Bad Bunny. Literally, what can we say about this global superstar singer/producer/actor/good guy from Puerto Rico that you don’t already know? With more Grammys, Latin Grammys and Billboard Music Awards than he can shake a glittery stick at, Bad Bunny is one of those once-in-a-thousand-lifetimes artists that you’d sell your grandmother to see live. A Bad Bunny stadium tour is more than a celebration. Bad Bunny’s tour was designed to feel more like a cinematic experience than a traditional concert. At the centre of the production was a massive 135-foot-wide by 36-foot-high Black Widow AMT 3.9mm video wall, creating an expansive visual canvas that framed the entire performance like a feature film.
Rather than relying on traditional broadcast-style concert cameras, Bad Bunny chose to use cinematic 4K Sony cinema cameras paired with the Black Widow AMT 3.9mm, which is equipped with jet-black LED chips. This creative combination delivered deep contrast, vibrant imagery, and a far more intimate and emotional aesthetic. The result was live IMAG content with rich cinematic tones and fluid, film-like movement rarely seen in arena touring productions. The fusion of cinematic camera systems and the ultra-wide LED environment transformed the audience experience, making the show feel less like a conventional concert and more like a live documentary unfolding in real time.
Touring productions place unique demands on LED screen technology. With 57 shows in over 20 countries, the Debí Tirar Más Fotos tour logistics teams needed a centrepiece LED screen that was:
Fast, easy and safe to build and strike across multiple stadia – and, of course, no two stadia are alike.
Fast and easy to pack and unpack. Robust enough to withstand handling and travel by road, rail, sea or air, as well coping with thumping vibrations from pumping basslines or the crowds of dancing feet.
The visual team were looking for content flexibility without the need to change screens, such as the ability to show both high-detail and low-detail content on a massive screen without loss of clarity, as well as something that could respond to changing brightness levels without loss of colour vibrancy and saturation. It was the Production Video Group’s job to advise on and source the main stage LED screen, and the team had already seen the Black Widow AMT in action in previous shows. They knew that the Black Widow AMT was purpose-built for the rigours of touring and could be configured with solid panels for full-surface opaque visuals and mesh for something more transparent.
The team designed a high-impact centrepiece screen using 462 panels from the Black Widow AMT range, a product incorporating both 3.9mm solid panels and 7.8mm transparent mesh. The screen measured a whopping 42m wide by 11m high, giving a screen resolution of 10,752px by 2,816px, and, powered by Brompton LED processor and four Disguise GX 3+ media servers, it provided a new benchmark for generative graphics power: a mega canvas of both scale and precision. Visual content for the tour was produced specifically to this resolution, to make sure that every pixel earned its place. The Black Widow AMT was chosen also for:
Fast setup: Its lightweight carbon fibre frame is four times larger than standard, and - very important – safely climbable. This means the large-scale build the tour demanded could be set up in big chunks, fast. Vertical positioning columns and side hasp locks made sure it was easy and fast for the riggers to align the cabinets precisely. Bad Bunny’s main stage LED screen takes only six hours to build. Easy transport: Black Widow AMT uses a double-stacking cart system that’s purpose built to fit standard tour containers. And, to keep the accountants and sustainability officers happy, it delivers 30% more LEDs per standard tour truck and reduces weight by more than 5,000 kg, compared to similar tour setups.
Dynamic resolution allowed switches from pixel pitches of 7.8mm to 3.9mm, giving the content crew the ability to move from large-scale sweeping displays to sharp details without changing modules or mucking up the colour accuracy and contrast. Why use two screens when one does the job perfectly?
Black-faced LED modules ensured that interference from multiple light sources during the show wouldn’t affect the purity or strength of the main screen visuals. The mainstage LED screen is a focal point of the Debí Tirar Más Fotos World Tour and its quality visuals and flexibility contribute to a super memorable experience for the hundreds of thousands of people around the world enjoying the unforgettable Bad Bunny vibes. A tour such as Bad Bunny’s has thousands of moving parts and hundreds of people involved, so we’re pleased that the tough-and-tour-proof Black Widow AMT modules make it easier and faster for the hard-working tour crew to manage. We were proud to work with our brilliant partners Triton VT on this high-profile musical feast, and we’re looking forward to working with them again.
