There seems to be a common misunderstanding of how to deal with RED footage that ultimately sways clients to go for other digital camera systems. Time and time again I hear complaints of how difficult things are workflow wise. Think about this, if you shoot on a dslr you must first transcode the footage into an editable format to begin cutting, right? With RED you have many more options for a workflow that fits your needs while retaining the full range of your RAW image instead of dealing with the competitions highly compressed footage.
Ok, this could turn into a huge debate, enough already…..
Here is the workflow chart created by onyxcinema.com. As you can see there are many ways to work with RED footage. You can find the original post here.