Heads up! Ceiling projection technology brings exciting potential to CGV's ScreenX.

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Heads up! Ceiling projection technology brings exciting potential to CGV's ScreenX.

Published: 19 Mar. 2025, 18:24 Updated: 19 Mar. 2025, 19:29

KIM JI-YE
[email protected]

Audio report: written by reporters, read by AI

The inside of the new four-screen ScreenX theater in CGV Yongsan in central Seoul [CGV]

[Review]

Just when audiences thought they had grown accustomed to the shuddering seats and simulated weather effects of 4-D theaters, a new frontier in immersive cinema emerged.

Earlier this year, CGV introduced an upgraded version of its ScreenX theater, expanding from three screens — one at the front and two on the sides — to a four-screen setup that includes an overhead screen. Currently available only at CGV Yongsan in central Seoul, the system promises to enhance immersion by fully enveloping the audience in a film’s visual landscape.

But does the overhead screen truly elevate the viewing experience? At times, yes. But the technology still has some distance to go.

Stepping into the four-screen theater is an experience in itself. Unlike a conventional cinema, where the screen is a single focus point, here the multiple screens dominate the entire space. Even before the movie begins, the walls and ceiling are illuminated, ensuring that viewers are constantly aware of their presence. The sheer scale raises expectations, creating the impression that something monumental is about to unfold.

Early this month, this reporter sat at H13, located in the second-to-last row at the center of the theater — arguably the best vantage point in a space where sight lines are crucial. The film was the occult animated film “Exorcism Chronicles: The Beginning” — the first film to be released specifically designed for the theater.

The inside of the four-screen ScreenX at CGV Yongsan in central Seoul [KIM JI-YE]

Based on the 1994 hit novel of the same name, the film follows Father Park, a doctor-turned-excommunicated priest who performs an exorcism to help his friend, a monk from a secretive, magic-wielding temple, protect a child from a corrupt evil master.

A ticket for the four-screen experience is considerably more expensive than a standard theater ticket, priced at 21,000 won ($14) on weekdays and 22,000 won on weekends — a notable increase from the 15,000 to 16,000 won range for standard screenings.

Four screens, for what?

The screen is undoubtedly the most crucial element of a theater. While the four-screen initiative is praiseworthy, it still faces its own set of issues.

During one of the movie’s most climactic scenes, the antagonist, a corrupted master, transforms into a towering, god-like entity. As his elongated form stretches across the overhead screen, it reinforces his overwhelming presence, making it feel as if he is bearing down upon the audience. In moments like these, the technology truly shines.

A still from occult animated film “Exorcism Chronicles: The Beginning” [SHOWBOX]

Similarly, the format excels when the camera is in motion. During sequences where the perspective swoops along pathways or open landscapes, the overhead screen projects the sky, amplifying the sensation of actually moving through the scene. It was a convincing illusion, creating a sense of being physically present in the cinematic world.

Yet for all its immersive strengths, the four-screen setup comes with noticeable flaws.

The four-screen setup occasionally detracts from the experience and, at times, interrupts the flow of the film due to technical issues.

One of the most distracting issues is the misalignment of the screens. The edges where the projections meet contain small but visible gaps, causing a disjointed effect when an image spans multiple screens. While this might go unnoticed by casual viewers, more discerning audiences will likely find it distracting — particularly during fast-moving action sequences, where the visual flow is frequently interrupted.

Another issue is resolution. While the main front screen boasts high-definition clarity, the side and ceiling screens are noticeably dimmer and lower in resolution. This discrepancy, which was flagged at the theater’s press conference, is due to a technological limitation: the side and ceiling projectors operate at only half the brightness and resolution of the main screen.

Initially, this imbalance seems minor. But as the film progresses, it becomes increasingly apparent. In scenes meant to be visually expansive, the duller side and ceiling projections detract from the illusion rather than enhance it. This raises a fundamental question: if three of the four screens cannot match the main screen’s quality, are they truly adding to the experience, or are they merely a distraction?

Center-back seat, a must

Despite these technical shortcomings, other aspects of the theater were impressive. The Dolby Atmos sound system, featuring 54 speakers embedded behind the screens, was a standout feature. The directional audio — from the whispered dialogue to the thunderous fight sequences — was precise and immersive, with subtle vibrations that made the action feel palpable.

Recliner seats, featuring mini table trays, at the four-screen ScreenX at CGV Yongsan in central Seoul [KIM JI-YE]

Seating also played a crucial role in the experience. Reclining sofas, complete with personal tray tables, allowed audiences to comfortably take in the full scope of the four-screen projection. However, seat selection is more critical than ever in this format.

A quick glance around the theater revealed that the center-back rows were nearly full, while side-column seats were left mostly vacant. The reason became clear once the film began: viewers sitting too far to the left or right risked distorted perspectives, making it difficult to fully appreciate the format’s intended effect.

So, for now, the four-screen setup is definitely worth keeping an eye on, as its state-of-the-art technology offers an immersive experience that truly shines in certain scenes.

However, for those who value personal space and seek seamless immersion throughout the entire film experience, the four-screen technology still has some refining to do. So, it might be worth waiting a little longer until further improvements are made.

BY KIM JI-YE [[email protected]]