There is a lot to unpack in the questions.
DSLR APSC bit depth
It varies by manufacturer and model. Note that while some cameras report 14bit depth, that mode is only available with mechanical shutter, and not recommended for film scanning because of the finite life of the mechanical shutter. Practically, with electronic shutter, some provide 12bit, most 10bit. Here is a comparison.
Basler Larger Sensors
Some projects have used the ACA2500-20GC which is 5MP and uses an Onsemi Python sensor. According to the datasheet it has an On-chip 10-bit Analog-to-Digital Converter (ADC).
HQ IMX477
The sensor used by the RPi HQ is the Sony IMX477 and provides 12MP with a 12-bit ADC. The Dynamic Range of the HQ has been measured at 11 stops.
There is a difference, but in the context of film scanning, it may not be what you expect.
Sensor Size / Bit Depth
Dynamic range of an image captured directly is subject to the lighting conditions. For film scanning, the dynamic range is limited to what the film stock is capable.
To better understand, if one is capturing a scene directly with the sensor, the dynamic range of the sensor will determine what gets clipped (whites) and crushed (blacks). The bit depth provides the resolution of that range.
However, when one is capturing -for example- Kodachrome 64 and above film, these have a narrower dynamic range of about 8 f-stops. Interestingly, new Kodak Verita stocks also reference “a shorter” dynamic range.
The response is therefore to split dynamic-range and bit-depth. In general, larger sensors would provide better dynamic range. When the film stock has a larger dynamic range (non-reversal) that is an advantage. But one also wishes a sensor ADC with high bit-depth for a smoother color range. Particularly helpful when color correction is needed.
Kodak words: “shorter, but exceptionally rich, dynamic range” seem opposite, but these are not. And it illustrates well the film scanning sensor dynamic range vs bit-depth choice. One can have a richer color variations with more bit-depth, and at the same time have these in a smaller dynamic range.
When is the dynamic range a must? Color non-reversal. For example, Kodak Vision 3 shows about 14 f-stop dynamic range.
The Tingopix Work Around
If time is not an issue, a workaround with smaller sensors like the RPi HQ is to do multiple captures of the same image. With 16 captures at 12-bit depth, the result is a 16-bit depth image file. The stack is summing frames, reducing noise by √16, and also increasing the dynamic range by 2 f-stops. This workaround provides the ability to expand the dynamic range from 11 f-stops to 13 f-stops with a resulting 16-bit depth image.
A decent dynamic-range with exceptionally smooth color range.
This is a good reference on bid-depth vs dynamic range for film scanning.
Sensors are linear. There are some unique log-sensors used in particular applications, but I do not know of any being used for film scanning. The linear output file may be transformed to a file with log-curve if preferred for color correction. Tingopix provides the linear (sensel raw) output with or without Color Correction Matrix (CCM). If one prefers a log curve, it can be done post-scanning.
You may be using the default tunning file/CCM. Rolf @cpixip did invaluable work for everyone by creating a tunning file that has since being incorporated in the library.