If you like me have a dream to produce movies for netflix, this are some technical requirements for your product can be evaluated by netflix team .
1 - full 4k resolution - 4096 × 2160
2 - 16 bit color space - ( bye iclone render ) 
3 - 240 megabit h264 compression ( minimum ) at 24 fps
4 - you must have 2 versions of your movie: a uncompressed version with 16 bit color space without color correction , and one compressed version like i said in number 3. 
so... lets produce
 PS .... unity render export frames in realtime at any resolution with 32 bits extra color space

Thx for the topic and info!

Hey - Make a show about rendering!  Unity, Unreal, Octane, iClone, 3DS Max and Daz Iray, Marmoset... 
I would watch that all day long. 
Or...You could even have me as a guest on a discussion panel about rendering, I would go on, and on, and on, and on, and on, and on, about it....
It would fill up a whole 13 shows, easy!

You could still use iClone for your renders -- render to stills (as you should be doing anyway for any pro work) and in your video editor just output to 16 bit colorspace (again, what you should be doing).

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Alienware Aurora R12, Win 10, i9-119000KF, 3.5GHz CPU, 128GB RAM, RTX 3090 (24GB), Samsung 960 Pro 4TB M-2 SSD, TB+ Disk space
Mike "ex-genius" Kelley

The spec is 16 bit for dynamic range - which is the only way to get glows without banding, or textures that can hold up to colour grading - so, converting the files from 8 bit to 16 bit using an editor/compositor is not going to fly as 8 bit files only have 256 steps from black to white, whereas 16 bit files have 65,536 steps.
The glow sphere on the left is iClone and the sphere on the right is Fusion (both have had some gamma boost to illustrate how quickly 8bit shows it's shortcomings).  So, if you convert an 8 bit render to a 16 bit file... all you get is a bigger file with the same image.

But it doesn't matter -- Netflix won't know (and won't care) how it was produced, only what it looks like.  As long as it conforms to their specs they have no way of knowing how it was made.

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Alienware Aurora R12, Win 10, i9-119000KF, 3.5GHz CPU, 128GB RAM, RTX 3090 (24GB), Samsung 960 Pro 4TB M-2 SSD, TB+ Disk space
Mike "ex-genius" Kelley

Not true.  I have experience with Netflix and Amazon TV series/films and their technical requirements are as stringent as any broadcaster - the QC department would spot an 8 bit converted to 16 bit in a few seconds (as I was illustrating with the waveforms).

Ilusion Lab is right , this is one of reasons i am so happy with unity, i have a powerfull render full featured *realtime GI, descent AO, descent antialiass (at no render time cost ) , screen space reflections , perfect DOF, etc etc etc, and when i turn on the EXR output on uniyt BINGO!, unity give me 32 bits color space. at any resolution , unity only show me "hey put a descent Hard drive and i give you full 60 fps render output bitch! "

Considering Netflix themselves upscale SD video to show, I'd be skeptical of this.

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Alienware Aurora R12, Win 10, i9-119000KF, 3.5GHz CPU, 128GB RAM, RTX 3090 (24GB), Samsung 960 Pro 4TB M-2 SSD, TB+ Disk space
Mike "ex-genius" Kelley

If I was making something that I knew was gonna end up on Netflix I think I'd  IRAY that ish anyway.

I've seen some things on Netflix that I doubt were legit 16bit colour.
Red Vs Blue used to be on it (dunno if it still is).