Oh Ok I'm now interpreting you as criticizing the fact it's a linear 14 bit fixed point encoding scheme coming off the ADCs. Well there's absolutely nothing wrong with linear encoding if it encompasses the full dynamic range of the photocell. Using a floating point encoding scheme would usually be done to throw information away, i.e. compress the data that was less interesting. Since we are interested in every gradation of the visible light spectrum equally, using linear encoding is the high end way to do it, not a compromise.
I'm not saying there is anything wrong with it, I'm just saying that to make a big deal about a 2-stop advantage with this technology is wrong :-) The two stops don't help much with the most common use case for DR, which is to recover shadow detail.
I would STRONGY dispute that the most common use case for DR is to recover shadow detail. Canon purposely caters their DR to the highlights, as its only in the highlights where you can literally CLIP information and prevent any recovery at all (you literally can't "clip" at the black end such that detail is unrecoverable...you can only compress blacks together and possibly mash blacks into the noise floor, but even then, you usually can still recover something, and with dark frames, you have the potential to recover a lot.) Every additional bit of DR doubles the number of luminance steps you can achieve...and they are pro-actively allocated to HIGHLIGHTS FIRST, then to darker tones. Most of the blather that ensued on this forum shortly after the 5D III announcement was people complaining about the bottom 2-3 stops of DR, which generally account for maybe 20 or so distinct levels? Highlights have thousands of levels allocated to them, and the more the better from a raw theoretical standpoint. Dynamic range is NOT primarily allocated to the shadows, particularly in Canon cameras (the 5D line itself is a supreme example of why...as it's extremely popular with wedding photographers, who without question need highlight range more than shadow range for bright white wedding dresses, shiny brides maids and the like.)
The arguments for shadow DR primarily come from landscape photographers and a few more niche markets, who tend to shoot scenes with dynamic ranges that (sometimes far) exceed the range of a camera. Regardless of how much DR you have, unless you are lucky enough to find a sunrise or sunset at exactly the right time where you only need about two extra stops, your going to have to compromise on shadows vs. highlights, and the best way to compensate is with graduated neutral density filters (even if you have 14 total stops of usable DR.) Landscape photographers, however, do not make up the vast majority of actual or potential 5D III users.