U2 3D

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U2 3D
Directed by Catherine Owens
Mark Pellington
Produced by Jon Shapiro
Peter Shapiro
John Modell
Catherine Owens
Starring Bono
The Edge
Adam Clayton
Larry Mullen, Jr.
Music by U2
Brian Eno
Cinematography Peter Anderson (3-D)
Tom Krueger
Editing by Olivier Wicki
Studio 3ality Digital
Distributed by National Geographic Entertainment
Release date(s) January 23, 2008 (limited)
February 22, 2008 (wide)
Running time 85 min.
Country United States
Language English
Budget US$15,000,000[1]
Gross revenue $21,417,001[2]

U2 3D is a 2008 3-D concert film featuring Irish rock band U2 performing in Latin America during the Vertigo Tour in 2006. While the film is set in Buenos Aires, Argentina, material from nine different concerts shot in five different cities was used to create the 14-song concert experience. It is U2's second feature film, following the 1988 rockumentary Rattle and Hum. The film became the first ever live-action digital 3-D film, and holds many other "firsts" in the history of cinema.

The project was created to experiment with a new type of 3-D film technology, pioneered by 3ality Digital in 2003. After the film's preview screening at the 2007 Cannes Film Festival, it premiered at the 2008 Sundance Film Festival and later screened at over 600 theaters internationally following its wide release in February 2008. U2 3D peaked at number 19 and brought in US$20 million during the first 12 months. The band decided to make the film mainly as a technological experiment rather than as a means to make profit. The film was praised for its 3-D technology and innovation, won several awards, and received mostly positive reviews, with many critics stating that viewing the 3-D effects was actually better than going to a live concert.

Contents

[edit] Synopsis

U2 3D depicts a U2 concert in Buenos Aires during the band's Vertigo Tour. The film begins with a view of the back of the stage and a voice heard chanting "everyone", followed by fans running through the venue before the start of the show.[3] U2 begin the concert with the song "Vertigo", which is followed by ten more songs in the main set. Images are shown throughout the concert on the stage's LED display, and political statements are addressed during songs such as "Sunday Bloody Sunday" where the word "coexista" (English: "coexist") is displayed on screen featuring various religious symbols, and "Miss Sarajevo" where an excerpt from the Universal Declaration of Human Rights is read aloud by a narrator.[4] The main set ends with the song "One" after which the band leave the stage. The band later return to the stage for an encore, and perform "The Fly", which features a succession of words and phrases that appear on the stage's LED display and are superimposed into the film itself.[5] The band end the show with "With or Without You", and then leave the stage for the final time. As the closing credits begin to roll, a live performance of "Yahweh" is heard as animations from the stage's LED display are shown, and the band later reappear on stage in a post-credits scene performing the end of the song.[6]

[edit] Setlist

All titles written by U2, except "Miss Sarajevo" written by U2 and Brian Eno.

U2 3D Vertigo.ogv
The film's concert opens with U2 performing "Vertigo".
  1. "Vertigo"
  2. "Beautiful Day"
  3. "New Year's Day"
  4. "Sometimes You Can't Make It on Your Own"
  5. "Love and Peace or Else"
  6. "Sunday Bloody Sunday"
  7. "Bullet the Blue Sky"
  8. "Miss Sarajevo" / U.N. Declaration of Human Rights
  9. "Pride (In the Name of Love)"
  10. "Where the Streets Have No Name"
  11. "One"
Encore
  1. "The Fly"
  2. "With or Without You"
Closing credits
  1. "Yahweh"[7]

[edit] Band members

[edit] Production

[edit] Background

In 2003, 3-D film production company 3ality Digital released a new type of 3-D filming technology, created by film producer and 3ality co-founder Steve Schklair. The technology used motion control photography and real-time image processing to create a realistic 3-D experience without subjecting the viewer to excessive motion sickness or eye strain. It was intended to be used as an inexpensive and effective way to film live events like concerts and sports.[7] With the help of 3ality co-founders David and John Modell, former owners of the Baltimore Ravens American football team, the 3-D technology was initially tested by filming several American football games during the National Football League's (NFL) 2003 season, including Super Bowl XXXVIII. The company showed the footage to the NFL, hoping to create an NFL-based 3-D IMAX film.[8] 3ality executives Jon and Peter Shapiro had previously produced the 2-D IMAX concert film All Access in 2001, and proposed the idea of creating a 3-D concert film, while waiting to hear from the NFL.[9] While All Access featured performances of several artists, the 3ality team felt it would be best to create a 3-D film focused on one live act.[7] The Shapiros suggested U2 as a possible subject for the film since they and the rest of the 3ality team were fans of the band.[10] Schklair also felt U2 would be a good choice for the film due to their large concert setups and the constant movement of the band during live performances. Both would provide good depth of field for 3-D effects.[11]

Test footage for the film was recorded at one of U2's Vertigo Tour concerts in Anaheim, California.

