SXSW 2012 Panel talking trash on the 5D (in terms of color latitude)

It's not harder to grade. They are simply saying that 10 bit has far more color/tonal information than 8 bit. Soon as you start to give 8 bit a heavy grade it falls apart and theres banding everywhere.

Also, they are saying that 444 is better than the 420 implemented by DSLR's.

I agree with both statements whole heartedly. Even 422 looks sketchy to me let alone 420. I only really notice banding of 8 bit footage in high contrast gradients such as sunset etc.
 
I was there. No. These guys don't need to go out and shoot anything. Additionally I agree with Gary Huff about AVCHD...

http://schedule.sxsw.com/2012/events/event_FP990336

[h=1]Color Me Correct: Filmmaker's & Color Correction[/h]

The process of color correction can not only bring the film's overall look and production value to a higher level, but it also is a powerful storytelling tool to enhance the film you're trying to make. This workshop will cover the basics of this important step in filmmaking by answering questions such as: What does color "correction" mean exactly? How can it help a film, and also how can it hurt it? What are some tips when doing it at home and when should you hire a professional? Join this discussion on this key element in filmmaking today.

[h=1]Presenters[/h]
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Brandon Thomas Colorist TBD Post
Brandon Thomas is a Co-Owner and Colorist at TBD Post in Austin, where he grades television shows, commercials, and independent films.
Brandon has always been passionate about film and technology, and is continually learning and exploring new ways to get the best results from an image as efficiently as possible.
His television work has aired on A&E, TLC, CMT, Discovery Health, and PBS. His feature length projects have shown at festivals and in theaters across the globe. Some recent commercial clients include IBM, VH1, UPS, AARP, the US Air Force, and Verizon Wireless.

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Daniel Stuyck
Daniel Stuyck is an editor, colorist and filmmaker in Austin, TX. His long- and short-form work has played at Cannes, Sundance, SXSW, Tribeca and aired nationally on PBS. He has also written on film for a variety of publications, including Film Comment and Cinema Scope.

Joe Malina Colorist www.joemalina.com

Nick Smith Finisher KID-THING
 
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