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My unscientific test using RAW on the 60D, off of the Vision Log and Vision Color profiles (not as detrimental in RAW as is w/ h264).
https://vimeo.com/67139223

This was a shot test using the Magic Lantern early 60D code for RAW frame shooting. My main points of interest were in skin tones, resolution and latitude.
WORK NOTES
1.   The RAW workflow, for those who are unfamiliar w/ RAW still photography, is a very painstaking process. It is well worth it, but it isn't as quick and immediate as in recording video. Keep in mind, filming in RAW is NOT video, they are still frames in a sequence (just to clarify that there isn't such a thing as RAW VIDEO in the most literal sense).
2.   These were filmed at 960x408, a 2.35:1 frame crop, which lead to much longer scene filming through the 20MBps data cap limit of the 60D's SD card buffer.
3.   The frame processing was done in Lightroom 4, which consisted of white balance correction (early code has a magenta shift), recovering highlights allowing from 1-2 stops of recovery and pulling up the blacks to flatten back to the Log look setup (shot on Vision Log).
4.   Finally, the frames were batch exported w/ a 1920px horizontal upscale in JPEG 100% quality, then imported as a frame sequence in premiere for editing.
5.   Color grading was done via a DPX export into AE CS6 and final delivery in h.264 at 28Mbps (Blu Ray quality).
This process reminds me SO much of processing film digitally. Additionally, the 960x408 upscale gives a very similar resolution to Super 16mm film. So as a fan of films such as The Hurt Locker, Hustle And Flow, The Wrestler and Black Swan, I've zero problem with the high latitude, but smooth-softened look of super 16 in a digital form
The resolution is MUCH better than the h264 files and the latitude isn't even comparable. Shooting in RAW gives such a large latitude advantage, it becomes a totally different conversation altogether. Much like shooting on film, you realize you can play much more w/ the imagery and don't need to be as protective of the highlights as you do when shooting video. It's a very different mindset and a much needed upgrade.
A GIGANTIC THANK YOU to the Magic Lantern team for putting all of their efforts into this!

I'm looking at your test now. It's basically a daytime version of my test of the 960x404 resolutions also, which so far are the highest res stable ones (unless you count 1440 by 602 at 12fps lol). My test is here: https://vimeo.com/67044831

However, I found that the 960 resolutions are still pretty soft when upscaled to 1920 width. And noise levels are pretty high too.

Also, how do you like VisionLog? I use VisionTech mostly.

I got 1440x604 working with no skipped frames...



At 12fps 

But I did some Twixtoring... and well...

https://vimeo.com/67110608

I was going to pay off my credit card... but now I'm going to use that money to buy a 50D I think. I already have a 60D and 550D, but the RAW video on the 50D won't be matched by those due to the SD cards it seems...

I know that it can record at 720 height, how's the 1080p (or higher) looking? And what are the crop factors so far?

So for those with cameras that use CF cards, I can see how the DNGs are the best option. However, how difficult would it be to have the camera dump JPEGs into a file similarly to what it's doing now with the DNGs? I would imagine that JPEGs would be a smaller filesize, and maybe we could have FullHD or bigger on the SD cards?

Personally, while more latitude would be nice, the nicest improvement with the RAW video for me was/is sharpness. If the JPEGs kept the same or similar levels of sharpness, then that would already be a great improvement over the vanilla H.264 video, not to mention doing away with the other adverse effects of H.264 compression.

I do realize that JPEG compression may prove to be too difficult a task for the DIGIC 4 processors to handle at such a speed, but I figured I'd ask anyways. Thanks to everyone for all their work!

No. At these resolutions RAW seems pretty useless to me. I also have a 60D so I have been messing with that more, but I figured I'd try the 550D. 60D DNGs revert to 5600 Kelvin in Adobe Camera RAW and sometimes exposure seems off, but it's at higher resolutions for longer (although not continuously at 1280 wide so still pretty useless imo).

My quick test

https://vimeo.com/67082496

It's not a port of 550D. I disabled only few option in ML like 550D users.

