[Paul Provost]"But pull a luma key on the shadows first. Especially on the epic stuff."
This is probably a more even-tempered approach. The other edge of the sword, when you introduce what old timers would understand to be "aperture correction", is that you add a spike to everything. So the danger is making your image "noisy" on one hand, and "haloed" on another -- the famous white after-shadow on over-compensated footage. How much is enough? Nigel "Salvnel", of course, is correct with "11", but it will affect the sustain. Thank you, Christopher Guest.
A tech supervisor in my past used to refer to the process as "phony focus", when tube cameras were unable to achieve much more than 800 lines. Consider that human vision usually excludes everything outside the photographic "zone 1", so optically, really, its only the middle 'cone' of subject emphasis that will benefit from the attention, and, then generally only a wide qualification of mids. If only we had that on those old Philips LDKs.
"Sharpness" is a *power* function, mathematically, defined in an imaging device within its MTF - mean transfer function - generally, it is unrelated to resolution, or less important than, contrast.
"I always pass on free advice -- its never of any use to me" Oscar Wilde.