Ungraded vignettes of people and skin tones - the only thing Ive touched is the exposure slider here and there :-). This is 14 bit RAW video from the Canon 60D live view. 14bit RAW is working fine - albeit not so many seconds at high resolution.
What you see here is a h264 conversion from the RAW file in AE. The ORIGINAL RAW footage is STUNNING. Still a few teething issues (any frame drops you see here are where there has been a frame of corruption).

Well done to A1ex and the ML team for their hard work.

Workflow:
Download & install ML onto SD card, Download marekk's latest 60D stuff (-with LV_AF_RAW) and overwrite ML stuff where specified. Initialise the RAW record mode after running the module off the M tab in Magic Lantern.
Set RAW-enable to ON and choose framesize (1728 x 992 for 1920 scale).
Record some RAW footage.
Download and install for Win users: BATCHelor_1.2_by_FATPIGtures GUI (fatpigtures.com/software/) or on Mac use the OSX raw2dng GUI app for splitting the RAW file into DNG images.

Take these files and import into Adobe Effects as in my quick and dirty approach:

AE Workflow
1. In Adobe After Effects select File/Import/Multiple File' Import in AE which will insert each RAW set of DNGs into your AE Project - don't forget to checkbox Force Alphabetical Order in the import dialog. With this dialog still open select the first DNG in the sequence ((eg 000000.dng) and 'OK' into Adobe After Effects, the RAW window now appears (here change exposure, colour, highlights, shadows, etc...). Ok the first file and repeat the above sequene for the next clip/folder of DNGs you would like to import.

2/ Select a clip in the AE Projet youve imported and 'interpret' the footage as whatever frame rate it was recorded as and save setting using 'remember interpret' so that you can quickly 'apply interpretation' to all your other clips too.

3/ make a composition file and change the file duration roughly calculated to the total length of all your clips youve imported (you can always extend/reduce by editing the composition later), then select all the clips and drop them into the composition - space them out - and render the composition sequence (eg COMP 1) out to lossless .mov codec or custom Prores (or whatever format you like!)

4/ Bring the rendered output file into an NLE for further editing.

* Dont forget to set Project workspace to 16bit in AE.

Music by The Sinking Ships 'Cinema Clock' - Dead Good Records (1980)

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