Cinema dng at 16bit?

i read on new beta 7 resolve 15 that can read cinema dng at 12 and 16bit.
how can write a 16bit linear cinema dng?
i know that all bmd cameras use 16bit linear sensor data and save on log 12bit raw.
where i'm wrong?

AFAIK instead of a 16-bit linear reading, BMD uses 12-bit but processes the data twice to extract more of its latitude range using an Arri-style dual gain method.

BMD's payload is 12-bit log encoded cDNG. This isn't an inferior way to record raw, and in fact it's the same method Arri uses.

Sony and Red record 16-bit because they're not using dual gain methods, and because they both record raw in Linear Light rather than log encoded.

The main tradeoffs end up having not much to do with the image quality you get from these cameras. Red and Sony have proprietary... well, everything inside, so they can do whatever they want. Nothing in either camera is off the shelf or has to be affordable; just look at the price of a Venice or a Helium. BMD's cameras have to be affordable, which means most of what's proprietary is in software; most of the camera's components are off the shelf rather than custom.

With the current state of the industry, if you want 16-bit recorded color, you'll have to be willing to pay quite a premium for it -- Red's Gemini isn't cheap, and it's probably the least expensive 16-bit camera on the market unless Sony's dropped the price of the F5 since launching Venice (which I doubt). Even if it has though, it's probably still quite a bit more expensive than two Ursa Minis. Or one Ursa Mini with a very nice SLR Magic lens kit.

No Rakesh, i'm happy about BMD cameras, i ask only to know if there is something that i missed and i could record more quality on same cameras.
thanks a lot for dectailed infos

As I understand the bit depth is dithered down to 16 bit linear in the camera from something greater than 16 bit (depending on the sensor)

Once it's encoded a LOG transform is applied to make it 12 bit Log encoded.

Once unpacked in Resolve, it unpacks them as 16 bit linear automatically.

16 bit lin / 12 bit log are kind of the same thing. There's not really more quality from one of the other.

By using a LOG encoding transform it can mathematically re-create the same 16 bit linear file.

JB

AFAIK instead of a 16-bit linear reading, BMD uses 12-bit but processes the data twice to extract more of its latitude range using an Arri-style dual gain method.

BMD's payload is 12-bit log encoded cDNG. This isn't an inferior way to record raw, and in fact it's the same method Arri uses.

Sony and Red record 16-bit because they're not using dual gain methods, and because they both record raw in Linear Light rather than log encoded.

The main tradeoffs end up having not much to do with the image quality you get from these cameras. Red and Sony have proprietary... well, everything inside, so they can do whatever they want. Nothing in either camera is off the shelf or has to be affordable; just look at the price of a Venice or a Helium. BMD's cameras have to be affordable, which means most of what's proprietary is in software; most of the camera's components are off the shelf rather than custom.

With the current state of the industry, if you want 16-bit recorded color, you'll have to be willing to pay quite a premium for it -- Red's Gemini isn't cheap, and it's probably the least expensive 16-bit camera on the market unless Sony's dropped the price of the F5 since launching Venice (which I doubt). Even if it has though, it's probably still quite a bit more expensive than two Ursa Minis. Or one Ursa Mini with a very nice SLR Magic lens kit.

From what I understand a lot of the Ursa Mini Pro is custom. They supposedly spent millions of dollars designing the sensor under the "Maestro" line of sensor, and then Fairchild also sells a separate sensor model under the LTN brand for machine vision purposes. The other sensors in the other cameras were more off-the-shelf but still a customized variant. They make a lot of their boards in-house too, but I think they're a bit cheaper because they use an FGPA and not ASIC.

RED uses a lot of off-the-shelf stuff too, hence why the company Jinnimag was so easily able to create copycat SSD's as most of what was needed to build the SSD was purchased from the same sources that RED did, although that was at least what they claimed in the lawsuit.

I think Blackmagic cameras are cheaper because they use a more optimized production process, they design and produce the cameras in a cost effective way (only adding features that they can easily do vs. huge development costs), they sell probably 10x the cameras that RED does, and they have a slightly larger tolerance for acceptable sensor performance.

Lastly, I feel maybe Blackmagic is more honest with their pricing rather than trying to price the camera according to market segment and existing products. The new Pocket Camera 4K could have easily been priced at $2000 and people would probably would have not complained. Gemini was a co-developed sensor, so maybe that camera actually costs them very little to develop but instead they have to price it similar to their cameras.