★Carried & Installed

Just Video Walls · Kansas City.

IntegrateIT carries and installs Just Video Walls across the Kansas City metro — the dvLED line we reach for when the picture has to be larger than any television and bright enough to hold up in a room with daylight. One precision first, because the trade is sloppy about this word: Just Video Walls is a line we carry and install under distribution, not one we hold our own dealer agreement on, so we do not call ourselves an authorized Just Video Walls dealer. What we are is the people who size the wall from the seats, verify the structure, build the video path and calibrate the result after the room is finished — which is where a wall is either extraordinary or merely large. Phone: (913) 804-7575 or office@integrateit.tech.

What dvLED actually is, in plain words

Direct-view LED — dvLED — means the little red, green and blue emitters you are looking at are the picture. There is no backlight shining through a liquid-crystal layer the way there is in a television, so there is nothing to leak light into a black scene and nothing to set a maximum panel size. The picture arrives as cabinets that tile together, and the finished wall is as big and as wide as you tiled it. That one fact is where every other difference comes from, and six of them decide whether the project goes well.

Pixel pitch is the seating chart, not a spec. Pitch is the spacing between LEDs, measured in millimetres. It sets the closest anyone can sit before the image resolves as dots rather than as a picture, and it drives cost per square foot more than anything else. Measure the seats, pick the pitch they need, stop there.
Brightness is why the wall exists. A dvLED wall stays readable in a great room with west windows at four in the afternoon, which is exactly where a projector gives up. In a genuinely dark dedicated theater a projector is still the better buy, and we will say so.
Serviceability is a tile, not a truck. A failed cabinet is swapped without touching the rest of the wall. Front-serviceable designs pull from the room side; rear-serviceable designs cost less and need a corridor behind the wall. Choose once — the wall is built around the answer.
Power and heat are real and continuous. The wall wants its own circuits, sized with the electrician for inrush rather than for average draw, and it puts heat into the room all evening. In a closed basement that is a load on the mechanical system and a conversation to have at design, when it is cheap.
Mounting depth is decided before drywall. The load is continuous across the whole wall rather than hanging off two brackets, and the tiles butt edge to edge with no bezel to hide a bow, so we almost always build an adjustable frame on verified structure and shim it flat rather than trusting the wall. That frame is also where the service depth comes from.
The video path is a separate system. A wall does not have a smart-TV app behind it. Sources live in a rack somewhere else and reach the wall over structured cable or over the network, through a processor that maps the picture across the cabinets. Get that right and swapping a streamer never involves touching the wall.

What we carry and install from Just Video Walls

The brand runs two routes to the same result — a custom line and a pre-engineered one — and which one a room takes is a question about the architecture rather than about ambition. We specify and install to order; nothing here sits on a shelf waiting.

Autograph. The fully custom MicroLED line, designed around the architecture rather than fitted into it — the route for a great room or a theater where the wall is part of the drawing set. It goes in on our video wall scope, which is where the structure, flatness and service-access decisions live.
Absolute Black. A MicroLED performance tier inside Autograph, built around a darker surface so black scenes hold up in a room that is not fully dark. It is the option worth discussing on a theater or media-room wall rather than on a lobby.
Lunar Walls. The brand’s pre-engineered range, sold through integrators rather than direct — the shorter, more predictable path when a catalog size fits the wall you have.
Lunar Phase. Fixed cabinet arrays in standard aspect ratios — 16:9, Cinemascope and ultrawide 32:9 — in two performance tiers, Phase 3840 and Phase 7680. This is the one that suits most living rooms, media rooms, boardrooms and dedicated theaters, and it is the usual answer on a commercial AV project where the room is a conference or training space.
Lunar Custom. The same platform sized to the room when no catalog array fits — wider aspect ratios for an executive floor or a lobby feature wall, with adjustable mounting and spare cabinets specified as part of the wall. Where the brief is many screens rather than one canvas, that is digital signage and a different discipline.

How the wall gets designed in

The order is always the same, and it starts further back than people expect. We measure the room and the seating, because the closest regular seat sets the pitch and the ceiling frequently sets the size. We verify what is behind the drywall and add blocking or a steel subframe where the framing will not carry a continuous load — in the older houses in Mission Hills, Brookside and pre-war Prairie Village, plaster over lath is never flat enough to butt cabinets against, so the frame is the design rather than an upgrade. We coordinate the circuits with the electrician and the heat with whoever owns the mechanical system. Only then does anything get ordered.

The video path is the other half. Sources live in a rack in conditioned space and reach the wall over structured cable or over a dedicated network — we carry and install AVPro Edge and Blustream for exactly that, and the distribution design decides what the wall can show. Control runs through Control4 or Crestron so one press takes the room to a state instead of waking four devices in order. Calibration is last: uniformity across the array, then colour and brightness set against the lighting the room actually has, after the paint is dry and the seating is in.

