This website uses cookies in order to enhance your experience. Please review our Privacy Policy to learn how we may use cookies and how you can change your browser settings to disable cookies. By continuing to use this website without changing your settings, you consent to our use of cookies. For filmmaker Alex Ross Perry, his latest feature Her Smell represents the most technically ambitious undertaking of a career heretofore defined by lo-fi production values and dialogue-led scripts. A Shakespearean five-act structure tracking the rise and fall and rise again of unstable punk musician Becky Something Elisabeth Moss stretches out across minutes, the longest run time in his filmography by a significant margin. In elaborate gliding shots, he guides a Steadicam through a maze of backstage hallways constructed just for the production, his largest set yet. The first and final acts revolve around a pair of rip-roaring concerts with all the rock trimmings. But a good portion of the most labor-intensive, innovative work is completely invisible to the naked eye. Never mind the title; Her Smell is more invested in the auditory than the olfactory. From the in-universe music to the complicated scene showing the recording process to the hallucinatory score, sound brings an unusually visceral intensity to Perry's character study.
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Talking with The Dry Down’s Rachel Syme and Helena Fitzgerald
This website uses cookies in order to enhance your experience. Please review our Privacy Policy to learn how we may use cookies and how you can change your browser settings to disable cookies. By continuing to use this website without changing your settings, you consent to our use of cookies. On a Wednesday night this spring, I found myself surrounded by a crowd of young women and a few young men in the Arlo NoMad Hotel in Manhattan, all of us sipping wine, hovering over samples from Eris Parfums , and waiting in line to draw a tarot card that might reveal our next signature scent.
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I often shoot with just the modeling lamps on my Profoto system. They are watt bulbs but I've often thought of upgrading them to their watt rated max. What are your soft boxes rated for. My Chimeras say W max, they won't accommodate a W, either photoflood or halogen. I'm not sure that the modeling light controller in the White Lightnings could accommodate W, either, but apparently that's not a problem for your ProFotos. As long as you're working at V forget about W model light. The X-T4 brings image stabilization and a larger battery to the X-T series, but dig a bit deeper and you'll find a host of improvements and tweaks. See what we've discovered in the X-T3's sister model. Nikon's combined the best of its DSLR and mirrorless cameras into one tough-built body, equally well-suited for stills as it is for video. For effectively modernizing one of the brand's all-star camera lines, it receives our silver award.
I often shoot with just the modeling lamps on my Profoto system. They are watt bulbs but I've often thought of upgrading them to their watt rated max. Sometimes I like shooting at wider apertures.