Ah ok, my mistake. Thanks so much for your work btw. What's new in the new compile?

[not]

Correct me if I am wrong!   

IMHO the bottleneck of the Canon EOS 60D is the built-in SD-card interface.
Several tests show that the maximum troughput is about 20 MB/s.

Even a resolution of 960x540 pixels, 25 FPS, RAW, 14 bits/color, needs 22,68 MB/s (or 21,6 MiB).

So shouldn't we aim at the maximum of 960 x 480 pixels, still needing 20,16 MB/s (or 19,2 MiB).
Note: these calculations do not include audio!

I did a test of that exactly for the reasons you say.

https://vimeo.com/67044831

Anyone else noticing that the shots seem properly exposed on the camera and then underexposed when your editing? You then have to brig up the exposure which creates more noise.

Yes. Shots are underexposed and white balance is always 5600, although the tint does change. I'm also getting a lot of noise and even my frame rates are off. When I do FPS override to 24 is goes to 24.008 unless I use the force exact option so it goes to 24.000. I messed with the advanced settings to get it to 23.976 but I wonder if it's happening to others as well or it's simply my camera? With regular ML in movie mode my shutter would always be 1/46 or 1/47.

We need to keep in mind that this is a port of the 550D version so it seems to not be properly configured to support the 60D as well. I guess we'll get a better look at the RAW recording once it's better configured.

Sorry for the triple post, but has anyone else has a problem with the white balance? It seems like every clip I import into After Effects has a default white balance of 5600 and + magenta tint (30 for the clip im looking at now but I could swear it was like 70 earlier on another).

Also, my default FPS override goes to 24.008 when i pick 24, has anyone else experienced weird stuff like this?

Also here is another series of tests. This time with the 960 width resolutions since it's the highest res that allows uninterrupted shooting so far.

https://vimeo.com/67044831

I went out and tested it today. It seems rough, but I cant wait until more things get worked out. My videos were recorded at 1280x536 and I processed them in lightroom. My friend has a black magic and I would say that the files are better from out 60d! haha.
https://vimeo.com/67041664

That latitude looks great! I have yet to try mine out in bright conditions. Did your video cut out after a certain time? Also what ISO setting and how did you go about processing in Lightroom?

My tests have all been at 960 by 404 since it's the highest width that allows recording without skipped frames

Has anyone else noticed what seems to be pretty high noise? Maybe it's because I'm using ISOs 800 and above and upscaling to 1080p? I haven't tried denoising, and granted the noise isn't as ugly as say h264 noise and artifacting, but it's prevalent.

here is my first test - 1280x536, I got about 27 seconds setting it to S2 mode. Upscaled to 1920x804, cropped to 1920x800. I fixed white balance in AE, then exported a ProRes file I did some more color grading to. Then exported to H264 @10mbps.

https://vimeo.com/67024889

Oh, and I'm 90% sure I was at ISO 6400

So from the looks of it, the smaller the resolution the bigger the sensor crop? Is there a way to avoid the crop or at least zoom the screen in? So far 960 width seems to be the only reliable one (ie, longer than 20-30 seconds) which has a very small box in the center.

This is awesome, thank you!

Now to find the 550D link so I can do this on both my cameras!

I'm running a read/write test on my 60D and am getting (on a class 10 pny card)

Write speed (buffer=2048k): 17.1 MB/s
Read speed (same): ~18 MD/s

(auto power made it turn off after that >_<)

If someone has compiled an autoexec.bin for 60D I would load it up and see how it goes.

So I've noticed that the RAW video tests are happening mostly on the 5Dmk3 and mk2, with a few people also playing with the 600D. I have a 550D and a 60D and I'd love to test it out, but I don't know where to begin to compile an autoexec.bin that will run on them (the 5Dmk2 one didn't run on the 60D at least). If anyone has tried it, or cares to, I'd laod the file onto my cams to test it out.

Hmm... honestly I don't know what "dcraw -k" does, but I did notice that increasing it does raise the black point/shadows (while adding magenta) (histogram confirmed this). That said, why would the raised shadows look cleaner in terms of noise than darker ones?

