After months of renovation, the Type-Moon Cinema welcomed its first batch of new visitors today.
If it were just a standard screen being retrofitted for glasses-free 3D, it wouldn't have been such a hassle. If the local ley lines were of high quality, the adjustments could be completed in a week, with multiple screens being upgraded at the same time.
The real issue, however, was with the expensive IMAX screen.
Given its massive size, retrofitting it was far more challenging than building a new one from scratch.
Fortunately, this type of renovation is a one-time deal, and unless the screen gets damaged, there won't be any need for rework.
For the next few months, the cinema will be hosting free screenings of clips from Super 8 as part of an exhibition.
Experiencing the effects of a 3D movie firsthand is always the best way—saying it's amazing doesn't compare to having someone experience it themselves.
As Shinji's base of operations, the IMAX theater in Fuyuki City was the first to offer free screenings of Super 8 clips.
This promotion will later extend to most IMAX theaters across Japan, and even to other parts of Asia and the world.
Shinji hopes that by allowing movie fans to experience the allure of glasses-free 3D + motion + full-frame IMAX, they will develop a habit of watching films in IMAX.
The IMAX theater in Fuyuki City is a standard large hall, but despite the significance of this first commemorative screening, it seemed a bit too empty with just Shinji and his group present.
So, Shinji invited some reporters and filmmakers to join.
Even a few American filmmakers who were shooting in Fuyuki City were invited to observe.
However, despite the invitations, there were still many empty seats in the vast IMAX theater.
That's also why Shinji invited Udagawa Nao, thinking it wouldn't hurt to have more friends attending since there were seats to spare.
As for the remaining empty seats, Shinji decided to let the theater randomly invite audience members to experience it for themselves.
"Hey, Shinji! You finally brought people along, huh?"
As Shinji walked into the theater, Touko Aozaki, who had been waiting for a while, greeted him with a wave.
"Thanks for your help this time, Senpai. I'll be counting on you again in the future," Shinji replied with a smile, shaking her hand.
"Well, I've learned a lot from this technology, so it's all good," Touko said with a carefree smile.
"Senpai, what do you think of our technology?" Shinji asked.
Touko shrugged, "The key will be the cost of filming and screening. And you'll need to get as many films as possible to use this technology."
Having researched 3D technology over this period, Touko had done her homework and understood why the more scientific 3D technology had not yet become widespread.
Shinji nodded. "Yeah, it's not just up to me to make the effort from here on out."
The 3D movie market is vast, and no matter how prolific Shinji is, he alone can't satisfy the entire market. Other 3D film projects would have to come online soon. Shinji already had a few candidates in mind; it was just a matter of finding the right directors and teams.
"Looks like this technology is quite something," said Udagawa Nao, quietly whispering to Kariya Matou at the back of the group.
Kariya proudly raised his head. "Of course! Honestly, even I was surprised."
Shinji hadn't publicly revealed the use of glasses-free 3D yet. Other than the film crew, only a few people from Johnny's who had been involved in the negotiations knew about it. But both the V6 and SMAP groups were seasoned entertainers, and their members knew what should and shouldn't be said.
As for the Kitagawa siblings, while they were dismissive of the so-called glasses-free 3D technology, they weren't the type to gossip either.
Thus, even Udagawa's company, Bandai, had no idea what Shinji had done with Super 8.
They had only received an order to make commemorative transformation devices for the film's theatrical release.
From Kariya's words, Udagawa Nao sensed great confidence.
Initially, she had come to this screening more as a favor to Shinji, but now she was genuinely interested in this new technology.
"Well, I'll be looking forward to it," Udagawa said with a slight smile as she followed the group into the screening hall.
Under the guidance of the staff, the guests and audience members gradually made their way into the hall.
The room, laid out in a fan-shaped configuration, had a massive screen at the front, so large that some audience members had to crane their necks just to see the top of it.
As Udagawa and the others sat down, they overheard a few reporters whispering behind them.
"They called us to the IMAX theater just to show off the IMAX equipment, didn't they? I heard Matou Shinji's new film was shot with IMAX cameras."
"If that's the case, we'd be better off at a science museum. There aren't many documentaries shot with IMAX cameras, but there are still a few."
"Yeah, this kind of gimmick has no real substance."
"Well, he is the current box office champion. Even if he were just blowing smoke, we'd still have to come over to see what it's about."