John and David Modell had a previous relationship with U2. The Modells became interested in featuring LED display video technology at Ravens Stadium at Camden Yards in 1997. At the time, the first and only giant LED display in existence was being used by U2 on their PopMart Tour, so David Modell toured with the band on and off for a period of six months to learn about the technology. During that time, he befriended Catherine Owens, who served as the band's art director since their Zoo TV Tour in 1992.[12]

Peter Shapiro contacted Owens in December 2004 to propose the idea of filming U2 in 3-D. Owens was researching art content for the upcoming Vertigo Tour at the time, and thought the concept could be used to screen 3-D video as part of the band's concerts. Shapiro claimed that the technology had not been developed to that extent and simply wanted to document the tour itself in 3-D, but Owens declined the offer and was not interested in making a film of the band, with the fear that it would interfere with the tour.[13] Shapiro later returned to Owens with the 3-D footage of 3ality's NFL games, which gained Owens' interest into the film project. U2 frontman Bono also expressed interest in the project, and he convinced the other three members of the band to become involved.[14] Since U2 experimented with video technology in the past, the band was interested in the 3-D film project mainly as a technological experiment rather than as a means to make profit.[15] The band also wanted to create the film to share the live experience with fans who could not afford concert tickets.[16] After viewing test footage of the 3-D technology, Owens expressed an interest in directing the film despite having no previous filming experience.[15]

Pre-production for the film began officially in early 2004. Midway through the year, Bono agreed to let the crew film test footage, which was later accomplished using a single 3-D camera at one of U2's Vertigo Tour concerts in Anaheim, California in 2005.[9][17] U2 were not satisfied with their 1988 rockumentary feature film, Rattle and Hum, which featured backstage footage and interviews, therefore filmmakers decided that U2 3D have only concert footage.[18] The producers originally wanted to shoot the film in Los Angeles where all the filming equipment was located,[9] but after being unimpressed with the venue from the Anaheim footage, Owens and the rest of the band wanted to film with a more energetic audience.[19] Bono suggested shooting the film at the concerts in Latin America because he felt that the passion of the audiences in those countries would best resemble the passion of the audiences in the band's home of Ireland, especially after having not played in the region in eight years.[15][20] U2 toured Latin America on the fourth leg of the Vertigo Tour in February and March 2006, with eight shows in five cities, all of which would later be filmed for the movie, minus the first show in Monterrey, Mexico.[21]

[edit] Filming

Filming began with shooting two concerts in Mexico City (left), followed by an additional two shows in São Paulo (right). Filming began with shooting two concerts in Mexico City (left), followed by an additional two shows in São Paulo (right).
Filming began with shooting two concerts in Mexico City (left), followed by an additional two shows in São Paulo (right).

Principal photography began in February 2006; two shows were filmed in Mexico City to capture medium shots during a practice run for the crew to learn the choreography of the band's performances.[22] After practicing in Mexico, the crew captured addtional medium shots using two camera setups at the following two concerts in São Paulo, Brazil, and then captured overhead footage of drummer Larry Mullen, Jr. using a single camera setup at the next concert in Santiago, Chile.[7] While preparation was being made for the band's following two concerts in Buenos Aires, the film crew asked the band if they could perform a set with no audience to capture close-up footage that could not be captured at the concerts without interfering with the show. The band agreed and performed a 10-song set as the crew captured close-ups using a wide-angle lens, which Owens dubbed as the "phantom shoot".[23] During the following two nights in Buenos Aires, the concerts were filmed with all nine camera setups, capturing shots of the band from the B-stages.[20] The Buenos Aires shoot was the largest of the project, requiring a crew of 140 people.[7]

