Quote Originally Posted by Xander Fischer View Post
...in motion picture 35mm film, we shoot with a stock like Kodak's Vision3, which can pack a whopping 14 stops of latitude. After learning a long while back that this wonderful exposure advantage over almost all digital formats (up until cinema cameras like the RED MX and EPIC came around) is not the case with ANY 35mm still film.
Really? What makes you say that? My understanding, such as it is, is that Kodak based the previous crop of still photography color negative films on Vision 2 motion picture emulsions. I'm assuming (danger Will Robinson!) that the current crop is based on Vision 3.

When tweaked and optimized for still photography, I wouldn't think they'd go through a lot of effort to make still film worse -- what would be the point?

All that said, I did make a photograph five or six years ago (so two versions of Portra back from the current one) of a white flower in full mid-day sun in June. Measured 10 or 11 stops from shadow detail to highlight detail. And didn't show any kind of color cast or interesting artifacts.

That's the highest scene brightness ratio (SBR) I've ever found in my normal work. Then again, I'm not shooting inside a dark building wanting to keep the windows from blowing out either.

As to proof, I think it's incumbent on the one who wants it to do the testing. Have at it, should be interesting.