Hearing the reporters' snide comments, Tohsaka Tokiomi, who had also been invited, turned to whisper to Kotomine Risei: "Do you think Shinji is reliable? He better not mess this up."
"Just wait and see," Risei replied.
When it came to movies, Kotomine Risei had always trusted Shinji. The young man had never disappointed him.
As the lights dimmed in the theater, images began to appear on the massive screen.
Since the film wasn't fully completed, this screening consisted of three clips, totaling around 20 minutes.
In reality, Shinji had partially organized this screening to test the technology, so he selected clips that were highly representative.
The first clip featured Mebius fighting the deep-sea monster Gubira, designed to showcase the full visual and auditory impact of glasses-free 3D and motion.
The second clip showed the apocalyptic setting of Yokohama, created using a green screen and CGI.
During filming, magical paint was applied to the green screen, and after the shoot, CGI was used to create the scene's details.
The paint was used to enhance the 3D effect. Shinji chose this scene to test the integration of CGI with 3D and ensure there were no visual errors.
The final clip was a dogfight between the Heisei Ultra Brothers and the Five Emperor Beasts. The reason for choosing this scene was simple: it contained many moving shots, making it the best material to test how the audience reacted to 3D motion sickness.
While it would be impossible to avoid all cases of motion sickness, Shinji aimed to ensure that at least 99% of the audience could enjoy the 3D experience without issue.
Based on the feedback from this screening, Shinji would make adjustments to ensure the technology was perfect by the time it hit the market.
The audience, unaware that they were essentially guinea pigs, was amazed by the scenes displayed on the IMAX screen.
Tokiomi stared at the screen, his brow furrowing unconsciously.
He could tell there was something different about the images compared to other films he had seen, though he couldn't quite put his finger on what it was.
"This is what makes IMAX cameras so impressive," one of the reporters behind him explained confidently. "Even though Fate/Zero was shown in IMAX, it wasn't shot with IMAX cameras, so the effect wasn't as good. But this time, it's different. Since they shot it with IMAX cameras, the clarity is unmatched—it's almost like looking at something with the naked eye."
"Though, it's not really a new technology. It's been around since the 1960s..."
Before the reporter could finish his explanation, he fell silent—because the scene on the screen had everyone's full attention.
"This building collapse looks so real! It feels like it's coming straight at us!"
From the very first scene, where Gubira the sea monster destroys the city, the audience was utterly stunned.
The reporters and filmmakers present had all seen Shinji's blockbuster effects, as well as other films utilizing cutting-edge technology. Many had even seen 3D movies and IMAX documentaries. But none of them had ever experienced a level of visual realism this intense.
The combination of the IMAX screen's massive resolution, the glasses-free 3D depth, and the immersive vibrations gave many in the audience the sensation of actually being in Yokohama, face-to-face with a giant monster.
"Whoa! The building's falling!"
"This is a real monster!"
"No way!"
Several audience members screamed and leaped out of their seats, trying to run toward the theater doors.
Perhaps because they weren't wearing 3D glasses, or perhaps because even when they moved their bodies, the 3D effect remained intact, the viewers seemed to forget they were sitting in a theater watching a film.
Those standing and panicking were reminiscent of the audience members in 1895, watching Arrival of a Train at La Ciotat and running in fear as the train seemed to come straight at them. This connection across time made Shinji smile with satisfaction.
Although only a few people actually ran, most of the audience instinctively moved in their seats to dodge the debris from the collapsing buildings on the screen.
"This... this is the new technology? It's incredible!" Udagawa Nao, who had initially been only mildly interested, was now fully captivated by this tokusatsu film.
While most of the audience was filled with excitement and wonder, the reporter who had been explaining things earlier was now far less composed.
"This is absolutely not the traditional color-difference 3D technology used around the world today. There's no use of glasses! How is this possible?"
As someone knowledgeable in 3D technology, the reporter's astonishment was even greater.
But he was about to be even more shocked.
If the scene of Gubira destroying the city demonstrated the potential of new technology to present what could already be achieved with older methods, then Ultraman Mebius's battle that followed shattered the limits of what anyone had thought was possible.
Everyone in the theater saw it—Ultraman Mebius, while stepping back, actually had one foot break through the screen!
This scene, where a character seemingly burst through the screen, breaking the barrier between dimensions, gave the audience a profound sense of just how close they were to the action on screen.
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