Spider-Man: Brand New Day is the first ‘Shot For ScreenX’ production.
CJ 4DPLEX
ScreenX is built around a simple idea: why settle for one screen when you can have three? In addition to the main projector, it adds two more, to project additional images onto side-wall screens for a wraparound 270° view of the action.
The idea of a super-wide image isn’t new. In the 1950s Cinerama used three separate 35mm cameras to capture wide images, and then three synchronized projectors to present the resulting images on huge, curved screens. It was a complicated, expensive process, and only seven feature films were shot using this process, so naturally it didn’t last long.
Digital projection makes this concept much easier to execute. Yet while ScreenX has been around for several years, it remains an interesting but niche part of the premium larger format mix. With The Odyssey dominating IMAX screens, the question became how to create another premium theatrical draw for Spider-Man: Brand New Day.
The answer was to take a leaf out of the IMAX playbook to come up with “Shot For ScreenX.” This means that unlike all previous ScreenX releases, CJ 4DPLEX, the company behind ScreenX (and 4DX), has representatives on set with the filmmakers, helping them to integrate ScreenX into the production process from day one. The company currently operates 490 ScreenX screens across 52 countries, 48 of those screens are Ultra4DX, which combine 4DX and ScreenX into one—something I wouldn’t mind trying one day.
Expanding the Canvas
Curious to learn more about what it did for Spider-Man: Brand New Day, I asked CJ 4DPLEX questions to learn more.
I was told that to achieve the ultra-wide footage, the production crew used a dual-camera setup, with a dedicated wide-format camera mounted directly above the primary production camera. This secondary camera simultaneously gathered environmental imagery and reference material for the expansive side walls.
The final ScreenX experience incorporates imagery captured during production alongside visual effects created specifically for the expanded canvas, depending on the creative needs of each sequence. While previous ScreenX releases relied heavily on CGI for the side-wall extensions, now much of the material captured is practical, with CGI used to augment this.
The Art of Peripheral Focus
One of the primary challenges of a 270-degree projection is ensuring the peripheral imagery enhances the experience without distracting from the central narrative. I was told that the duration and scope of these expanded sequences are dictated entirely by the creative needs of the film and are carefully selected to maximize impact.
The goal is not simply to bombard the viewer with additional information, but to naturally guide the eye toward the primary action. During post-production, any side-wall content that draws unnecessary attention, such as bright light sources, overly complex action, or out-of-focus characters are adjusted or completely removed. By strategically utilizing controlled blur and reduced contrast on the peripheral walls, the filmmakers aimed to create a comfortable, deeply immersive environment that preserves the director’s intended focal point.
Standard audio
While the images are expanded, currently that’s not the case for the audio, which uses the film’s standard theatrical mix. CJ 4DPLEX said it requires a minimum of 7.1 surround sound for its auditoriums, and while it said that Dolby Atmos is its preferred audio solution, no UK ScreenX theaters offer this. The company says it’s actively exploring future opportunities to create bespoke audio enhancements that further complement the panoramic format.
Next-Generation Theatrical Hardware
Not every ScreenX theater is the same, but every new ScreenX installation now uses laser 4K cinema projectors for both the center screen and the side walls, in 25,000, 35,000, or 45,000-lumen configurations, depending on the auditorium’s size. This ensures the side-wall projection matches the visual performance of the main screen, delivering native 4K resolution, DCI-P3 color reproduction, and uniform brightness across all three surfaces.
To ensure the three distinct projection planes operate as a continuous, unbroken image, the system uses the SX-100 Show Control System, an advanced software platform developed by the same engineering minds behind large-scale immersive venues, such as the Las Vegas Sphere.
The Future of the Format
So, will we be seeing more ‘Shot For ScreenX’ productions? According to CJ 4DPLEX, Spider-Man: Brand New Day is just the beginning. It says it is actively working with more filmmakers and studios to adopt this native approach. That’s good news, as up to now, ScreenX results have mostly been underwhelming— I’ve only really been impressed with it for the movie Gran Turismo, where the side walls really enhanced the racing sequences. But if “Shot for ScreenX” brings more resources and filmmaker involvement to the format from the outset of production, it could address many of the limitations that have held ScreenX back and make the premium experience more compelling for moviegoers.
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