In March 2006, the Vertigo Tour concerts were postponed when the daughter of U2 lead guitarist The Edge became ill.[24] During the interim period, the footage from the seven filmed shows were edited together, and the crew realized that several elements of the film were still needed, such as shots of the stage's LED display and the concert audience. When the band resumed their tour on its fifth leg in November 2006, an additional two shows were filmed in Melbourne, Australia to capture the necessary footage, including close-up shots. At the time, the songs appearing in the final cut of the film had already been selected, therefore only specific songs were filmed, as opposed to the entire concerts.[25]

Filmed concerts[21][26]
# Date Country City Venue
1 February 15, 2006  Mexico Mexico City Estadio Azteca
2 February 16, 2006
3 February 20, 2006  Brazil São Paulo Estádio do Morumbi
4 February 21, 2006
5 February 26, 2006  Chile Santiago Estadio Nacional de Chile
6 March 1, 2006  Argentina Buenos Aires River Plate Stadium
7 March 2, 2006
8 November 18, 2006  Australia Melbourne Telstra Dome
9 November 19, 2006

The film's production featured the first ever 3-D multiple-camera setup, and was shot using every digital 3-D camera and recording deck in existence at the time.[9][27] The crew had only two days to set up the filming equipment before each concert, which required running fiber optic cables and hooking up an electrical generator to supply power at each venue. The digital 3-D filming equipment consisted of nine custom-built Fusion stereo camera rigs designed by camera operator Vincent Pace and film director James Cameron.[28] Each of the nine camera rigs included two Sony CineAlta HDC-F950 cameras fitted with Zeiss digital zoom lenses, making U2 3D the first 3-D film ever shot using a zoom lens.[22] The cameras captured high-definition video with a 4:4:4 RGB color model onto HDCAM-SR recording decks.[7] The two cameras on each rig were spaced eye-distance apart and acted as a pair of eyes to help create a 3-D effect in post-production.[22] Using a beam splitter mounted to the camera rig, one camera shot through a 50/50 mirror, while the other camera shot off of the image reflected from the mirror.[25] A total of 18 cameras and nine camera setups were used in filming, with each camera rig weighing an average 200–300 lb (90–136 kg).[22] To keep the weight of the camera rigs as low as possible, only the front of the cameras were mounted in the mirrors, with the back of cameras mounted onto the dolly, both of which were joined by cables.[25] All of the concert footage was shot used the twin-camera setups, except for the final two shoots in Melbourne. Two camera setups were used in Melbourne, including a twin-camera setup that was used at the previous shows, and a single CineAlta camera with a steadicam, used to capture close-ups of the band.[25]

The film's setup also included the first spydercam that used the Fusion camera rigs.[29] Five crew members were required to work on each rig at a time to ensure that the focus on both cameras on each setup were synchronized at all times.[15] When a camera was destroyed by water at one of the concerts, the crew waterproofed the remaining cameras.[22] When filming began, Owens's film directing experience was limited to the music video for U2's "Original of the Species", which had been released in 2005. Since Owens had little film directing experience, the live shoots were directed by Mark Pellington, who previously directed a video for U2's song "One". Owens was in charge of all the remaining aspects of the film, including the film's creative direction and the editing during post-production.[30]

The concerts were filmed in a style which Owens described as "very unorthodox"; no storyboards or shooting scripts were used to capture unstaged footage of the band's performances.[30] Instead of the crew directing the band in how to perform, the band performed each of their concerts as usual, with the filming crew capturing footage in real-time for the full 2½-hour concerts.[11][15] The shoots were planned so that the filming would not interfere with the band's performance or the audience's view. To avoid capturing footage of other camera rigs, the crew switched off each night filming either left-to-right or right-to-left, or film entirely from the back of the stage.[22] Since several different shows would be edited together to create one performance, the band was required to wear the same clothes each night to help with continuity editing in the final cut of the film.[20] Lighting for the shoots involved the same lighting used at all the regular concerts, except for the use of additional spotlights focused on the audience, and dimmer lighting on the stage's LED display.[14][31] The audio for U2's performances was recorded using microphones placed on the main stage, and around the two B-stages, where the band would perform during several songs. To record the audience, additional microphones were placed in various locations depending on the type of venue in which the band was performing. Originally, 96 different audio channels were used for recording the band's music. The added audience microphones increased the total to 110 channels.[32]

