Dalsa have a guy called Dan Sasaki working for them that used to work at Panavision, Dan was the head optics service guy at PV and he put together various one off lenses which Im sure he will be doing at Dalsa as well as putting together sets from various made up stills lenses. The key to people like Dan is understanding how optics work, what you can and cannot get away with and engineering into re-works improvements to the mechanical flaws so you maximize the optical performance of the glass. What you cannot do however is improve on the optics themselves that is why cinematography lenses are so expensive because they are optimized utilizing the best glass & coatings available whilst being configured to work best at maximum apertures down to about 5.6 whereas most stills lenses are normally configured to give optimum performance at 4 - 5.6 depending on design.
Zooms are realy where cinematography has no equal in stills these lenses are extremely complex both mechanically and optically and for good reason as stills do not require zooming in shot or splits etc etc. So whilst the Red One is aimed at all manner of cinematographer if the likes of Peter Jackson want to get the most out of it then they need to take optics seriously.