The Walt Disney Company is launching a new premium large-screen cinema format called Infinity Vision to compete with IMAX [1].

This move follows a scheduling conflict where Disney lost IMAX screen allocations for the upcoming film "Avengers: Doomsday" to the competing release of "Dune: Part Three" [1, 3]. By developing its own proprietary format, Disney aims to reduce its reliance on third-party exhibition giants and secure guaranteed premium screens for its tentpole releases.

Infinity Vision is slated to debut this September with a re-release of "Avengers: Endgame" [2]. The company plans to roll out the format in theaters worldwide in time for the release of "Avengers: Doomsday" in December 2026 [2, 4].

The box-office clash between the two franchises is currently set for Dec. 18, 2026 [2]. Because "Dune: Part Three" was filmed specifically for IMAX, it has secured the priority slots that Disney typically occupies during the holiday season [1, 3].

To compensate for the loss of IMAX screens, Disney is partnering with various cinema chains to integrate Infinity Vision into their auditoriums [4]. The strategy is designed to diversify Disney's presence in the premium exhibition market and ensure that its films maintain a high-visual-impact experience regardless of IMAX availability [1, 3].

While IMAX remains a dominant force in the industry, Disney's shift toward a house-branded format suggests a broader trend of studios seeking more control over how their films are presented. The rollout will coincide with other premium formats, such as Dolby and 4DX, to maximize the reach of the "Avengers" franchise [3].

“Disney is launching a new premium large-screen cinema format called Infinity Vision to compete with IMAX.”

The creation of Infinity Vision signals a strategic shift in the power dynamic between major studios and cinema technology providers. By bypassing IMAX, Disney is attempting to eliminate the risk of 'screen lockouts' caused by competing studio schedules. This move could encourage other studios to develop their own proprietary formats, potentially fragmenting the premium cinema market but granting studios more autonomy over their distribution and theatrical windows.