[edit] Editing

Post-production on the film took two years to complete, and began in February 2006, before principal photography was completed.[10] Editor Olivier Wicki was chosen to work on the post-production of the film, after previously collaborating with director Catherine Owens on U2's "Original of the Species" music video. Wicki worked closely with director Catherine Owens during the post-production process, developing ideas for each track before editing the footage.[17] Over 100 hours of footage was filmed featuring performances of 26 different songs.[33] To appeal to a mainstream audience, Owens sought to have only 14–15 songs out of 26 appear in the final cut, most being U2's most popular songs.[34] Ultimately, 14 songs were selected for the final cut, including one song during the film's closing credits. The 14 songs included 12 of the band's singles, as well as two non-singles from How to Dismantle an Atomic Bomb, the studio album supporting the Vertigo Tour. When selecting songs for the film, the crew had to ensure that the performances of each track fit in with one another. For example, the band wanted their performances of "Mysterious Ways" and "Until the End of the World" to be included, but the songs were left out since Owens and the band felt that those songs were out of place with the rest of the film.[33] Although "City of Blinding Lights was the opening song for all nine filmed concerts,[21][26] as well as most of the concerts throughout the tour,[35] "Vertigo" was selected to be the film's opening song. Other songs that were performed at most of the filmed concerts that did not make the final cut include "Elevation", "I Still Haven't Found What I'm Looking For", "Original of the Species", and "Zoo Station".[21][36] "With or Without You" was chosen as the last song before the closing credits, although none of the filmed concerts ended with its performance, and it was only used to close one unfilmed concert in the tour.[35]

Several frames of footage were layered on top of one another to enhance the 3-D effects throughout the film.

After the songs were selected, the footage was edited in 2-D using Avid systems, over a period of eight months in New York City.[37][38] Video post-production continued in Burbank, California at 3ality Digital's 20,000 square foot (1900 square meter) 3-D production facility, which opened prior to the completion of the filming. Wicki worked with 3ality Digital to create the film's 3-D and computer-generated effects.[38] Footage from the nine filmed concerts, most of which was taken from the concerts in Buenos Aires, were edited together along with the footage from the "phantom shoot". Although the Mexico City shoots were considered to be practice runs for the crew, footage from those shoots were also included in the film, such as the scene where Bono reaches out to the camera during "Sunday Bloody Sunday".[9]

Creating the 3-D effect involved taking the edited 2-D footage for the right eye, and matching it up with footage for the left eye.[39] Editing the Melbourne footage that used only a single camera involved a separate process to create 3-D effects, known as "virtual second eye perspective".[25] The film was edited on BOXX workstations running Windows XP, and converted footage from 2-D to 3-D using several software programs, including Assimilate Scratch, Iridas SpeedGrade, Shake, Nuke and Adobe After Effects. The primary editing software, 3action, was created by developers at 3ality during the same time the film was being shot, and allowed the post-production team to change convergence points in each shot, as well as create multiple convergence points.[30][40] Using dual DVI ports, a timeline was created on the computer with left-eye footage on one layer, and right-eye footage on another layer. The two layers were edited together with color grading added, then it was output in a 3-D stereoscopic format for review.[28]

The band had developed a style of editing in their previous concert films that involved fast cutting between shots, which Owens wanted to retain in the film.[18] Because fast cutting in 3-D would lead to motion sickness or eye strain, the film was edited into a manner that incorporated dissolves of at least four frames between shots.[12][22] Many of the transitions in the film were created by layering several frames of footage on top of one another into composite images. Each of the layered frames featured a different depth of field to enhance the 3-D effects, and up to five images were layered together in a single shot, making it also the first 3-D film to feature layered composite images. Software did not exist at the time to layer the 3-D images, so new software had to be developed, and U2 3D became first 3-D film to feature layers.[18] Because the film was captured in high-definition video, each frame used nearly 20 megabytes of data on 3ality's servers, and the entire film used almost a petabyte (1015 bytes).[1] The 3-D editing process took longer than Owens expected, causing the film to go over budget.[30] The entire video editing process took 17 months, and the final film was cut to a length of 85 minutes—seven minutes shorter than the originally announced run time of 92 minutes.[15]

