Agreeing with Gewendell, that this recent FW takes the work into a whole new exciting direction. Thanks for all your time and energy putting into this, and then to share it with us all! I love being able to dial in a custom white balance. The more color adjustment can be done do the sensor data before encoding, the higher quality the end result will be!
Regarding the idea of a bracketing (multiple exposure passes), I suspect that a second pass of the entire reel is not likely to align close enough when compositing. Perhaps some frames would, but others won't. Even if it's just a couple of pixels off, I imagine an HDR merge would result in a decrease in resolution. On the other hand maybe HDR merge tools are sophisticated enough to correct for mis-alignment (I think Photoshop can do that).
An alternative method for bracketed exposures that might yield a pixel accurate alignment is to somehow adjust the timing of the motor/gear that drives the film through the gate so that it would take 2 or 3 captures of each frame (each at different exposure). Then some fancy image editing would be needed to separate out and properly sort the appropriate frames, and do the HDR merge to 10bit. I imagine Resolve, Adobe, or FCP could probably be setup in a way to do this.
Also, if that kind of hardware timing manipulation is possible, then there's also probably a way to encode the frames with fewer compression artifacts (0Dan0 demonstrated this in a previous post in this thread) which could increase perceived resolution.
Disclaimer: I'm not an HDR/bracketing guru, but a film/video enthusiast. I'd love to hear additional ideas on this topic.
