Cross Shinjuku Vision Tokyo

Cross Shinjuku Vision is the curved rooftop digital screen best known for the giant Shinjuku 3D cat. It faces the East Exit plaza of Shinjuku Station at 3-23-18 Shinjuku, placing advertisers above one of Japan's busiest retail, entertainment and transport environments. The screen is a prominent Tokyo digital-out-of-home landmark, but it is not Shinjuku Alta Vision, YUNIKA VISION, a station media network or a Kabukicho building display. Cross Shinjuku Vision occupies the upper portion of the low-rise Cross Shinjuku Building, immediately across from the East Exit plaza. Its curved shape and the plaza's viewing position create the controlled sightline required for naked-eye anamorphic 3D content. The screen sits where commuters, shoppers and visitors pause at crossings and move between Shinjuku Station, Shinjuku 3-chome and Kabukicho. The resident cat has also made it a destination that people deliberately watch and film.

Cross Shinjuku Vision Tokyo sits at Cross Shinjuku Building, 3-23-18 Shinjuku, Shinjuku-ku, Tokyo 160-0022, Japan, Asia-Pacific. The map opens tilted so you can read the surrounding building massing and approach sightlines; switch the lighting to night to see the environment as the screens are actually seen.

The display is on the Cross Shinjuku Building at the northern side of the Shinjuku Station East Exit plaza. From the open plaza, viewers look toward the curved screen above the crossing and low-rise building line. This is the intended hero viewpoint for its anamorphic content: the visual perspective is designed to resolve from the station side rather than appearing equally three-dimensional from every street angle. The location connects several Shinjuku audiences. Lumine Est is integrated with the station, Shinjuku 3-chome extends east, and Kabukicho begins to the north. Seibu-Shinjuku Station is a short walk beyond, while shops, restaurants, cinemas, gaming venues and nightlife keep the district active beyond commuter hours. Tokyo's official tourism guide describes the east side as a gateway to shopping, dining and entertainment. See GO TOKYO's Shinjuku guide. The position combines rapid pedestrian flow with moments of dwell as people wait for signals, meet in the plaza and record the cat or an anamorphic campaign.

Cross Shinjuku Vision is a curved LED face rather than a conventional flat rectangle. Its full display measures 18.96 metres wide by 8.16 metres high, covering 154.7 square metres. The published full-screen delivery canvas is 3,160 × 1,360 pixels at 29.97 fps. Standard 16:9 content can also be presented at 1,920 × 1,080 pixels, using the central 14.5-metre-wide area with side treatments or black areas depending on the approved layout. The display can carry conventional full-motion video, static compositions and anamorphic 3D. The 3D effect is not a hologram and the screen does not physically project objects into the street. It uses forced perspective: the virtual room, frame and objects are rendered for a selected viewing point so the curved surface appears to contain real depth. Omnibus Japan, which created the original cat content, explains that the room geometry and elements crossing its virtual frame cause the viewer's brain to perceive depth when the display is seen from the East Exit plaza. See Omnibus Japan's production explanation. Audio is supported during most of the operating day. The official specification states that broadcasts run from 07:00 until 25:00, with no sound after 24:00 and a 17-hour broadcast guarantee. Advertisers should therefore design creative that remains understandable without sound, even when audio is included.

The resident calico cat, commonly called the Shinjuku 3D cat or Shinjuku East Exit Cat, is the screen's signature editorial property. It first attracted international attention around the screen's July 2021 launch and remains part of the display's identity. Yunika's current sales material says the cat appears randomly and in a recurring “Cat Channel” at 00, 15, 30 and 45 minutes past each hour. The cat content tells the time and helps retain attention between advertising segments. This does not mean every advertiser owns an entire 15-minute interval; standard campaigns buy defined spots within the wider programmed schedule. Brands may commission a collaboration with the cat, subject to approval and character rules. The sales sheet identifies Omnibus Japan as the production partner for these collaborations and publishes separate creative-production and character-use fees. A cat collaboration is therefore a custom production product, not an automatic feature of ordinary media space.

Shinjuku Station provides exceptional environmental scale. Guinness World Records currently lists it as the world's busiest railway station, including subway operations, with average daily passenger throughput of 2,704,703 in 2022. That total covers multiple operators and the broader station complex; it is not a Cross Shinjuku Vision impression count. See the Guinness World Records entry. The Cross Shinjuku Vision sales sheet separately reports surrounding pedestrian circulation of 190,000 on weekdays and 230,000 on holidays/weekends. It does not publish enough methodology in the sheet to treat those numbers as verified ad views, unique reach or guaranteed impressions. They are best used as contextual circulation estimates. The operator has also introduced screen-level audience analytics. A Cross Space case study reported 185,092 viewable-adjusted impressions and 134,377 people reached for one seven-day campaign in December 2023, based on a 15-second spot running four times per hour. The system combined image analysis, Wi-Fi signals and location attributes and reported against viewable-audience methodology. This is useful evidence that campaign-level reporting may be available, but it is one historical campaign example rather than a forecast for every booking. Audience delivery will vary by schedule, season, weather, creative and pedestrian conditions. See the Cross Space measurement release. Advertisers should ask the operator what measurement is included with the proposed package, which metrics are forecast versus observed, and how viewability, reach and repeat exposure are defined.