Audio editor Carl Glanville worked on the film's soundtrack, mixing the audio into a 5.1 surround sound mix with recordist Robbie Adams in New York City. Video footage was compiled into files by Wicki, which were then given to Glanville to compile the soundtrack for the film.[17] Glanville and Adams said the audio editing was difficult mainly because the selection of video footage was limited since footage from only one to two cameras angles were captured at most of the shows.[32] In addition, the lyrics and music from the song performances each night differed slightly, and film's edited video footage featured 10- to 20-second-long shots, as opposed to the shorter shots usually found in concert films. All audio and video footage used in the film was recorded live by the band in concert, and no overdubbing was used in post-production.[1] Editing began with Adams constructing playlists of the recordings using Pro Tools software, while Glanville worked on the audio mixing. The video footage was compiled onto QuickTime and Open Media Framework files, which Glanville used to edit synchronize footage together. To avoid lip sync and instrumental sync issues, the editors had to use the exact audio that was recorded during each shot. Mixing the vocals required Glanville to layer the audio recorded from the stage microphones with the audience microphones and to add a short delay in between the two to compensate for any echos or delays that occurred in the venue. Extended gaps were added between songs to slightly slow down the pace of the film, and the sound from the subwoofer channel was mixed inside two IMAX theaters in Los Angeles to ensure the volume of low-end frequencies were consistent with the rest of the film's soundtrack.[41]

[edit] Distribution

[edit] Screenings and releases

U2 performed a brief set at the 2007 Cannes Film Festival, prior to the film's initial screening.

U2 committed themselves to preserving the film's 3-D format and decided to only release the film in digital 3-D, making it the first film to have been shot, produced, and screened exclusively in 3-D.[42] To help promote the digital 3-D film format, the film was first screened at the 2007 Cannes Film Festival on May 19, 2007.[43] U2 3D was one of nine films to be screened out-of-competition at the 2007 festival,[44] and was the first live-action 3-D film ever to be shown at Cannes.[45] Prior to the screening, U2 performed "Vertigo" and "Where the Streets Have No Name" in a brief, two-song set on the steps of the Palais des Festivals et des Congrès.[46] After the band's performance, the film was screened at midnight inside the Palais des Festivals, on a silver screen installed by RealD Cinema. At the time, the 3-D post-production process was not fully completed, so a shortened, 55-minute version of the film was screened,[42] featuring nine of the final film's 14 songs: "Vertigo", "Beautiful Day", "Sometimes You Can't Make It on Your Own", "Love and Peace or Else", "Sunday Bloody Sunday", "Bullet the Blue Sky", "Miss Sarajevo", "The Fly", and "With or Without You".[47] The completed film premiered the following year at the 2008 Sundance Film Festival in the Ellen Eccles Theatre on January 19, 2008.[38] Approximately 1,200 people attended the premiere, and they gave the film a standing ovation.[48]

After the world premiere, the film's limited release was on January 23, 2008, where it was screened in 61 IMAX theaters in the United States and Canada.[2] Upon the release of the film, U2 3D became the band's second feature film, following 1988's Rattle and Hum,[49] and the third concert film release from the Vertigo Tour, following the direct-to-video concerts films from Chicago[50] and Milan.[51] The wide release was originally scheduled for February 15, 2008, but the date was pushed back one week when Walt Disney Pictures decided to extend its release of the 3-D concert film Hannah Montana & Miley Cyrus: Best of Both Worlds Concert, which was initially supposed to be in theaters for only one week.[52][53] On February 22, 2008, the film was released in over 600 theaters internationally.[2] Several months after the wide release, the film was screened at the SIGGRAPH 2008 conference, where Catherine Owens was chosen as one of the conference's featured speakers.[54] U2 3D was released in additional international territories and was also re-screened select theaters in March 2009 where it was shown previously to conside with the release of U2's new studio album, No Line on the Horizon.[55]

The film was released only to theaters equipped with IMAX 3D or digital 3-D cinema technology, such as RealD Cinema,[32] both of which used different types of polarized glasses that needed to be worn to view the film properly.[56] The IMAX 3D version of the film required glasses with one lens polarized horizontally and one polarized vertically, while the digital 3-D version required glasses with two circularly polarized lenses.[17] Producer John Modell described the IMAX version of the film as a "more immersive experience", while the digital 3-D version features more vivid colors.[1] Director Catherine Owens said that 3ality Digital plans to release the film to a 3-D home video format in the future, such as DVD or Blu-ray Disc, where the viewers would still wear 3-D glasses to watch the film.[15] However, U2 control the ancillary rights to the film along with their record label, Universal Music Group, and have stated that additional rights, such as for a home video release, will not be optioned until home video technology can meet the same digital 3-D standards as cinema.[42]

