Several production techniques were used in an attempt to achieve that immersive feeling, including attaching cameras to actors, special sensors, designing rigs to house multiple cameras, drones, and working with a wide variety of camera types and lenses. And that included three special rigs for the iPhone sequences.

“One for eight cameras, which can be carried very easily by one person, one for 10 cameras, and one for 20,” explains the director of the iPhone rigs. “I never say this, but there is an incredible shot in the second half [of the film] where we use the 20-rig camera, and you'll know it when you see it. … It's quite graphic but it's a wonderful shot that uses that technique, and in a startling way that kind of kicks you into a new world rather than thinking you've seen it before.”

Boyle equates the 20-camera rig to “basically a poor man’s bullet time.” It allows flexibility for the filmmakers in terms of light and ease of use on location shoots, and it can be attached to cranes or a camera dolly or built into a location even.

“Wherever, it gives you 180 degrees of vision of an action, and in the editing you can select any choice from it, either a conventional one-camera perspective or make your way instantly around reality, time-slicing the subject, jumping forward or backward for emphasis,” he says. “As it’s a horror movie, we use it for the violent scenes to emphasize their impact.”

He filmed with lightweight, low-resolution Canon digital cameras. The technology, which was cutting-edge at the time, made it possible to record scenes at iconic locations like Westminster Bridge and Piccadilly Circus in under an hour each. It also gave 28 Days Later its unique grainy look that makes the movie stand out even today.

“Our competitors have fully participated for more than five years without any direct impact to their attendance,” AMC said in a statement to The Hollywood Reporter earlier this month. The chain added, “The new deal between AMC and NCM allows both companies to drive new revenues to offset the impact of being hit by the shutdown of cinemas due to the COVID pandemic, followed by an at times faltering Hollywood industry recovery since the reopening of theaters and advertising being affected by macro-economic headwinds.”

The deal takes effect July 1, just in time for Universal’s Jurassic World Rebirth and DC Studios/Warner Bros.’ Superman. AMC is already known for its lengthy preshow time, which runs 25 to 30 minutes, so it will have to reconfigure its lineup — which includes the famous Nicole Kidman spot promoting the “magic” of moviegoing — to allow for the new ads without going over the half-hour mark. AMC declined to comment, but other sources say it will begin addressing the preshow on its ticketing platforms the week of June 23 and, fingers crossed, hope its audiences won’t mind the change too much.