Try the "Force SD on HDMI" option in he Prefs or Tweaks menu (I forget which one it's in)

I read the manual, but what exactly is black level doing? To me it seems like it's raising the black level while adding purple (or making it dark and green and gross), which, a very quick and lazy test showed that when raising that black level, "black" objects had less noise than when just shot w/ black level at 0. Why? I was using flaat10p.

Also, let's say you were going for a color grade that had purple shadows and yellow highlights and that vintage, hipster, faded look complete with lifted blacks. Would just shooting using + black level and a warm white balance be better than shooting normal and color grading in post? If that is applied to raw data, "color grading in camera" would look better as far as noise and artifacting and banding, no?

I was thinking the audio settings should be saved onto the camera, just like Kelvin settings are. The reason is that, when conducting an interview for example, switching cards means having to reset your audio levels instead of just putting the card in and shooting.

I also wish we could have this because since my audio jack is messed up, my camera thinks an external mic is always plugged in, so the only way I can use the internal audio is by setting it manually to "internal mic" - I'd love to be able to just have that setting also saved to the camera so it's the same between cards and I don't have to switch a card from external to internal (if I was using it for an interview foe example).

A preamp would be nice if it clicked when I inserted. I think I'll just wait I guess. Oh and to clarify, the adapter only made it stero because the 2nd adapter wasn't plugged in all the way (even tho these are 2-lines and are supposed to make it stereo :/)

Maybe you know a little more about this, when plugged in all the way I get a nice clean signal on the left. When slightly unplugged like it was before, it gives me a stereo signal that sounds fine on the right channel in l-int/r-ext (when i isolate is in premiere), but sounds like crap when stereo in premiere (recorded in ext mode) - BUT using fill right and fill left both sound fine...

I found a short rca-quarter adapter cable and xlr-rca adapter that is another way to send the signal only to the left or only to the right, which I guess is the safest option? Too bad its so damn short though >_<

Hey thanks for the reply!

Uhm... it sounds  like your input jack IS broken... just not all the way. Maybe only 1 leg of it? Or a cold/cracked solder. Or metal fatigue inside the jack itself?

Yeah it's not a matter of wether it's broken, just a matter of how. :/ And obviously you know more about this stuff than I do, haha - the crappy part is that it interferes with the internal mic's auto switching.

Heavy XLR connector + cable always (often?) hanging down putting strain on the jack?

I usually wrap the xlr around the mouth I have, and would then have it come from above so it wouldn't really be pulling on it, but I guess this was still never as simple as having a mic with a lighter cable built into it... I used a right-angle adapter before that I had lost (just found it!) that would face up or down but I used a regular straight one for a while 0 I was using the straight one when it broke.

L-int, R-ext isn't an option for 550d? We have it on 600d.

It is an option, but it wasn't working because my mic is a mono mic and would record to the left channel by default. In L-Int; R-ext, the right channel was still empty because the mic defaulted to left. I saw an explanation online but it involved a whole slew of extra stuff just to switch channel

However, I found my right-angle adapter, and that one converts my mono signal to stereo! So now on EXT it records to both channels, and in L-int, R-ext, I now have the internal on the left and external on the right (So I learned that this does work but only if you have a stereo signal coming in) - I figure this should be the best fix for the time being for recording audio with a mic, I will always have an uninterrupted internal signal as a backup. Now I just need to remember to switch it to this from "internal mic" mode when I use the external.

Canon may fix it cheap but who knows. The price will probably depend on how far the audio connector is buried in the camera and how much the tech has to take apart. Canon also aren't too keen on soldering/used parts so a 3rd party may help here so they're not replacing a whole $$$ board. I have not looked at the service manual yet so not sure.

Yeah, I figured the 3rd party route would be cheaper, but again, that's money I can use for a new camera, or to pay bills, credit card, student loan, etc :/ And something about a random camera repairman in Miami just doesn't convince me, hahaha.

Thanks so much for your reply!