I came across DNG QT as well while searching for format options. They discontinued it when they dropped fcpx support, IIRC they mainly design MXF tools. The biggest downside to shooting in raw is the need to convert to an intermediate for some programs, imo.
I've done a ton of research into color space, linear/log, Lut's and dcp's, etc. Visionlog is useful for some clips, but isn't too impressive color-wise when applying a log->Rec 709 Lut, even with their own Osirus Lut's. I've gotten decent results importing into AE with ACR and using the Camera Faithful profile, getting the footage to look as natural as possible, and applying a Log Lut, a Kodak or Fuji emulation Lut, and a couple of look Lut's with their respective adjustment layers set as either hue or color blending instead of overlay. And I've found that lowering the primary blue hue slider -20 or so on the faithful profile gives the footage a nice teal tint similar to film.
That workflow helps me to match raw with 60p 720 h264 clips, but I've always wondered if I should even bother with a linear space, seeing as how film is not linear, and that's the look I want to achieve. Haven't delved into OCIO yet or had the chance to try out Cinelog but I can definitely see that you have a near-perfect workflow designed for color management. Now all we need is for our color information to be predictable across all programs. I'm not too hopeful though, even QuickTime manages to screw up gamma and color on their own damn .mov's lol.