[edit] Marketing

In March 2007, a trailer for the film was released and screened in 3-D theaters before showings of Meet the Robinsons, the only other 3-D film released in theaters in early 2007.[57] The trailer featured clips from "Vertigo" and "The Fly", and was edited by creative director John Leamy, who also served as creative director for U2's "Original of the Species" music video. Leamy also designed the logo and title sequence for U2 3D, as well as the film poster, which won the award for best poster art at the Giant Screen Cinema Association's annual international conference in 2008.[27][58]

The film's logo was designed by creative director John Leamy.

The film was originally scheduled to be released in the third quarter of 2007,[27] but its release was delayed when a distributor could not be found. In October 2007, the National Geographic Society announced the creation of National Geographic Entertainment, a new unit within the society featuring various entertainment divisions.[59] Following the announcement of the new unit, National Geographic announced that U2 3D would be the first film released through the new division, National Geographic Cinema Ventures, and would be released in January 2008.[60] John M. Fahey, Jr., CEO of the National Geographic Society, stated that U2 3D was chosen as the division's first release because they felt that U2 are "a band of the world" and "world music is something the Geographic as an institution is really interested in."[61] National Geographic chose electronics retailer Best Buy as the film's sponsor in the United States, and select members of Best Buy's Reward Zone loyalty program were offered free passes to screenings of the film before its wide release.[62]

National Geographic advertised the film by creating several U2 3D websites, which each featured information about the film, theater showtimes, and a web widget for users to post on social networking websites.[63] In January 2008, an official blog for the film called U2 3D Live was created and featured news and other updates about the film.[64] National Geographic also uploaded a preview of the film on YouTube featuring 2-D clips from "Vertigo", "New Year's Day", and "Where the Streets Have No Name".[65] The film was also promoted through television advertisements,[66] including one on a JumboTron in Times Square,[67] and as a sponsor on NASCAR's #19 Best Buy Dodge stock car, driven by Elliott Sadler.[68]

[edit] Box office performance

U2 3D began its limited release in January 2008 in 61 theaters in the United States. The film grossed US$964,315 during its opening weekend, averaging over $15,000 at each theater and ranking at number 20 in the box office. The film was widely released on February 22, 2008, screening in 686 theaters and ranking number 19 in the U.S. box office that weekend. The first week of the film's wide release was the the highest-grossing week of its theatrical run, grossing $1,026,121, averaging $1,500 per theater.[2] Three weeks into its wide release, U2 3D was playing in less than 100 theaters internationally. At the time, the film had only grossed $6.6 million, while Disney's Hannah Montana & Miley Cyrus 3-D concert film, still playing in many theaters since its February 1 release, had brought in over $60 million.[52] Prior to its Japan premiere in February 2009, one year after the film's wide release, U2 3D was still being screened internationally and had grossed $20 million in box office revenue.[69] The film's distributors stated that there is no limit to the length of the film's run, and the overall length will be determined by box office sales. Because of this, the film was expected to be shown in theaters for several years, with the possibility of returning to theaters in which it was previously shown, as it did in March 2009.[17][55][70]

While the film's overall box office gross was considered low when compared with mainstream cinema,[71] U2 3D was successful for its genre and set several box office records. Adjusting for ticket price inflation, U2 3D is the 12th highest grossing concert film of all time, two spots below U2's 1988 rockumentary, Rattle and Hum.[72] The film also became the highest grossing documentary to be eligible for an Oscar nomination at the 81st Academy Awards.[73][74] It also set a record in Ireland after having the highest screen average of any film playing during its opening weekend, and took in almost €90,000 after playing in eight theaters during its first three days.[75]

