The field guide · Landmarks
Get to know the screens, streets and landmarks that shape outdoor advertising. Explore audiences, creative possibilities and how each location is bought.
Directory
Filter by region, country or advertising environment, or search a site by name, alias or nearby landmark.
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West Hollywood, United States
A practical advertiser guide to Sunset Strip billboards in West Hollywood, including current digital spectaculars, operators, formats, audience context, costs, regulations, and direct buying routes.
Roadside Corridors
Verified Aug 10, 2026
Read guideEnvironments
The environment decides the approval chain, the lead time and whether the site can be bought alone at all. Pick one to filter the directory.
A recognisable district where several owners sell competing screens. Coverage of the district means a plan across sellers, not one booking.
Show all 11A single named screen or façade, usually one owner and one approval chain. The clearest thing to buy and the hardest to buy cheaply.
Show all 5Terminal and estate inventory sold as passenger journeys. Longer approvals, stricter creative rules, and a dwell-time audience nothing on the street matches.
Show all 3Pedestrian scramble and square environments where the audience stops and looks up. High photo and social spill, tight sightline rules.
Show all 2Nightlife and venue environments that peak in the evening, where the buy is timed to events rather than to weeks.
Show this guideShopping streets and mall façades bought close to the point of purchase, where footfall peaks are the plan rather than the average.
Show this guideHighway and arterial sites bought for reach on a commute. Vehicle speed sets the copy length before anything else does.
Show this guideWhat this covers
An iconic billboard location is a named advertising site that is known by the site itself rather than by the media owner who sells it: Times Square, Piccadilly Lights, Shibuya Crossing. Buying one is not the same as buying a panel from a rate card. Each site has its own inventory structure, its own owner or set of owners, its own approval process, and its own minimum commitment, and those four things - not the postcode - decide what a campaign there actually costs and how long it takes to book.
The exact position, the sightlines that matter, and the surrounding streets or terminals that determine who sees it.
Published footfall or passenger figures with the source named, plus the audience profile the location is bought for.
Screen count, dimensions, resolution and format type - and whether the site is one screen or a circuit sold together.
The owner or seller, whether it is sold direct or programmatically, and the published route to a quote where one exists.
Specifications, animation and 3D capability, and the approval requirements that reject artwork after it is made.
Lead times, seasonal demand, planning restrictions and the commitments a first-time buyer does not see coming.
Full index
All 24 guides in 4 regions.
FAQ
7 questions
A site is treated as iconic here when it is bought by name. Advertisers ask for Times Square, Piccadilly Lights or Shibuya Crossing specifically, rather than asking for digital inventory in that city, because the location itself carries meaning that the impressions alone do not. In practice that means the site has a recognisable identity, published audience figures, and a buying route distinct from the general market inventory around it.
Sometimes. Landmark screens with one owner - a single named façade or tower screen - can usually be bought on their own. Multi-owner districts often cannot: the recognisable view is made of screens belonging to competing sellers, so buying the district means buying from several of them, and buying one screen means accepting that the photograph everyone recognises includes inventory you did not book. Each guide states which case applies.
There is no single rate. Cost at these sites is driven by the share of the loop you hold, the length of the flight, the season, whether the creative is standard or a bespoke 3D build, and whether the site is sold direct or programmatically. Billboard Guide does not quote other operators' inventory; each guide explains the pricing structure and names the seller who can confirm a current rate.
Longer than most buyers expect. Premium digital sites in peak periods are frequently committed months ahead, and airport media adds an operator approval stage on top of the booking itself. Bespoke or anamorphic 3D creative adds production and testing time again. Where a guide has a published lead time from the seller it is stated in that guide; where it does not, the guide says so rather than estimating.
A landmark screen is one asset with one owner, one specification and one approval chain. A multi-owner district is a place - a crossing, a strip, a retail street - where the visual effect comes from many screens under separate ownership. The distinction changes the whole buy: a landmark screen is a booking, a district is a media plan.
No. These are editorial guides. Where an operator publishes its own media sales contact, the guide links to it directly so the enquiry goes to the seller. Where no public route exists, a brief sent through Billboard Guide is routed to a planning partner who can confirm availability and pricing - the confirmation always comes from whoever owns the inventory.
Each guide carries its own verification date and cites the sources behind its figures, so a screen specification or passenger count can be traced to where it was published. Inventory at these sites changes - screens are rebuilt, sellers change, circuits are re-packaged - so the verification date matters more than the publication date.
Campaign planning
Send the sites you are considering, your dates and a budget band. The brief is routed to a planning partner who can confirm availability, current pricing and whether the site can be bought on its own.
