Loading Luke Acret’s portfolio
ACT II: METALLICA THE FIRST KIND
that meant going far beyond any lengths we'd gone to in previous immersive productions. To break down the barriers between artist and audience, we pushed the absolute limits of proximity by placing 14 cameras around Metallica's circular stage to unlock never-before-seen vantage points. It did what no concert film had: made the band feel larger than life, godlike, then suddenly singular, with an intimacy that shouldn't have been possible for the most documented band alive.
Metallica is a first-of-its-kind immersive concert film: 26 minutes captured at the final show of the M72 World Tour's second year. Part live concert, part documentary, it places viewers inside the eyes and minds of the band. The camera beneath it was built for one goal: a 1:1 recreation of the real world. Proximity is the point. Everything was done in service of the best story, the greatest access, and the deepest intimacy we could offer fans.
that meant going far beyond any lengths we'd gone to in previous immersive productions. To break down the barriers between artist and audience, we pushed the absolute limits of proximity by placing 14 cameras around Metallica's circular stage to unlock never-before-seen vantage points. It did what no concert film had: made the band feel larger than life, godlike, then suddenly singular, with an intimacy that shouldn't have been possible for the most documented band alive.
THE LAST SHOW OF A TWO-YEAR TOUR, IN FRONT OF 65,000 PEOPLE, IN THE HEAVY METAL CAPITAL OF THE WORLD, MEXICO CITY
THE LAST SHOW OF A TWO-YEAR TOUR, IN FRONT OF 65,000 PEOPLE, IN THE HEAVY METAL CAPITAL OF THE WORLD, MEXICO CITY
Metallica is a first-of-its-kind immersive concert film: 26 minutes captured at the final show of the M72 World Tour's second year. Part live concert, part documentary, it places viewers inside the eyes and minds of the band. The camera beneath it was built for one goal: a 1:1 recreation of the real world. Proximity is the point. Everything was done in service of the best story, the greatest access, and the deepest intimacy we could offer fans.
his meant going far beyond any lengths we'd gone to in previous immersive productions. To break down the barriers between artist and audience, we pushed the absolute limits of proximity by placing 14 cameras around Metallica's circular stage to unlock never-before-seen vantage points. It did what no concert film had: made the band feel larger than life, godlike, then suddenly singular, with an intimacy that shouldn't have been possible for the most documented band alive.
ACT II: METALLICA THE FIRST KIND
that meant going far beyond any lengths we'd gone to in previous immersive productions. To break down the barriers between artist and audience, we pushed the absolute limits of proximity by placing 14 cameras around Metallica's circular stage to unlock never-before-seen vantage points. It did what no concert film had: made the band feel larger than life, godlike, then suddenly singular, with an intimacy that shouldn't have been possible for the most documented band alive.
Metallica is a first-of-its-kind immersive concert film: 26 minutes captured at the final show of the M72 World Tour's second year. Part live concert, part documentary, it places viewers inside the eyes and minds of the band. The camera beneath it was built for one goal: a 1:1 recreation of the real world. Proximity is the point. Everything was done in service of the best story, the greatest access, and the deepest intimacy we could offer fans.
ACT II: NIGHTMARES
ACT II: NIGHTMARES
"I know my mind's a dangerous place and I shouldn't go in there alone" - James
For 40 years Metallica has worked to bring their audience closer. Our ambition was to go further and put you inside the show, from perspectives that defy reality to places only the band goes. Closeness, in proximity and in emotion, becomes the concept itself. You experience the story, the awe, and the atmosphere as one.
The walkout. One take, one unbroken minute. You follow James through the dark beneath 65,000 people, into a place not even his security team goes. The stadium opens. The fans rise around you.'t have been possible for the most documented band alive.
"I know my mind's a dangerous place and I shouldn't go in there alone" - James
For 40 years Metallica has worked to bring their audience closer. Our ambition was to go further and put you inside the show, from perspectives that defy reality to places only the band goes. Closeness, in proximity and in emotion, becomes the concept itself. You experience the story, the awe, and the atmosphere as one.
