@Danne - we don't include a batch script. The best option is
http://aescripts.com/batchprocessor@Mageye - we are working on a basic workflow video but if you use VisionLog you will already be familiar with how things work. How you grade the image, and the NLE you use to edit, is entirely up to you but we provide LUTs to get your image into Rec.709 colorspace plus several 'looks'.
A basic After Effects workflow would be to convert your raw files to DNG, import your sequences to AE and apply Cinelog in ACR. You really only need to tweak white balance (if needed) and click OK. Then add the sequence to your timeline, set the correct frame rate and export to a high-end codec (Prores HQ, DNxHD, Cineform, Grass Valley HQX or DPX etc). You can then work with video files that have all the latitude of the raw files.
The difference between Cinelog and Visionlog might not appear big at first glance but in a professional workflow, where retaining quality throughout post production is vital, it can be significant, especially where highlight and shadow information is concerned. VisionLog (from what I can tell) is not logarithmic and is not a mathematically calculated curve, which means the steps between f-stops are not uniform and smooth. Shadows and highlights are squashed at each end with the mids almost linear (it's a bit odd). It also lifts black levels a lot (a good trick to hide noise) and if you render intermediate videos like that you will inevitably lose some latitude and detail when trying to open up the upper and lower ranges of your image. If you want to work with raw footage, as raw footage, you are better off working linear (i.e. no curves applied) but that can be tricky. Obviously realtime playback of your raw footage is very CPU intensive and workflow is very very slow because of debayering + applying plugins etc so that option isn't usually viable for anything over a few minutes long.
The other significant difference between Visionlog and Cinelog is that we embed each camera's individual matrices and most other metadata, specific to the model. Cinelog is a dual illuminant profile and ACR uses this to interpolate colors depending on the white balance settings to help keep colors accurate (it helps with difficult lighting situations). We also tweaked the standard DNG colors in several places to fix some issues with Canon colors so that skin tones are where they should be (have you ever noticed what DNG conversion does to skin colors on Canon images?). Anyway, I could go on and on but you want to see results so keep an eye on the website for some interesting things
