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I measured usable DR on the following cameras:
* Blackmagic Pocket Cinema Camera (Prores and RAW video)
* Canon 5D Mark II (H.264 and RAW video)
* Sony NEX-5N (H.264 video and downsampled RAW stills)

I used similar lenses on all of them:
* Leitz Elmarit-R 35mm f/2.8 on the BMPCC
* Leitz Summilux-R 50mm f/1.4 on the NEX
* Leitz Elmarit-R 90mm f/2.8 on the 5D2

I set up a brightly-lit target with very bright highlights and very deep shadows (with a difference of 9.5 stops between them, according to my light meter), and shot them at ISO 100 to 1600, and with aperture ranging from f/2.8 to f/16. All RAW footage was processed in Adobe Camera RAW with Flaat settings. Flaat also for the NEX-5N video, but Prolost Flat (i.e. Neutral dialed down) on the 5D2 (it was a borrowed camera and didn't have Flaat installed) and just "log" on the Pocket.
I then looked at all the images, and tried to find where the highlights went full white, and when the detail in the shadows was lost in the noise, with each camera and at each ISO setting.

These are my measurements:

So, if you have a BlackMagic camera, you probably want to shoot RAW, at least if you can deal with the heavier workflow. At a minimum, shoot RAW, then transcode everything to ProRes or or something similar, and work with that from there onwards.

In the bmpcc, RAW is just metadata, the image is always exactly the same no matter what ISO you set in the camera. You can shoot ISO 200 or ISO 800 and then adjust the exposure slider and both images will match exactly: midtones, highlight clipping point, and shadow clipping point, noise, etc: everything is exactly the same.

In terms of distribution, at ISO 200 the shadows are lost at about the same point in all cameras (a bit sooner on the 5D2-H264, a bit later on the Pocket-Prores), except for the Pocket-RAW, that can dig two stop deeper than the rest (same with the NEX in RAW stills mode, but that's of little interest to video shooters). In the highlights, if you shoot RAW you can go at least a stop further, but you'll have to push some sliders quite heavily to get that extra stop, it is usually crushed with the default settings.

If you want to check if the numbers are true, and exactly what I considered "usable", you can look at some ISO 200 clips here.

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