Manufacturer's claim about a camera's exposure latitude — typically 10–16 stops on digital cameras. Marketing spec; real-world performance depends on sensor behavior and color science, not the number alone.
Manufacturers like to advertise dynamic range specs — 12, 14, even 16 stops — but on set, what you actually record is what counts. These specs theoretically describe the exposure latitude from the darkest resolved shadow to the brightest differentiated highlight. Sounds tempting. In reality, these numbers are often measured optimistically, under laboratory conditions, with specific ISO settings and sensor modes.
What happens in practice? You unpack a RED Komodo or ARRI Alexa 35, both with high dynamic range specs on their data sheets. But as soon as you really look into the shadows — not the lab measurement, but a real film scene indoors — you quickly realize: the usable dynamic range is often closer to 10–12 stops. The rest is computationally there, but not without noise or artifacts. Sony FX30 or Panasonic S1H promise generously, but deliver less grading latitude in their 8-bit output than the 10-bit specs suggest. Latitude dependency is real.
What really matters? Not the spec, but your lighting and color planning. A well-lit scene with targeted key, fill, and backlight intelligently uses the available dynamic range — and you won't need to squeeze out every theoretical stop. Conversely: a flatly lit, unplanned situation (documentary, news) quickly reveals the limits. Then you'll notice whether your camera really holds 14 or practically 11 stops.
Manufacturers also use tricks: they often measure with extended exposure times, special gain levels, or only in specific color spaces (DCI-P3 vs. Rec.709). S-Log3 on Sony or Alexa Log on the Alexa appear more generous than the native curve. This isn't wrong — you just need to know it and plan your grading accordingly. Tip: Rely on actual test footage, not data sheets. Load samples into your editing system and test your own workflow chain: codec, Rec.709 conversion, final grade. That's where you'll see how much headroom really remains.