U2 Events: U2 3D Movie Release

Behind The Curtain: An Exclusive Look at How U2 3D Comes To Life
by Tassoula E. Kokkoris

It may be simple to imagine the work that goes into directing, performing and editing a movie, but what's not so easy to picture is what happens once the completed film arrives at the theater.

Thanks to the kind members of the projection staff at the Pacific Science Center in Seattle, we now have a better idea. What follows is documentation of their two-day journey building U2 3D.

Photo by Phil Roewe, courtesy of Pacific Science Center

(above) The film arrives in two separate parts: a traditional CD, which holds the sound, and multiple film reels, which contain the visual footage. At showtime, if these two components aren't synchronized perfectly, the screening will be ruined. The film arrives in pieces because it is less expensive to construct the movie on-site at the theaters than it is risking damage in transport and mailing an object of its completed size.

Photo by Phil Roewe, courtesy of Pacific Science Center

(above) Each film reel is labeled with information that corresponds to an assembly packet provided to the team. On those sheets are scene headings, thumbnail photos and brief descriptions of transitions for the builders to follow -- similar to storyboards, but not nearly as detailed. One that I saw when I was there simply said "Bono right stage" -- as if that narrows it down!

Photo by Phil Roewe, courtesy of Pacific Science Center

(above) Once the reels are opened and put into chronological order, the builders begin laying the film out to identify where it needs to be cut. This particular part of the movie features the back of Larry Mullen Jr., sitting at his drum kit.

Photo by Phil Roewe, courtesy of Pacific Science Center

(above) When the reels are ready to be built, they are placed on the Make-up Table. Depending on the length of the film, they can build it using the table alone or build it right onto the reel units. There's a motor under one plate to help assist in the transfer of film.

Photo by Tassoula E. Kokkoris

(above) Next, the film is threaded through a splicer to be cut at exact predetermined points so that no frames overlap or get lost. Each film comes with scrap film that has labels on each end, indicating what specific reel it is. Again, precision is crucial to the end result: if any clips are missing, the synchronicity of the three-dimensional components will be thrown out of alignment and the overall effect will be lost.

Photo by Phil Roewe, courtesy of Pacific Science Center

(above) Projectionist Jenn Bentz uses the splicer to cut the film for construction.

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