The walkout. One take, one unbroken minute. You follow James through the dark beneath 65,000 people, into a place not even his security team goes. The stadium opens. The fans rise around you.'t have been possible for the most documented band alive.
"I know my mind's a dangerous place and I shouldn't go in there alone" - James
For 40 years Metallica has worked to bring their audience closer. Our ambition was to go further and put you inside the show, from perspectives that defy reality to places only the band goes. Closeness, in proximity and in emotion, becomes the concept itself. You experience the story, the awe, and the atmosphere as one.
The walkout. One take, one unbroken minute. You follow James through the dark beneath 65,000 people, into a place not even his security team goes. The stadium opens. The fans rise around you.'t have been possible for the most documented band alive.
ACT II: ARE YOU ALIVE
That separation was an editorial decision. Our focus for the performance wasto capture it in the most immersive and cinematic way. Our cameras brought the audience close enough to feel physically present with the band.
The film moves between two visual worlds. Black and white gives the documentary its own space: the band in reflection, the art and philosophy beneath the performance. The language separates as the live performance transitions to color with the vibrancy of presence. Revisited throughout,striking intimacy and impossible perspective sharpen each other
=
One show, one chance: no pickups, no reshoots, no margin for error. Planning began with 40 shows, learning the band's habits and movements down to the second for every song. Each rig was choreographed around that knowledge. Creative constraints fueled innovation, inspiring a number of firsts for immersive production.
In addition to the prototype stedi-cam we also deployed a 4-point wire-cam system for the first time. Our prototype, developed in collaboration with Spydercam, went on to inform their entire fleet of large-format camera support
Every rig, every prototype, every hour of planning was built to disappear: technology receding into the experience until all that remains is the band and the fan, closer than they've ever been.
"Game-changing is putting it lightly." — Lars
The film moves between two visual worlds. Black and white gives the documentary its own space: the band in reflection, the art and philosophy beneath the performance. The language separates as the live performance transitions to color with the vibrancy of presence. Revisited throughout,striking intimacy and impossible perspective sharpen each other
That separation was an editorial decision. Our focus for the performance wasto capture it in the most immersive and cinematic way. Our cameras brought the audience close enough to feel physically present with the band.
ACT II: ARE YOU ALIVE
One show, one chance: no pickups, no reshoots, no margin for error. Planning began with 40 shows, learning the band's habits and movements down to the second for every song. Each rig was choreographed around that knowledge. Creative constraints fueled innovation, inspiring a number of firsts for immersive production.
In addition to the prototype stedi-cam we also deployed a 4-point wire-cam system for the first time. Our prototype, developed in collaboration with Spydercam, went on to inform their entire fleet of large-format camera support
Every rig, every prototype, every hour of planning was built to disappear: technology receding into the experience until all that remains is the band and the fan, closer than they've ever been.
"Game-changing is putting it lightly." — Lars
One show, one chance: no pickups, no reshoots, no margin for error. Planning began with 40 shows, learning the band's habits and movements down to the second for every song. Each rig was choreographed around that knowledge. Creative constraints fueled innovation, inspiring a number of firsts for immersive production.
In addition to the prototype stedi-cam we also deployed a 4-point wire-cam system for the first time. Our prototype, developed in collaboration with Spydercam, went on to inform their entire fleet of large-format camera support
Every rig, every prototype, every hour of planning was built to disappear: technology receding into the experience until all that remains is the band and the fan, closer than they've ever been.
