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Flicker: I'm still working on testing dmilligans amazing script, but in the meantime I tried a copy of the RE:Match plugin when I dropped in to an agency I work with who has just about every AE plugin known. I've seen this plug mentioned before but the workflow I saw spoke about using JPEG previews as the sequence to match to. I didn't need to do this to get a usable result, what I did was:

duplicated the ACR sequence in AE, found a frame I considered middle of the road wrt range and brightness in the lower version and set 'time/freeze frame' in AE.

inserted RE:Match on the top version and, after a bit of playing around, used these settings:
Get color from: lower (time frozen) sequence
Transfer method: gain+offset
Color space: LAB

Other combinations of settings ranged from horrible to almost as good with the video I'm using.

And that's it really. The flicker is completely gone. I still have some very mild slow brightness changes visible (the ACR changes between frames are more than gain+offset differences) but it looks much better than before. You could also use the snapshot/match to still feature rather than the time freeze thing I did but potato potahto.

Next, to experiment with the Bridge script! Perhaps I can save a few quid and not have to buy RE:Match. Dmilligan could easily charge for the script if it works as expected, I'm pleased he doesn't of course.

Thanks Dmilligan. Yes, I've heard about the 2010 process selection but haven't tried it yet. Mostly as I've seen reported that it doesn't fix the problem entirely.

I've seen your script in passing but as I haven't been doing any timelapse haven't looked into it. I just want to say - wow. The first thing I thought was that it was going to be something that adjusted exposure. The ACR parameters we're talking about fiddle with a lot more than just exposure so it might improve flicker but probably not fix it. But no, I was wrong. It looks like it manages the ACR parameters in much the same way I was hoping for Adobe to implement. I'll be installing it today! Excellent work.

As for the comment about the image adaptive parameters, highlight slider etc, I do understand that they are image relative. What I was thinking was that once  the underlying (invisible to us) parameters are set for one image that they could be applied to all of them. I definitely don't understand it all so it's highly possible I'm one of those people who asks questions (or worse, makes statements) that make no sense when the situation is better understood. Still, it sounds like this is almost exactly what you are doing in your script, with a lot more features added in!

Wow. I've been using ML for the video utility features but after reading through the issues here haven't bothered trying raw video. Well, yesterday I had a couple of hours spare so decided to give it a try. Amazing. There's a lot of talk about latitude, and it certainly improves there. However, the flickering problem (I use ACR and AE) when adjusting the highlights etc disappointed me at first. These adjustments were part of why I was getting a great looking image, the problem being when the light changed the video had a sort of dodgy film print look. Not terrible, but a little disappointing.

Anyway, I tried again this morning when there was more light and discovered what for me is the real benefit - bypassing the H.264 codec. Shadows are dark and clean, details are incredible. I shot out my window at a view I've used to test for ages and even at the sub 1080p resolution, it was sharper and more real than anything I've seen from my 7D before. When I first installed ML, it was like getting a new camera. Raw is like another one again. OK, I'm not going to stop using the standard codec but if I want a beautiful shot, say for a website background, or a title sequence raw is the way I'll go.
By the way, I avoid the flickering by keeping away from the basic adjustments in ACR but I'm sneaking them back in, a little at a time. I ease off if I notice the flicker (by reloading the file in AE, which brings ACR back up). Then I use the curves page instead, although they're not as precise as the basic parameters.

Here's something I did. Note that I forgot to switch off IS on the lens so the pan jerks a bit at the end and it's hardly going to win me a cinemaphotography oscar but I've never been able to get this much range and detail before. The vimeo codec has disappointingly softened the image a little (I guess even for Vimeo there's too much going on for the compression) but I'm impressed at the difference between this and H.264 versions I've recorded previously.

Thanks again, everyone. Brilliant work. Hopefully Adobe will realise that a lot of people are using ACR for raw workflow and add a switch to prevent the basic parameters from changing throughout an image sequence. I'm going to shoot some city views when I'm at work today, I'm really looking forward to it.

BTW, the camera does stop recording sometimes, usually after more than 10 seconds. Most of my shots are shorter than this anyway, so I can work around it. I've learned to work around the h.264 codec (I try to use shallower depth of field and selected backgrounds to keep the detail in less important bits low to avoid the smudged look), but now I have raw as an option. I use a Microtrack II for audio (assuming I want any) but now I'm going to have to use a visual cue to resync in editing as there's no camera audio with raw. No biggie, just another adjustment to make. It's worth it for the times I will want the best possible image.

https://vimeo.com/80352389

Excellent work all. I was perfectly happy with using the Alpha 2 for video, except for the one thing - I wanted a bootable version. This was because I am using a non Canon AC adaptor and the camera won't allow the installation of ML (it asks me if I know that I'm not using a factory battery and when I say yes, reboots back into the vanilla system).