[edit] Reaction

[edit] Critical reception

Rotten Tomatoes reported that 92% of critics gave the film positive write-ups based upon a sample of 87 with an average score of 7.5/10. The site's consensus was that the U2 3D was "an exhilarating musical experience at the price of a movie ticket".[76] At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the film received an average score of 83 based on 19 reviews, considered to be "universal acclaim" by the website.[77] The film began receiving positive reviews following its 56-minute premiere at the 2007 Cannes Film Festival, when the final 85-minute cut of the film was still months away from completion.[43][78] Critics from various publications, including the Irish Independent,[79] News & Review,[80] The New Zealand Herald,[81] Toronto Star,[78] and USA Today[82] felt that the film's 3-D experience created an environment that felt more real than being at an actual U2 concert by stating that it was "even better than the real thing", a reference to U2's song of the same name. Reviews by The Capital Times,[83] Rolling Stone,[84] and Total Film[85] stated the film seemed appealing to both fans and non-fans of U2 alike, just as the filmmakers had originally intended. U2 3D was praised by both Examiner.com and Variety for its straightforward concert footage, compared to the interviews and behind-the-scenes footage included in U2's previous film, Rattle and Hum.[43][86] The New York Times designated the film as a "Critics' Pick" and stated that in the review that U2 3D was "the first IMAX movie that deserves to be called a work of art".[87] The film also appeared on many critics' lists of the top ten films released in 2008 including such publications as The Austin Chronicle,[88] Culpeper Star-Exponent,[89] OhmyNews,[90] Seattle Post-Intelligencer,[91] The Sydney Morning Herald,[92] and River Cities' Reader.[93] Bono himself was pleased with the outcome of the film and said that his favorite sequence was the performance of "Miss Sarajevo". When interviewed about the PopMart Tour in 2009, Bono said that the PopMart: Live from Mexico City video is the best project the band had ever done from an audio and visual perspective, and is "Eclipsed only by U2 3D".[94] The Edge stated that he was pleased with the fact that film did not show any of his negative emotions from personal issues he was dealing with during the concerts that were captured for the film.[15][16]

Despite the many positive reviews, several critics were not satisfied with the film. The A.V. Club graded the film with a B− and stated that the band's performance was less thrilling than the film's 3-D effects.[95] Music critic Joel Selvin wrote in the San Francisco Chronicle that seeing the band on the big screen was "more distracting than illuminating",[96] and Time Out London criticized Bono's political statements in the film, stating he "should refrain from ramming his preachy political meanderings down our throats and let the music do the talking".[97] The Daily Telegraph favored Rattle and Hum over this film, and called the band's performance "unexciting", criticizing how "the cameras, not the band, are doing all the work".[98] The Guardian, which gave a rating of one out of five stars, claimed that U2 appeared to be "four conceited billionaires who are further up themselves than ever".[99]

[edit] Recognition and legacy

The film was positively recognized after its release, earning several awards. During the year of the film's release, it earned three awards, including "Best Film Produced Non-Exclusively for the Giant Screen" at the Giant Screen Cinema Association's 2008 Achievement Awards,[100] "Best Musical Film" at Los Premios MTV Latinoamérica 2008, and the Pioneer Award for Film & Television at the 2008 3D Film and Interactive Film Festival.[101] In February 2009, one year after the film's release, U2 3D received an award for "Outstanding Visual Effects in a Special Venue Project" from the Visual Effects Society (VES) at the 7th Annual VES Awards.[102]

“ A paradigm shift we talk about a lot is going from silent to talkies, or from black-and-white to color. We think this is a key change with regards to both digital delivery and also 3D. We all see in 3D in real life and every technological advancement in film has always been about bringing you closer and immersing you into the story or the emotion of what you’re watching.[103] ”
 – John Modell, producer and 3ality Digital co-founder

The month before the film's premiere, the extensive use of technology during production was featured as the cover story in the December 2007 issue of the high-definition video magazine HDVideoPro.[19] The film's usage of evolutionary technology also provoked Catherine Owens to be chosen as one of the featured guest speakers at the SIGGRAPH 2008 conference, which took place several months after the film's initial release.[104] After receiving positive reception from fans, critics, and the film industry, several of the filmmakers stated that they felt U2 3D helped create a paradigm shift in the history of cinema, due to the technological advancements used in the film's production.[60][105] In addition, U2 3D created many "firsts" in the history of cinema both during and after its production, including:

Following the success of U2 3D, 3ality Digital continued to pioneer additional 3-D projects. After previously experimenting with filming live American football games in 3-D, which eventually lead to the creation of U2 3D, 3ality successfully broadcast the first live 3-D National Football League (NFL) game in December 2008. In 2009, 3ality aired the first live 3-D sports broadcast available to consumers, as well as the first 3-D television advertisement, and the first 3-D episode of a scripted television program.[106]

[edit] References

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