Let's change it.
The equipment is largely not to meet the needs of use, but to meet the psychological needs
Satisfy your desire to buy new equipment.
I've also experienced this process.,The new machine supports EI.,And a new camera.,Support RAW** recording,Actually,I've been using any RAW** scenes at all for more than ten years.。
And the more I bought my equipment, the more I found that my demand was actually declining, degrading all the time
The camera can shoot raw**, it must be raw;The raw process is too troublesome, or log;log has a starting iso, or has to HLG;HLG also has to be colored, on the mobile phone, the anti-shake is good, it is convenient, and the audience is still wide, but I still want to change, if the wallet allows, then the change will be changed, it is nothing more than a consumption.
Besides, this consumption is still a productivity tool, and there is nothing wrong with it.
So changing this action is very important, and what to change to is secondary.
So all the reasons you give yourself are nothing more than excuses that you want to change.
But now I feel that Sony's color science and some of the "other" problems are more difficult to meet the higher level of creation. 』
What is a higher level of creation?
To say a funny phenomenon, I often see a lot of eye-catching student works at station B, many of which come from low-quality equipment, and these works have a very good performance in terms of narrative and acting;
On the contrary, it is those 4K exquisite pictures, the content reveals a little boring, and I can't wait to turn it off in five seconds;
For example, when we talk about color science, the problem of color science in A7S3 is **?
The A7S3 is also not without the S-CinetOne, which is used in Sony's cinema camera series.
Is it inconvenient for you to grade color in post, or is the color of the shot picture not textured?
When it comes to the use of color in cinema, "Amelie" and "The Grand Budapest Hotel" are household names. The visual impact of these two films has become a model of cinematic color.
It would be unfair to analyze only the color itself. The unique cinematic look and feel comes from many aspects. Of particular importance is the masterful use of the language of the lens.
Lens language refers to the system by which a film conveys information and emotions through the lens. Specifically, it includes camera distance, angle, movement, and the connection between different lenses. In "Amelie" and "The Grand Budapest Hotel", we see a clever combination of these elements.
For example, the camera is promoted, zoomed out, and panned to make the audience feel like they are in the scene. The scene is carefully composed to create a dreamlike atmosphere. Rapid switching between shots tells a fascinating story in a limited time. It can be said that the language of the lens adds infinite charm to these two films.
Of course, the use of color also plays a big role. Photography equipment and film alone cannot achieve the splendor of the big screen. Scenes, props, costumes, and lighting all need to be carefully matched to make the color effects stand out.
The improvement of the quality of the work,It's a comprehensive process,It's not something you can be satisfied with by changing a fuselage,Of course,There's another important reason for changing equipment,That is, Party A is happy。