"Game-changing is putting it lightly." — Lars
Outstanding innovation in emerging media - making of
IMMERSIVE CONTENT
METALLICA 2025 EMMY NOMINATED
CREATIVE LEAD & IMMERSIVE CREATIVE DIRECTOR
ACT II
THE FIRST KIND:
METALLICA
Loading Luke Acret’s portfolio
ACT II: METALLICA THE FIRST KIND
that meant going far beyond any lengths we'd gone to in previous immersive productions. To break down the barriers between artist and audience, we pushed the absolute limits of proximity by placing 14 cameras around Metallica's circular stage to unlock never-before-seen vantage points. It did what no concert film had: made the band feel larger than life, godlike, then suddenly singular, with an intimacy that shouldn't have been possible for the most documented band alive.
Metallica is a first-of-its-kind immersive concert film: 26 minutes captured at the final show of the M72 World Tour's second year. Part live concert, part documentary, it places viewers inside the eyes and minds of the band. The camera beneath it was built for one goal: a 1:1 recreation of the real world. Proximity is the point. Everything was done in service of the best story, the greatest access, and the deepest intimacy we could offer fans.
that meant going far beyond any lengths we'd gone to in previous immersive productions. To break down the barriers between artist and audience, we pushed the absolute limits of proximity by placing 14 cameras around Metallica's circular stage to unlock never-before-seen vantage points. It did what no concert film had: made the band feel larger than life, godlike, then suddenly singular, with an intimacy that shouldn't have been possible for the most documented band alive.
THE LAST SHOW OF A TWO-YEAR TOUR, IN FRONT OF 65,000 PEOPLE, IN THE HEAVY METAL CAPITAL OF THE WORLD, MEXICO CITY
THE LAST SHOW OF A TWO-YEAR TOUR, IN FRONT OF 65,000 PEOPLE, IN THE HEAVY METAL CAPITAL OF THE WORLD, MEXICO CITY
Metallica is a first-of-its-kind immersive concert film: 26 minutes captured at the final show of the M72 World Tour's second year. Part live concert, part documentary, it places viewers inside the eyes and minds of the band. The camera beneath it was built for one goal: a 1:1 recreation of the real world. Proximity is the point. Everything was done in service of the best story, the greatest access, and the deepest intimacy we could offer fans.
his meant going far beyond any lengths we'd gone to in previous immersive productions. To break down the barriers between artist and audience, we pushed the absolute limits of proximity by placing 14 cameras around Metallica's circular stage to unlock never-before-seen vantage points. It did what no concert film had: made the band feel larger than life, godlike, then suddenly singular, with an intimacy that shouldn't have been possible for the most documented band alive.
ACT II: METALLICA THE FIRST KIND
that meant going far beyond any lengths we'd gone to in previous immersive productions. To break down the barriers between artist and audience, we pushed the absolute limits of proximity by placing 14 cameras around Metallica's circular stage to unlock never-before-seen vantage points. It did what no concert film had: made the band feel larger than life, godlike, then suddenly singular, with an intimacy that shouldn't have been possible for the most documented band alive.
Metallica is a first-of-its-kind immersive concert film: 26 minutes captured at the final show of the M72 World Tour's second year. Part live concert, part documentary, it places viewers inside the eyes and minds of the band. The camera beneath it was built for one goal: a 1:1 recreation of the real world. Proximity is the point. Everything was done in service of the best story, the greatest access, and the deepest intimacy we could offer fans.
ACT II: NIGHTMARES
ACT II: NIGHTMARES
"I know my mind's a dangerous place and I shouldn't go in there alone" - James
For 40 years Metallica has worked to bring their audience closer. Our ambition was to go further and put you inside the show, from perspectives that defy reality to places only the band goes. Closeness, in proximity and in emotion, becomes the concept itself. You experience the story, the awe, and the atmosphere as one.
The walkout. One take, one unbroken minute. You follow James through the dark beneath 65,000 people, into a place not even his security team goes. The stadium opens. The fans rise around you.'t have been possible for the most documented band alive.
"I know my mind's a dangerous place and I shouldn't go in there alone" - James
For 40 years Metallica has worked to bring their audience closer. Our ambition was to go further and put you inside the show, from perspectives that defy reality to places only the band goes. Closeness, in proximity and in emotion, becomes the concept itself. You experience the story, the awe, and the atmosphere as one.
