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I'm not sure how difficult this would be, but I think you can make this work for Resolve using 3D LUTs. So if we set the DNGs to REC709 or DCP color space, and set linear gamma, apply a CAMX2Cinelog LUT. And you have the speed of Resolve with your logarithmic curve for compression.

If I understand correctly, you're using the M31 LUT trying to convert your footage to log? Is it a utility LUT like the one that comes with OSIRIS, called REC709 to Log? Or is it M31 Log? Because the latter will take a log input and transform it to REC709 with the M31 color transform, while the former takes REC709 and puts it into a log color space.

This seems to be moving along well! How can I help?

Come to think of it, I don't think using it with CineForm would benefit us much, because we already have so much control over everything already in terms of the matrix and curves. But if you want to look more, here's a good explanation.

http://dcptool.sourceforge.net/DCP%20FIles.html

Has development for this stopped? I've seen no updates on the website...

Each camera profile is calibrated specifically to their corresponding standard DNG matricies (2x color and 2x forward). The curve is logarithmic and gives equal results across all cameras (i.e. no clipped highlights or shadows and equal steps through all f-stops). Think similar to Cinestyle but better and for raw video with the benefits of Adobe Camera Raw debayering etc.

So it's a complete color space? So if I were to take ML Raw footage and Blackmagic footage, and convert them to Cinelog there'd be no difference? (unless of course the scene's dynamic range exceeds the Canon's limit)

Also, will it ever be possible to use Adobe DCPs (Digital Camera Profile)?

So is it calibrated for each camera's dynamic range, or is it a generalized curve?

Just got the new update:

2.0.1.317 (23 January 2014)
UPDATES:

...

Enhanced RAW format support

Updated third party camera support

Bug fixes and stability improvements

Can you give quick explanation of what these are please?

No windows version for now. Most likely not for a while. At the moment your best option is Resolve.

Will they accept request for a tailor-made request?

They've been asking for them. http://vision-color.com/2013/11/18/announcing-visionlog-ucs/

are cf raw files supposed to allow the raw settings within resolve? for me they've always been disabled when importing cfraw files as either mov or avi into resolve.

my workflow for now is :
record as mlv (5dmkII) - convert to raw (mlvbrowsesharp) - convert to cfraw (raw2gpcf) - import to resolve

but the resolve raw panel is disabled, so i thought perhaps i could use gopro2pro perhaps to do the raw settings i cant use in resolve (temp, debayer, sharp), but any changes in gopro2pro arent reflected in resolve either. so if theres something i am missing to allow me to use cfraw files in resolve, and then use resolves raw panel, please let me know, thanks.

No, Resolve reads the raw data, but doesn't let you manipulate it. You can, however, use the Resolve fix and just make raw changes in Studio. If you decide to go the non-fix route, you'll get Resolve's debayer, but you'll have to fix white balance manually.

If only it ran on my computer

This is hands down the fastest way to go from .RAW to a complete and playable video. If only there was a way to make AE de-bayer the cineform files.

Hopefully they implement the demosaic algorithms I showed them a while back. The licensing was compatible, so fingers crossed...

Guys, Cineform RAW is still not so sharp unlike Adobe CR in AE/LR and even DaVinci? Or with new GoPro 2.0 software it's do a better job? As I can see, ACR is the best way to go for now?

CineForm Raw can be debayered by Davinci. So if you like Davinci's debayer, make Resolve your final stage and link with XML to the CF Raw files. ACR is too slow for me; Davinci is a happy medium between speed and debayer quality.

This is what I need to understand better. Would be good if you could explain what compression could I apply to the 5D3 and Gopro footage to bring these on a common platform.

I'd go to the guys of VisionColor and ask them to add GoPro Hero cams with ProTune Raw as an option to their VisionLog UCS. It enables the conversion of colors to match that of another.

Any update on the demosaic algorithms?

Why not just use regular ProTune? The point is to retain data through compression, which ProTune does very well. Then inside studio if you want it flat, just set it to Cineon 95-685 or Log C. Oh and I wouldn't use -c option on conversion, it caused my footage to go to crap too.

I should also mention to make it flat, in addition to setting the output curve to Cineon or Log-C, you can set the matrix neutral. That way it'll work well with LUTs that expect a log input.

For some reason on this last revision of raw2gpcf black calibration crashes the execution.

EDIT: False alarm, sorry. I put a space in between -bc and the name of clip when I shouldn't have.

Why not just use regular ProTune? The point is to retain data through compression, which ProTune does very well. Then inside studio if you want it flat, just set it to Cineon 95-685 or Log C. Oh and I wouldn't use -c option on conversion, it caused my footage to go to crap too.

This wipes the floor with NLE upscaling  http://www.infognition.com/videoenhancer/

They're bringing back the AE plug-in!

You won't get any gain by using both Dual ISO and HDR mode. Dual ISO is just achieving HDR by sacrificing resolution, whereas HDR mode does it by sacrificing temporal accuracy. Doing them both at the same time will be no help. You'll get the same DR but with spatial and temporal aliasing. You can't really "add" the DR gain of the two modes together.

Try a different version of raw2dng. On mac, I was getting a lot of dead pixels with RawMagic, but switched to Son of Batch and don't get any.

Tried the one http://www.magiclantern.fm/forum/index.php?topic=5404.0 got rid of the dead pixels, but now the FPN is back.

Latest Nightly Build.

So I'm not the only one getting dead pixels in raw... Any ideas on how to get rid of these other than flat field correction?

This latest beta is much better http://pomfort.com/cliphouse/

Yes, the resulting images will have baked color. Not a bad thing if you have all of the information you need to do your finish, but RAW in my opinion requires you to be able to restore back to everything the sensor read, giving you the greatest flexibility.   

I don't consider applying the demosaic as a necesary part of RAW. Consider the Protune CAM_RAW mode on GoPro HERO3 Black Edition (something I worked on,) that is about as raw as you can get in an H.264 file.  All the demosaic is applied in camera, but color matrix and white balance are applied in post, just like classic uncompressed RAW.

If there is enough interest, I will enable YUV or 444 development, without baking the color.  The only reason you might like 4:2:2 RAW, is that could run on the freely distributed GoPro CineForm Studio, just like Protune CAM_RAW works for GoPro users today.

Any updates or chances of this happening? This plus the Adobe CC update would be huge for workflow and quality. Bring DNG files into Media Encoder CC, use Adobe's debayer on the GPU for a speedy output to a debayered, semi-raw CF file. 

Any news or updates? Dead pixel fix? Demosaic algorithms?