The official April 2025 sales sheet publishes the following standard spot rates, excluding Japanese consumption tax and additional scheduling/handling costs: The corresponding daily play counts are published as 34, 68 and 136, based on the guaranteed schedule. The sheet also shows event/live-broadcast buyouts and a lower-priced seven-day entertainment-content plan for eligible categories. Separate fees can apply for scheduling, multiple assets, live feeds, security and specialist production. These figures are a useful guide to the Cross Shinjuku Vision cost, not a live quotation. An ordinary 2D spot and an original Tokyo anamorphic 3D billboard execution have very different total budgets. A complete estimate should include media, Japanese tax, technical adaptation, 3D production, sound, rights clearance, local-language work, operator review, proof-of-play or audience reporting, and any filming or event activation.

Cross Space is named as the operating company on the official website, with operations commissioned to Yunika. Yunika's name also appears on the current sales sheet, making the official Cross Space/Yunika contact route the appropriate starting point for a direct booking. Use the official enquiry form, email info@shinjuku.xspace.tokyo, or call 03-5292-3637 during the published weekday reception hours of 10:00–18:00 JST. International buyers should provide: The published rules require advertiser and material approval. The current sales sheet asks for final material seven days before launch, while its technical page also references five days for material delivery; because those statements differ, buyers should obtain a written deadline for the booked dates. Early approval is particularly important for regulated categories, custom 3D work, character use and campaigns containing third-party intellectual property.

• proposed campaign dates and flexibility;
• required spot length and plays per hour;
• whether the execution is standard 2D, full-canvas or anamorphic 3D;
• advertiser, product category and landing-page details for approval;
• need for audio, live content, cat collaboration or filming;
• required audience reporting and proof of play;
• creative-production responsibility and delivery timetable.

The strongest 3D concepts use the building corner and virtual frame as part of the idea. The intended plaza viewpoint should guide every perspective decision; a render that resolves from an unrealistic position wastes the location's main advantage. For standard video, use the full 3,160 × 1,360 canvas when the concept and budget allow. If supplying 16:9 material, plan the side areas intentionally rather than treating them as an afterthought. The operator publishes layouts combining 1,920 × 1,080 video with side graphics, as well as a centred 16:9 option. Keep branding, product cues and the main message visible early. Pedestrians may join a spot halfway through, and the dense streetscape competes for attention. Japanese-language copy should be professionally localized and kept concise. Design for silent comprehension, even if the campaign uses the screen's speakers. The technical sheet lists MP4 or MOV files up to 500 MB, 29.97 fps, a maximum 10 Mbps bit rate and 48 kHz/16-bit audio. Creative teams must still request the latest delivery template before final rendering.

The operator's sales material documents 3D work for Pokémon GO, Dragon Ball Z Dokkan Battle, Dragon Quest, Monster Hunter Rise: Sunbreak, Maserati MC20, NURO Hikari, Lenovo Yoga and Sanrio's Pompompurin. It also shows cat collaborations for Nissan, QVC Japan, ZARD and iRobot. More recently, Cross Space announced four 15-second 3D executions for the Blue Elephant flagship store occupying the building below the screen. See the Blue Elephant announcement. The inventory is especially credible for entertainment, games, anime, consumer electronics, fashion, mobility and destination campaigns. It can also suit a global brand launch where earned media and social capture are planned as part of the campaign. It is less compelling when the creative is copy-heavy, depends on fine detail or is bought only for raw station-volume claims without a clear East Exit audience strategy.

Cross Shinjuku Vision must be planned as its own asset. YUNIKA VISION is farther north near Seibu-Shinjuku Station. Rail operators control the screens inside Shinjuku Station. Tokyu Kabukicho Tower has separate exterior inventory. These products have different operators, sightlines and audience moments. Shinjuku Alta Vision, formerly beside Cross Shinjuku Vision across the East Exit plaza, ended operation in February 2025. A separate Cross Shinjuku Vision 2 and associated building were announced for a nearby site with the intention of coordinated creative. The first-party announcement described a planned 2026 opening, but no current first-party opening confirmation was found during this guide's August 2026 review. Buyers should not assume that the new screen is available or included in a Cross Shinjuku Vision proposal unless Yunika confirms it in writing. See the development announcement.

Cross Shinjuku Vision is one of Tokyo's most recognizable standalone digital spectaculars. It offers a large curved canvas, a defined hero viewpoint, strong entertainment and retail context, audio during most operating hours and the possibility of measurable campaign delivery. Its cat programming has trained audiences to look up, wait and record. The trade-off is that effective use requires discipline. Anamorphic production adds cost and lead time, the 3D illusion is angle-dependent, standard spots share a programmed rotation, and station passenger totals cannot be presented as screen impressions. Advertisers that match the creative to the plaza viewpoint and negotiate reporting directly with the operator are best placed to turn the landmark into more than a novelty placement.

1. proposed campaign dates and flexibility;
2. required spot length and plays per hour;
3. whether the execution is standard 2D, full-canvas or anamorphic 3D;
4. advertiser, product category and landing-page details for approval;
5. need for audio, live content, cat collaboration or filming;
6. required audience reporting and proof of play;
7. creative-production responsibility and delivery timetable.