Practically, I don't need it. IF a shot has a gradient that creates banding I can fudge over it with some post voodoo. Or, more likely, just live with it.
*gasp!*
Okay, I'll pardon you to retreat to the chaise and allow recovery of your delicate constitution...
Hey, I'm a low-fi filmmaker, got better stuff to worry about.
Now, if I was in a more up-market situation, it matters. But I ain't, so it's doesn't. And, on a side note, the IQ tech will be so democratized in 5 years it REALLY won't matter.
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Funny story: running a filmfest and one filmmaker had the most engaging narrative feature length film about love/family/redemption. Beautiful characters, etc, etc. Looked like garbage though. Shot on a Sony HDR-SR1. Bad lighting, exposure, color grading, composition, cinematography, highlight roll off was disgusting! ... Still somehow an engaging film! Writing and acting were so good.
However, the director came up to me an hour before screening, distraught that he didn't give us the ProRes4:4:4 file (we were going to screen the .mp4) "Oh, please fix this problem! Please!"
Dude, what problem, I thought. Your film looks like shit and we still like it. 4:4:4 ain't an issue.
Anyway, screened the ProRes4:4:4 and he felt better. People is crazy, y'all.
On a side note, I'm watching "The Wire" for the first time. Looks like crap too. (yes, even shot on film) Sets are so poorly lit or overlit -- and there's nothing really interesting going on with the cinematography. Oh well. Still good stuff to watch.
