Straight answers.

No, and treating it like one is where most disappointing installs start. A television is a fixed 16:9 rectangle watched from the sofa. An LED display can be any shape, any size and any number of pixels, and people see it from across a room, from the side, or while walking past. We compose to the real screen: its exact pixel count, its proportions and where your guests actually stand.

Pixel pitch is the distance between LEDs, in millimetres. A smaller number means a finer, sharper screen up close. It matters to us because it tells us how much detail the screen can actually show and how far away it reads best. Fine text on a coarse ribbon vanishes; a bold shape on a fine wall can look flat. We size every element for your pitch and your viewing distance, not for a monitor in our studio.

Yes. Ribbons, columns, corners, curves, ceilings, portals and multi-screen groups are most of what we do. We map the screen first, pixel for pixel, then build the piece inside that shape so nothing is stretched, cropped or letterboxed.

No. We grew up inside Simtech screens, so if yours is one we already hold the spec. For any other display, send us the pixel dimensions, the pitch and a photo or the mapping guide from your installer and we take it from there.

Three things. The screen: its pixels, shape and a photo in the room. The purpose: what it is for and who walks past it. The look: a few references from our library or anywhere else. That is enough for us to come back with examples and a quote.

Because it was made for a different screen. Stock is shot at 16:9 for televisions and phones. Put it on a 10:1 ribbon and it is either stretched, cropped to a sliver, or sitting in a letterbox with dead pixels either side. It also looks like everyone else's. Content built to your pixels uses all of the screen you paid for and looks like it belongs in your venue.

Gaming is manufacturer game titles aligned to jackpot and link displays. Ambient is calm, textural motion for lobbies and considered spaces, no characters, no story. Premium is custom work built from our library and your brand assets. Ultra is fully custom, cinematic 3D, including anamorphic illusions. Most venues start with Ambient or Premium and add Ultra for the hero screen.

It loops. Every piece is built as a seamless loop so it runs all day without a visible join and without anyone touching it. Timed shows and jackpot triggers are the exception, and we build those to the rules your player or controller supports.

Whatever your player takes. Usually an H.264 or ProRes movie at the exact pixel size of the screen, and PNG sequences for players that want them. If the screen is split across several outputs we deliver a file per output, named and mapped, so your installer can load it without guesswork.

Three usual reasons. It was scaled to fit rather than made at the screen's native pixel size, so it is soft. It has low-contrast or muddy dark areas, which LEDs show as grey haze. Or it has fine detail the pitch cannot resolve. We build at native size, keep blacks black and colours clean, and we check the piece on the real screen from the real viewing distance when we can.

Yes, and we encourage it. Send vector logos, brand colours and any campaign artwork and we build the motion around them. Premium and Ultra pieces are often a mix of our library, your brand and new 3D built for the screen.

It is a very old trick with new tools. The picture is drawn in forced perspective for one viewing position, so objects appear to come out of the screen or sit inside it. There are no glasses, no special panels and no projectors. It is a standard LED screen, usually a corner or a wrapped surface, and content built precisely for it.

No, and anyone who tells you otherwise is selling something. It is strongest from one spot and holds across a cone of roughly 30 to 45 degrees around it. Move well outside that and the image stretches. That is why we ask where your guests stand or walk before we design one, and why corners work so well: people approach from predictable directions.

Any screen can run it, but it only pays off where the geometry helps: corner wraps, portals, and screens with a clear approach. A flat wall in a wide room is better served by cinematic 3D without the forced perspective. We will tell you which one your screen suits.

No. 3D means we model the scene, the lighting and the camera in three dimensions and render it. Anamorphic is one use of that: 3D built to trick the eye from a fixed spot. Most of our Ultra work is 3D; only some of it is anamorphic.

Yes. This is our Gaming level and where 4th Gen started. We work with manufacturer assets from studios such as Aristocrat, Light & Wonder, IGT and Konami, align the title to the display's pixels and leave the meter field clean for the manufacturer's live figures.

We do, with you. Manufacturer artwork is licensed and each studio has rules on how it may be used. We coordinate the asset request and the approval, and we never share a manufacturer's working files outside the approval they have given. It is slower than grabbing an image off the internet, and it is the only way that keeps your venue compliant.

Yes, and they differ by state and country. In New South Wales, for example, gambling signage that can be seen from outside a pub or club is banned, including digital displays, and that reaches into imagery: dragons, coins and lightning motifs, and names like VIP Lounge or Golden Room. Fines run to A$11,000 per sign. Victoria limits what gaming signage can be displayed at all. Casinos and other markets have their own rules. We ask where the screen sits and who can see it before we design, and we will flag anything that could put your licence at risk.

Yes, and it is the smartest way to spend. We build one strong animation per game type and change only the text and title art between variants. You get a consistent floor and pay for the creative once.

No. The meter values come from your gaming system through the manufacturer's player. We design around that field so the animation and the live number look like one piece, but the number itself is never ours to touch.

Library and adapted pieces, where an existing piece is mapped and tailored to your screen, sit in the low thousands of US dollars. Fully custom work starts around US$10,000 and rises with the amount of new 3D, the length of the piece and the number of screens. Most projects land between US$5,000 and US$20,000. Tell us the screen and the level and we will give you a real number, not a range.

New 3D that has to be modelled from nothing, characters and simulations, the number of screens that must stay in sync, anamorphic precision, and revisions after approval. Length matters less than people expect; a 20-second loop with a dragon costs more than a two-minute ambient piece.

Plan for four to six weeks from brief to files on your player for custom work. Library adaptations are faster. Seasonal pieces book out, so for Christmas, Lunar New Year or a launch, come to us six weeks ahead. Our calendar on the Library page shows the dates and when to book.

Every quote states its revision rounds, usually three. Changes are cheap on the storyboard and expensive on the final render, so we get sign-off at the sketch, the storyboard and the first animation before we polish. Brand or logo compliance fixes are always free. Reworking an approved storyboard is a new round, and we will tell you before it costs anything.

You own the finished piece we deliver for your screen and can run it for as long as you like, on that screen or any other you operate. The working files, the 3D scenes, project files and source assets that make the piece, stay with 4th Gen, which is what lets us update it quickly and cheaply later. Manufacturer game artwork stays the manufacturer's under their licence, and our library assets remain ours so we can keep building with them. If you want the working files or exclusive rights to a custom piece, ask and we will price it.

Yes. We keep the project files, so a text change, a new date or a colour pass is quick and cheap. That is why one well-built piece per screen is a better investment than a stack of one-offs.

We are owned and run from Singapore, with our production studio in Ho Chi Minh City. We deliver globally, with direct projects in Australia, the United States, Canada, New Zealand, Singapore, Macau, the Philippines, South Korea and Vietnam, and the list keeps growing. Everything is briefed, reviewed and delivered online, so distance has never been the issue.

Simtech is our sister company. Simtech designs, builds and installs the LED hardware; 4th Gen makes what plays on it. If you have a Simtech screen we already know it. If you do not have a screen yet, we can bring Simtech in, or not, as you prefer.

On a private review link, from your phone or desk, with comments pinned to the frame. Sign-offs happen at set gates so you always know what is locked and what is still open. No large email attachments, no guessing which version is current.

For larger installs and multi-screen shows, yes, usually alongside the Simtech install team. For most projects a photo of the screen in the room and a short video of the approach is all we need, and it keeps the cost down.

Use the enquiry form. Three quick steps: who you are, what you have on the wall, and what you like the look of. We come back with examples and a quote, then we talk.