The walkout. One take, one unbroken minute. You follow James through the dark beneath 65,000 people, into a place not even his security team goes. The stadium opens. The fans rise around you.'t have been possible for the most documented band alive.
"I know my mind's a dangerous place and I shouldn't go in there alone" - James
For 40 years Metallica has worked to bring their audience closer. Our ambition was to go further and put you inside the show, from perspectives that defy reality to places only the band goes. Closeness, in proximity and in emotion, becomes the concept itself. You experience the story, the awe, and the atmosphere as one.
The walkout. One take, one unbroken minute. You follow James through the dark beneath 65,000 people, into a place not even his security team goes. The stadium opens. The fans rise around you.'t have been possible for the most documented band alive.
ACT II: ARE YOU ALIVE
That separation was an editorial decision. Our focus for the performance wasto capture it in the most immersive and cinematic way. Our cameras brought the audience close enough to feel physically present with the band.
The film moves between two visual worlds. Black and white gives the documentary its own space: the band in reflection, the art and philosophy beneath the performance. The language separates as the live performance transitions to color with the vibrancy of presence. Revisited throughout,striking intimacy and impossible perspective sharpen each other
=
One show, one chance: no pickups, no reshoots, no margin for error. Planning began with 40 shows, learning the band's habits and movements down to the second for every song. Each rig was choreographed around that knowledge. Creative constraints fueled innovation, inspiring a number of firsts for immersive production.
In addition to the prototype stedi-cam we also deployed a 4-point wire-cam system for the first time. Our prototype, developed in collaboration with Spydercam, went on to inform their entire fleet of large-format camera support
Every rig, every prototype, every hour of planning was built to disappear: technology receding into the experience until all that remains is the band and the fan, closer than they've ever been.
"Game-changing is putting it lightly." — Lars
The film moves between two visual worlds. Black and white gives the documentary its own space: the band in reflection, the art and philosophy beneath the performance. The language separates as the live performance transitions to color with the vibrancy of presence. Revisited throughout,striking intimacy and impossible perspective sharpen each other
That separation was an editorial decision. Our focus for the performance wasto capture it in the most immersive and cinematic way. Our cameras brought the audience close enough to feel physically present with the band.
ACT II: ARE YOU ALIVE
One show, one chance: no pickups, no reshoots, no margin for error. Planning began with 40 shows, learning the band's habits and movements down to the second for every song. Each rig was choreographed around that knowledge. Creative constraints fueled innovation, inspiring a number of firsts for immersive production.
In addition to the prototype stedi-cam we also deployed a 4-point wire-cam system for the first time. Our prototype, developed in collaboration with Spydercam, went on to inform their entire fleet of large-format camera support
Every rig, every prototype, every hour of planning was built to disappear: technology receding into the experience until all that remains is the band and the fan, closer than they've ever been.
"Game-changing is putting it lightly." — Lars
One show, one chance: no pickups, no reshoots, no margin for error. Planning began with 40 shows, learning the band's habits and movements down to the second for every song. Each rig was choreographed around that knowledge. Creative constraints fueled innovation, inspiring a number of firsts for immersive production.
In addition to the prototype stedi-cam we also deployed a 4-point wire-cam system for the first time. Our prototype, developed in collaboration with Spydercam, went on to inform their entire fleet of large-format camera support
Every rig, every prototype, every hour of planning was built to disappear: technology receding into the experience until all that remains is the band and the fan, closer than they've ever been.
"Game-changing is putting it lightly." — Lars
Outstanding innovation in emerging media - making of
IMMERSIVE CONTENT
METALLICA 2025 EMMY NOMINATED
CREATIVE LEAD & IMMERSIVE CREATIVE DIRECTOR
ACT II
THE FIRST KIND:
METALLICA