This is what AEG could sell, shown without sound: a stage on the L.A. LIVE plaza for the partner, and the partner’s mark on the band above the theater’s doors and on the mast screen for the event window. Every step is on this page, from the photograph the concept started with to the components AEG could sell. It is a proposed concept, not an approved activation, and SEGA was not involved.
The concept starts from a photograph of the front of the Peacock Theater at L.A. LIVE, taken in February 2026. It gives the layout: the glass facade, the theater’s name, the band above the doors, the mast with its screen, the trees and the queue at the doors. The show advertised on the band and on the tower screen that night is not part of the concept. In a pilot, this step starts from AEG’s own photography instead.
Photograph from Wikimedia Commons, February 2026, released to the public domain (CC0).
The same front of the theater at the same hour. SEGA, which public sources identify as an official partner of L.A. LIVE, is on the band above the doors and on the mast’s screen, and a play stage with two game screens stands on the plaza in front of the trees, with the partner’s mark once on its front. The theater’s name stays lit, and the tower screen is shown plain.
The thirty-second film, and four frames from it. A boy and his mother come along the plaza toward the doors, and he stops at the stage. He steps up to the stage’s play panel for one round. His win shows on the stage screens, and the crowd around the stage sees it. They walk to the doors under the band with the partner’s mark on it. The film has sound; the frames tell the story without it.
RitualAds makes the visuals that help sell this inventory. The inventory, its packaging and its approvals are AEG’s. Point at a component to see where it sits.
Point at a component.
Your team reviews the concept and tells us what to change. We revise the work and keep earlier versions available for comparison. As an example, a creative director might say: Fewer marks. Keep the partner on the stage and the mast, give the band above the doors back to the show, and let the theater’s name lead.
The second version answers that note: the band above the doors carries the theater’s own show listing again, the partner stays on the mast and the stage, and nothing else in the frame moves. The first version stays beside it.
Drag the handle to compare. More versions of this frame, with other partners, other notes, other events and the frame in motion, are in the demo.
Open the demo →Ten steps, from the photograph to what the salesperson gets. Nothing to wait for.
Made from the activation above, for the partner conversation. These are the materials; the inventory they show is AEG’s.
A proposed activation at L.A. LIVEthe stills, the film and the walkthrough, on one linkPick a property and a category. The board shows a partner that public sources identify there, or that AEG’s confirmation is required. Public information cannot establish that a category is open, or that a broad category is exclusive, so the board makes no claim about availability. It is filled from press releases and the venues’ own sites as of September 2026, and your partnerships team’s own board replaces it.
Amber cells have a publicly identified partner. Dim cells need AEG’s confirmation. Press a cell or a chip.
The venues. The plaza starts from a photograph of the front of the theater taken in February 2026. The arena bowl starts from an older published photograph and approximates the building. The concourse and the club are illustrative interiors. All of them are visualizations, not surveys or digital twins. In a pilot, AEG’s own photography and drawings become the starting point, and any installation still goes through AEG’s approval.
The marks. Partner marks come from the partners’ published artwork and are placed only where signage would go: the boards, the ice, the ribbon boards, the scoreboard, the wall, the plaza screens. Each mark is checked at full size before the work is shown.
Every frame. Each film is stepped through frame by frame before anyone else sees it. A frame with a problem is remade rather than patched.
Hands and objects. Every moment a person handles something, a cup, a controller, the glass, is checked at four frames a second.
Every spoken line. Spoken lines are transcribed from the finished film and checked against the script, word for word.
The crowd. Crowds are shown from behind or as texture. The faces you see belong to the one or two characters each story needs.