Are we wasting the power of cinema DNG 12 bit ?

Hello everybody.

First of all, this is my first post and I apologize in advance if I what I´m going to say below has already discussed earlier, if it is so I would appreciate a link.

There is one thing in the entire workflow process that has intrigued me and so far not I have not found a solution yet:

It is assumed that one of the great benefits of shooting in raw dng is the color depth of 12 bits. For example, if we open an overexposed image using the controls could discover raw file "magically" we can "recover" what seemed to be hidden. There is nothing new, it was always part of the "magic" of the raw with that depth of color. I always thought that software Davinci Resolve could interpret those 12 bits of Raw, but I cannot find the way or see how. What I see is that it works with a depth of 10 bits, so if it is really the way it´s work I think that we are wasting pretty much the power of cinema DNG 12 bit. Am I right? I have checked it recently. In an overexposed sky filmed with BMCC I managed to recover, in After Effects or Photoshop (raw controls), and see clouds but cannot do the same with Davinci Resolve. Is there something I'm not considering? Is this really?

Is not there at least an option to convert a batch of images from 12-bit to 10-bit but within DaVince Resolve?. So, it works with 10 bits, but let me manipulate the raw 12-bit to convert it to 10 as I like. Is not that so?

So far, the only thing I can think of is to make pre render in After Effects. I know that this is not a good solution because the workflow takes too long and we have to be more operational. If this is so, the truth is that I'm a little disappointed. Or at least lose some of the power of the BMCC DNG Raw.

Thank you very much for your answers.

You are wasting plenty, In Color Set your Camera Raw> Master settings>to Decode Using >to Clip
and your color space> to BMD Film, if needed check the box for "Highlight Recovery"
In Color use "Primaries" Lift and Gain on your base node primarily the "WHITE" left Bar not the RGB bars, In Primaries you will also find "Saturation" use it with NR Blend to get the results you want, And use curves but un-check "Gang custom Curves".
for better results.

Then add a serial node from the Top Menu "Nodes" and continue as needed.

Resolve is a very powerful grading tool. But with that power comes a learning curve requirement. Version 9 simplified the curve a great deal by making data-base management MUCH simpler. And the different "rooms" were more logically combined into fewer back and forth steps. Basically you work the bottom tabs/rooms from left to right. You still need to figure out what workflow works best for you and your project.

But to get a good taste of the grading power and get a jump start, there is a great tutorial and sample footage that Blackmagic provides. If you take a couple hours and run through their tutorial, you will get the basics of Resolve's power.

Running tests with our BMCC in raw and running through Resolve is amazing. Example: yesterday shot some footage at the Truckee CA Airport that involved super bright snow and sky, deep dark forest backgrounds, and Lear Jets. Brought the footage into Resolve and you see the latitude and all that can be recovered in the blacks and whites (lift and gain). You can easily make any look or saturation, etc you want. You can subtly direct focus with power windows and tracking.

My personal problem is getting a handle on the workflow between Resolve and our current NLE - Premiere Pro... XML does not seem to handle to much of an edit. Currently toying with the "proxy" method of workflow.

But give the BM tutorial a whirl for a great learning experience.

Hello:
Actually the answer lay in the manual.
Sorry and thanks !