What are the major hurdles in post production when shooting with the Red aka what makes post so hard core? I recently talked with an editor in LA that has worked on quite a few Red projects and he seems to think that the camera is misunderstood by most cinematographers and editors to the point where you need quite a bit of money in order to fix all the problems that emerge in post. I've never heard such a disheartening view of post production with the Red but it's coming from someone who knows what he's talking about. If the cinematographer has experience with the Red, you shoot 4K 2:1 and transcode to ProRes SQ 720p for the offline edit, then hand over the FCP project file to a color grading facility and finish in ProRes HQ 1080p on HDCAM SR, where are the hurdles he's speaking of? Maybe I'm just naive but if the cinematographer nails the exposure and the editor is able to cut the film most of the post hurdles are solved if you work with a color grading facility that knows what they're doing in terms of color space, gamma, etc. since you always have the original R3Ds to work with, right? I'd appreciate it if an editor that's worked on some Red feature films could let me know if the landscape is as grim as this guy makes it sound.