lobby screen, how it works together with theatre lighting, and what the venue must prepare in terms of power and rigging. The calculator on the site gives a preliminary estimate from screen width and height; a house of culture can also buy through public procurement.

Stage, proscenium and lobby are three different jobs

Pixel pitch follows the distance to the front row: the pitch in millimetres roughly equals the minimum viewing distance in metres. In a house of culture the front row usually sits four to six metres from the stage floor, so P3 or P3.91 is the common choice — that is how the Zhansugurov Palace of Culture and the Aksai House of Culture are built, both with viewing from four metres. A studio stage or small hall where the audience sits two metres away needs P2 or P2.5.

The lobby is a separate job. There the screen is seen in passing and at eye level, so area and brightness matter more than fine grain: session times, trailers and the coming-soon poster read perfectly at P2.5–P4. The proscenium, arches and lobby columns are built from flexible P2.5 modules: they bend to a radius and hold on magnets, so they follow the architecture instead of arguing with it.

• P2 and P2.5, 640×640 mm cabinet or 320×160 mm module — small halls and front rows closer than three metres, density 160,000–250,000 dots/m².
• P3, 320×160 or 192×192 mm modules — the standard stage backdrop; the Zhansugurov Palace of Culture is built this way.
• P3.91, 500×1000 mm cabinet — 65,536 dots/m², about 14 kg per cabinet, the screen comes apart and travels on tour.
• P2.6 and P2.9, 500×1000 mm cabinets — 1,000 cd/m², 13 kg per cabinet: a stage assembled for the event and struck afterwards.
• P4, 256×256 mm module — the economical option for large halls and the sports ground next to the venue.
• Flexible indoor P2.5 modules — proscenium, arch, lobby columns; they bend to a radius and mount on magnets.

A dark hall, theatre lighting and the camera

In a darkened hall the screen must not run at full brightness. Indoor models give 350–550 cd/m², and during a performance they are dimmed to roughly a fifth of that, otherwise the backdrop washes out the performers and ruins the camera exposure. Black module masks and high contrast keep the black deep: an unlit part of the canvas does not glow grey, so a set painted on the screen looks real rather than backlit.

A refresh rate from 3,840 Hz is what decides whether a concert recording comes out with banding or without it. Every indoor model in the catalogue holds that rate; on the Eurasia TV studio screens in Almaty and Astana it is proven by daily broadcast. Control links to the lighting desk over DMX or Art-Net, so the picture changes on the same cue as the light. Fixtures, truss and stage lighting go under the same contract — that is how the House of Children and Youth in Karaganda was done.

Procurement, installation and travel across Kazakhstan

Houses and palaces of culture most often buy through goszakup.gov.kz, and what actually arrives depends on the specification. We help draft the technical specification before the tender is announced: we calculate resolution, structure weight, power and the number of supply lines, and describe characteristics that can be verified at acceptance. KazLedPro is listed in the registry of domestic manufacturers and holds the KTP industrial certificate, so the bid receives a conditional price discount and priority under domestic-producer support rules.

Installation on a stage is work at height. The frame is fixed to the solid wall behind the backdrop, or the screen is flown on truss; rigging on the existing counterweight bars is agreed only with a load calculation, never by eye. Cables run in trunking and power comes on a dedicated line to our electrical brief. The crew travels from Almaty to any city: Taldykorgan, Aksai and Karaganda were done this way, with works planned between repertory dates.

Theatres, houses of culture and halls with our screens

Every site is in the portfolio with photographs, and several have video shot on location. You can call any of them and ask how the screen behaves a few seasons on.

• Palace of Culture named after I. Zhansugurov, Taldykorgan, 2023 — P3 LED screens totalling 100 m².
• Aksai House of Culture, 2021 — a 62 m² screen of 500×1000 mm cabinets, viewing from four metres.
• House of Children and Youth, Karaganda, 2021 — a P4 screen and a full stage lighting package, with video from the site on the case page.
• Children's Music School No. 5 named after Mukan Tulebaev, Almaty, 2020 — 256×256 mm modules, viewing from four metres.
• Screen for the assembly hall of the private KIS school, Almaty, 2025 — a stage for performances and celebrations, with a video testimonial on the page.
• Eurasia TV studios in Almaty and Astana, 2021 — screens that are filmed every day.