I'm going to have to respectfully disagree with you on this statement. While I will agree that there are def more modern cameras working with CMOS imagers that give a fairly wide DR, shutting down CCD tech saying its not "filmic" or sensitive in its own right for film type work is absurd. The tape and P2 varicam are capable of much higher DR to it's recorded image than you are proposing and if anyone really wants to nit pick CCD cameras for cinema you should look at the Sony F23/35 series. the 35 has a 35mm CCD that has close to 14 stops and you CAN obtain this information in your image. its 4:4:4 RGB. Lets not forget the viper cam as well. The HPX3700 Varicam is a 2/3" CCD like my 2700 only it sports 4:4:4 LOG out duel link HDSDI. There are plenty of CCD cameras able to produce beautiful filmlike results in the right hands and IMHO I find CCD images far more film like than CMOS hence why I left them for personal ownership in 2015 and began investing in cameras like the F900 and Varicam. I've done enough work with all these cameras and I should direct your attention to the quite large userbase of F35 owners over at DVXuser.com to attest that im not the only one still on the CCD bandwagon. I've been at this 20 years this december and after working with well over 60+ cameras, i finally got to a point where i stopped following marketing trends and began looking at what i wanted out of a camera. Its common place that REC709 does not have nearly as much information in it as a LOG curve, thats obvious. The problem is Film-Rec is in this grey area. its really not REC709 and like David mentioned and I can confirm, when you turn the color matrix menus off in the camera, its not really working in rec709 anymore. To really get the full value of what film-rec can do is converting its color space in davinci. I've found lifting the black stretch to 30%max in the gamma menu helps preserve the shadow detail more so you can expose for highlights. Given the 10bit 4:2:2 I can get away with pushing the camera like this and not having the image fall apart at all (i found my problem lied in my editor not the camera) We need to remember that film rec was designed by panasonic to give you as much DR as possible so you could print to film with little to no DR loss. Given we are past that time and have many advancements in post and color software, you can give film rec new life by working with it this way. I've gotten very very film like results from this and through hooking the varicam into scopes can attest that you GET all the dynamic range which film rec can allot which is between 12 and 13 stops. I know bruce has his own findings in this as well im sure he'd be happy to share.. he was the one that really opened my eyes to the power of the varicam years ago when i got my H model.