How the Dynamic Editing of Don’t Think Sets the Bar for Concert Films

On the brilliant synaesthesia of Adam Smith and The Chemical Brothers’ concert film.

“These are the more obvious, flashy examples of Smith trying to add a psychedelic slant to Don’t Think.  An attempt to make this one gig feel like an entire world which is at once all-encompassing and barely-containable.  But it’s the moment-to-moment, floor-level, tight-lensed, overstimulating visual arrangement which really makes the film sing.  In fact, for all the flash and sensory overload going on, what most sticks out is how rhythmic and varied Smith’s hard cuts actually are.  The drops on ‘Saturate’ are followed by shots which last much longer than average, almost as if hanging in air on adrenaline, with the final one flowing into a wide-angle crane shot that keeps pulling further and further back, exposing just how large the crowd watching truly is, before the closing drums snap us back into the pit to herald the arrival of the harder-edged ‘Believe.'”

Full article now live exclusively on Little White Lies (link).

Callie Petch, the time has come to…

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