Interesting. Thanks! Have you worked with the FCP 10 plug-in? If so, how do you find the performance in comparison?
haven't tested the plugin, I very rarely do anything with the X.
I think it is maybe easier to go offline with Red cameras, reconfirm to original files when the cut is finished, and then either grade in RAW or use intermediate format for later post.
Of course you can edit directly from raw files using for example Premiere CC but then it is always buffering buffering buffering and you don't usually need full resolution 5k or 6k for basic editing.
It is of course a bit quicker to move the project to post when it is cut online from the original files but if you are planning to use intermediate format (for example dpx) then you have to consider if the premiere's raw decoding is good enough for you or do you need better quality.
I myself, for example, am making vfx for my short film which is shot with Scarlet-x in 4k, it is cut offline in fcp7 using proresLT 1080 files, then reconformed in Redcine using xml. Because of the heavy VFX content, I then rendered all the movie to an intermediate codec (16-bit TIFF in 4k ) so I can do all the vfx in rgb. That's why I chose Redcine for raw decoding instead of for example roundtripping from Premiere to AE and making vfx using original raw files or making intermediate renders; the Redcine made a lot better decoding than AE for those raw files (my opinion) and it is much quicker and easier to do vfx to the rgb files. It also has the added benefit of maintaining uniform look throughout the film, I don't have to hassle with the raw settings in AE to make sure that the clips match to each other. Maybe if I would need 32bit rgb for vfx it would benefit a little to use the original r3d's but even then I could use 32bit rgb format, for example EXR, for the intermediates. And I need still sequences for match moving anyways so I can use the same tiffs for that purpose