Where it sits beside the alternatives we also carry

Against a projector. In a genuinely dark, treated, dedicated theater, a JVC projector on a Stewart Filmscreen surface is still the reference answer and the more picture for the money. A wall wins where the light does.
Against a single large display. A Sony or Loewe television is simpler, needs no special structure and arrives in one piece. Its limit is size — past the largest panel a manufacturer makes there is nowhere to go, and that is the question a wall answers.
Against a folding MicroLED television. C SEED solves a different problem: a large MicroLED picture that folds away when the room is a room again. A fixed wall is the answer when the picture is meant to be seen.
Against a commercial LED platform. Media Resources is the line we reach for on lobbies, transit-style and commercial installs where the wall is a fixture of the building rather than of a room.

Common questions

Who installs Just Video Walls in Kansas City?

IntegrateIT (Overland Park, KS) carries and installs Just Video Walls across the Kansas City metro — we size the wall from the seats, engineer the structure behind it, build the video path that feeds it and calibrate it once the room is finished. To be precise about the relationship, because the trade is sloppy about this word: Just Video Walls is a line we carry and install under distribution, not one we hold our own dealer agreement on, so we do not call ourselves an authorized Just Video Walls dealer. The brands we do hold dealer agreements on are listed on our site and include Control4, Crestron, Lutron HomeWorks and Kaleidescape. Control4 Platinum Dealer, Crestron Elite Partner, Lutron Certified Installer and CEDIA member. Phone: (913) 804-7575 or office@integrateit.tech.

What is dvLED, and how is it different from a TV?

A dvLED wall is a picture built out of tiles rather than delivered as one sealed panel. Direct-view LED means the red, green and blue emitters you are looking at are the picture itself — there is no backlight behind a liquid-crystal layer, which is why the wall can be any size and shape the tiles tile into and why it stays readable in a bright room. The practical differences from a television are four. It has no bezel, so the tiles butt edge to edge and the wall behind them has to be flat. It has no fixed size, so the aspect ratio is a design decision rather than a purchase. It is serviceable a tile at a time instead of replaceable in one piece. And it is a construction scope: structure, power, heat and service access get decided before anything is ordered.

Which Just Video Walls product is right for my room?

It comes down to whether a catalog size fits your wall. Lunar Phase is the pre-engineered route — fixed cabinet arrays in standard aspect ratios, which is the shorter and more predictable path when the room can take one of the sizes offered. Lunar Custom is the same platform sized to the room when the architecture will not accept a catalog size, and Autograph is the fully custom line for houses where the wall is being designed as part of the architecture rather than fitted into it. We measure the room and the seating first, because the seats set the pixel pitch and the ceiling frequently sets the size, and then the product choice mostly answers itself.

What pixel pitch do I need, and why does it drive the price?

Pixel pitch is the spacing between the LEDs on a tile, and it sets how close anyone can sit before the image stops resolving as a picture and starts resolving as points of light. Finer pitch means more LEDs across the same square foot, which is why it moves cost per square foot more than anything else on the specification. The method that saves money is unglamorous: measure where people will actually sit once the room is finished — the closest regular seat, not the one somebody perches on twice a year — and choose the pitch that suits it and no finer. On a great room whose sofas sit well back, the money saved by not over-specifying pitch does more good in the processing, the calibration and the frame behind the tiles.

What happens when one tile fails, and how do you service it?

You replace that tile, which is the real advantage of the format over a single large display, and it is why the service plan is part of the design rather than an afterthought. Two decisions are permanent. The first is access: front-serviceable tiles can be pulled from the room side, which is what you want when the wall is built against structure; rear-serviceable designs cost less but need a service corridor behind the wall, which a wall tight against a foundation cannot have. The second is spares: LED tiles vary slightly between production runs, so spare cabinets are bought with the wall and stored with the system. A tile sourced three years later can read as a visible patch even when the part number matches.

Can a dvLED wall go in a Kansas City basement?

Most of the residential walls we are asked about here do, because that is where the metro puts its big rooms, and three constraints are worth knowing before the tape measure comes out. Ceiling height is usually the real size limit once the soffits, the duct chase and the beam have had their say. Access is the second — crated cabinets have to physically reach the room, and a tight basement stair with a turn at the bottom rules out sizes a walkout door would have accepted. And the wall puts real heat into a closed lower level continuously, which is a conversation with the mechanical contractor at design rather than a portable air conditioner in year two. We walk the room before anything is specified.

The wall is sized from the seats. Let’s go stand in the room.

Walk your plans with us (913) 804-7575

Or read about how we design and install a video wall · the commercial rooms a wall usually lands in · many screens instead of one canvas · the distribution that feeds it

Written by Daniel Alon, founder of IntegrateIT LLC, with twenty years in IT and AV integration — Control4 Platinum Dealer, Crestron Elite Partner, Lutron Certified Installer, CEDIA member. Overland Park, KS.