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U2 developed a style of editing in their previous concert films that involved fast cutting between shots, which Owens wanted to retain in U2 3D. Each of the layered frames featured a different depth of field to enhance the 3D effects, and up to five images were layered together in a single shot.
Because the project was captured in high-definition video, each frame used nearly 20 megabytes of data on 3ality Digital's servers, and the entire film used almost a petabyte bytes.
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Video footage was compiled into files by Wicki, which were given to Glanville for compiling the soundtrack. Mixing the vocals required that Glanville layer the audio recorded from the stage microphones with that from the audience microphones and to add a short delay between the two to compensate for any echos or delay that occurred in the venue.
The sound from the subwoofer channel was mixed inside two IMAX theaters in Los Angeles to ensure the volume of low-end frequencies was consistent with the rest of the soundtrack. The trailer for the film was released and first screened at the ShoWest trade show in Marchalong with footage of "Sunday Bloody Sunday". The film poster, which featured a collage of images from the film,  won Leamy an award for best poster art at the Giant Screen Cinema Association's annual international conference in U2 were committed to preserving the film's 3D format and decided to only release it in digital 3D.
Live from Chicago  and Vertigo Best of Both Worlds Concertwhich was initially scheduled to be in theaters for only one week.
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The film became the highest grossing documentary to be eligible for an Oscar nomination at the 81st Academy Awards. Reviews by Rolling Stone  and Total Film  stated the film seemed to appeal to fans and non-fans of U2 alike, just as the filmmakers had intended.
The Edge and Bono pictured in were both pleased with the outcome of the film. U2 3D was praised by Variety for its straightforward concert footage, compared to the interviews and behind-the-scenes footage included in Rattle and Hum.