I think this is true about most any of the smaller Pro video cameras. However, what I personally find is that a quality NLE will do a lot of tricks that a dynamic range lacks. In fact, personally if I can receive decent image quality, that is not off on color, not off on brightness, and especially not blown out (overexposed) from a quality imager and digital/analog camera (like this XA20) . . WOW . . what a good editor can accomplish.
But with this newer AVCHD format, if one tries to operate with an NLE that is of an older vintage, they may find that no matter what they do they just can seem to get the vibrance, the dynamic look and feel, and the resolution sought. As for me, I had to move away from my older slower less dynamic FCP7 and into the latest Adobe CC series in order to seek something that was up to date with the current workflow . . especially a workflow that would more closely match my camera(s).
I've heard that Edius, Sony Vegas, and FCPX are great tools to use with this AVCHD and MP4 shooting codecs. I can't vouch for any of those but I can vouch for Adobe Premiere Pro CS6 CC as it does all and "more" than I've expected as I transitioned from FCP7. Moreover, anyone considering the same I will say that for the most part, I have to remind myself that I'm not in FCP7 since the GUI is very very similar AND a lot of the tools and feature sets are similar. My guess is that Adobe did that intentionally to make transitions easier. I've even heard there is a GUI template that is downloadable somewhere that makes Premiere actually function almost exact to FCP7 look/feel. Dunno.
