What is DMX?

DMX Corp. in collaboration with Super Vista Corp., the company that introduced the amazing Super Dimension-70™ 48-frame 70mm five perforation format, has developed a 48-frame HFR digital cinema technology process that elevates the movie going experience to a level never before thought possible. Digital 2-D images with such images with such depth and clarity, the audience feels as though they are in the movie without the need for special glasses. DMX does not display the undesirable “soap opera” look that has been associated with other unsuccessful 48-frame techniques. This proprietary patented technology incorporates methods in production, DI post-production and exhibition, with backward compatibility to all current digital and film distribution platforms, including home entertainment.

The process known as DMX™, is a 2K and 4K DCI compliant 48-frame technology that creates a dimensional look without any hardware alterations. Existing multiplex digital cinema installations including the in-place theater screens do not have to be changed, making it “ready to go” for the thousands of large screen theaters now equipped for 2K digital exhibition. In addition, the DMX™ format offers a significant incentive for a greater number of Digital 2K projector theater installations in the foreseeable future. When using the company’s proprietary HFR software loaded into the digital projector and server, the image on the screen is startling. It replicates the value-added difference in movie entertainment comparable to what 70mm had achieved over conventional 35mm when introduced in the late 50’s thru the 80’s. Conventional 24-frame 35mm prints can be made for theaters not yet equipped for digital projection.

Digital cameras such as the Sony F-65, Arriflex Alexa are well suited for DMX 48-fps photography. 35mm motion picture cameras modified for a 2-perforation pull down, manufactured by Panavision and Arriflex can be used for DMX with the advantage of eliminating added film cost and processing when operating at 48-fps. CGI effects can be used with stunning results as well as the integration of large format photography for maximum visual definition. Existing studio film assets can also be repurposed for DMX™ exhibition. This will provide “renewed life” for older film titles creating a new revenue stream for both the studios and exhibitors. Home entertainment formats such as DVD, HD DVD and Blu-ray all benefit in the DMX™ process and have a value added look. The DMX™ digital Super Cinema™ brand will be the new name in movie entertainment, recognized for the immersive “only in movie theaters” experience.

Here is what Jim Cameron says about the value of 48-frame production and exhibition…

“I would vastly prefer to see 2K/48 frames per second as a new display standard, than 4K/24 frames per second. This would mean shooting movies at 48 fps, which the digital cameras can easily accommodate. Film cameras can run that fast, but stock costs would go up. However, that could be offset by shooting 3-perf, or even 2-perf, because you’d get the resolution back through the higher display rate. The 48 fps negative or digital master can be skip-printed to generate a 24 fps 35mm DI negative for making release prints, so 48 is the magic number because it remains compatible with the film-based platform which will still be with us for some time, especially internationally. 30 and 60 fps are out for that reason. Anyway the benefit of 30 is not great enough to be worth the effort, especially when 48 is so easy to achieve. SMPTE tests done about 15 years ago showed that above 48 frames the returns diminish dramatically, and 60 fps is overkill. So 48 is the magic number.” 

Interview: Cameron talks 48 FPS from Mike Danger Kingsley Vanata on Vimeo.

Currently, comprehensive demonstrations of the digital DMX™ technology and large format SDS-70 are being shown at Egyptian Theatre in Hollywood on its huge 55-foot wide screen.


  • Stunning unbelievable dimensionality, resolution and realism – dramatically enhancing and surpassing typical 2K or 4K data and 70mm wide screen film presentation.
  • Near 3-D Quality in its application – without eyewear – cost effective alternative to a 3-D release.
  • Void Of The “Soap Opera Look” – the plague and major criticism of HFR digital cinema releases to date, DMX™ controls just how much HFR enhancement is desired.
  • New Revenue Stream for existing films– can apply the DMX™ repurposing process to new and old content.
  • Flexibility – Apply the DMX™ process to both film (35mm & 65/70) and data (2K & HD) originated sources. Able to mix formats within same project while retaining the DMX™ effect.
  • Cost Efficiency – DMX™ technology for 35mm film production will not increase the amount of film stock required to achieve DMX’s dimensionality and resolution. 3-D double camera rigs are unnecessary – uses single camera.
  • Efficient Post – DI for DMX™ is far less costly and time consuming compared to a typical 3-D feature – estimated average DI time for DMX™ feature: 2-3weeks.
  • Theater Investment is Minimal – uses standard white screen, any 3-D enabled server, any 2K or 4K projector; no polarizers, RF emitters, or eyewear required. DMX™ looks best on large 50-80 ft. wide screens.
  • Value Added Entertainment- additional box office income for a DMX™ presentation could be charged, much like 3-D or Imax ®.
  • Bring Audiences Back into the Theater – currently DMX™ is available only for digital cinema venues.