I made my usual changes, CBR 1.2,  turn off x5 zoom option and tweaks to allow me two profiles - one with zebras, focus peaking using yellow dots in greyscale and the setting to bring up the 3x focus box in the top left at a half press of the shutter which also restores colour (this is the main profile I use) and another profile with false colour and the level line which I use to check brightness ranges and, of course, horizontal leveling. This is how I've used ML since the alpha 2 came out and it's a very useful addition to my 7D, in combination with the VAF-7D anti-moire filter.

However, whenever I used an external mic (I use a small clip-on, not really lavalier, that came with my Microtrack II audio recorder) the system was flaky. I was disappointed as this meant I was likely going to have to go back to the non-booting alpha. I spent an hour or so switching parameters on and off to see if anything was causing this and lo and behold - the wind filter! When I switched it off, the audio came back, the camera stopped freezing and it was back to normal. I just wanted to give this hint in case anyone else was having the same problem. I haven't used the system for long, so it may still have issues, but for now it seems great. I don't need the wind filter with my external mic, it has it's own foam covering that seems to do the job. This is meant to be for sync audio, or at least that's the intention but it seems I end up using a lot of audio from the camera, in particular when I don't have time to setup and switch on the Microtrack. With the mic plugged in, I get reasonable sound as I can position the mic several feet from the camera closer to the subject which is often a better solution than a higher-end mic mounted on the hotshoe (I'm an audio professional by trade, not in the video world).

The only things to comment on are that the full-frame equivalent display (50mm for example) is sort of overlaid with other text, but I can read it fine. I also have some weird characters displaying on the screen in various locations on playback but I can certainly live with both of these.

I'm not using any of the extra modules (for now) as I just want to get video recorded with a minimum of fuss and a maximum of feedback and I have that without trying any of the new features.

Thanks everyone for their help, instructions and utilities that have allowed this. I love the new look as well.

Hi Everybody!
From Morelia, Mich in Mexico...
http://www.youtube.com/watch?v=089LHmjkG6s&feature=youtu.be

This video seems to have been taken down, unless it's a country restriction.

Shot taken from a short doco type review of the day, still in edit. 7D, 720p/50.
MagicLantern used for zebras and focus.
OK, it's obviously amateur and still a little soft but this was one take, minimal setup. Every single person get's their face into this, one of those serendipitous moments.

Thanks for this. Very interesting.

Excellent option! Thanks, Breaker. I'd be more comfortable using DC into the camera if we're talking about unofficial gear. I can just imagine something shorting and giving the camera death by 240V (here in the UK). I know that anything sold in this country (such as my switching power adaptor) is extremely unlikely to do this but I have a vivid imagination. I'll check out the Lanparte.

I recently bought an aftermarket AC power adaptor so I wouldn't run out of power when filming. As the adaptor is not from Canon the camera says it cannot communicate with the battery. Unfortunately, it then asks for a soft restart (or whatever it's called) and this clears ML out of memory. Reloading ML manually causes the message about the battery to reappear, requiring another soft restart, sans ML. Bugger.

Not a big deal and I assume it won't happen when the final auto-loading version is released. I've been happily using the 7D Alpha 2 since Christmas and it's an incredible tool.  I can manage fine with two batteries, I was just getting power hungry.

I wanted to give a heads up to anyone in the same situation. I apologise if this has already been covered, I haven't seen it anywhere but there's a lot of information around and I might have overlooked it.

Just another thank you for getting this working. I really can't believe the improvement in my video. Being a rank amateur (I'm a sound guy who moved over to the dark side in April) I need all the help I can get, so I say again - hoo-bloody-ray for zebras and focus peaking. If nothing else ever comes out of this, that's enough. I am looking forward to not having to load ML every time I boot , but I can live with it. I've just gone and bought the Mosaic anti-aliasing filter, a (surprisingly good) no-name follow focus and one of those video monopods with the fluid 'foot' and I'm loving what I'm creating. Nothing good enough for you lot to see, of course, but for me - it's fantastic. I'll drop another small donation when the next version comes out. No, that's not a bribe, I'm just skint after buying all that crap listed above :-)

Thank you for your work. I can't wait until the next version is out with more of the ML stuff. I'm curious about the increased data rates, the intervalometer, HDR video etc etc... Even if none of this stuff ever comes out, the focus peaking and zebras make my camera feel like a different model. Keep up the good work.

I'm an audio guy (tracking and mixing for post pro) and recently (April 2012) bought a 7D. I've been making videos since then and been basically unhappy with most of the results. I was using the camera's exposure metering and was continually getting blown out highs, especially in sky areas. Yes, I know. Schoolboy errors, beginners' errors.
I'd heard about Magic Lantern but wasn't expecting a 7D version so it came as a bit of a surprise. Incredible! Just using the zebras my video is so much better, and the guides are much more useful to me than the standard. The focus peaking has taken out so much of the guesswork and... I could go on, I love this software. Donation on the way. I had no intention of donating but the difference in my results is night and day. Thanks for this, guys.