You also typically need someone watching over the footage, making sure everything is transcoded correctly (especially in the early days as the software would cr

You also typically need someone watching over the footage, making sure everything is transcoded correctly (especially in the early days as the software would crap out halfway through). Most producers were under the mistaken impression, at least early on, that shooting on the RED would save a day of film transfer. It didn't, it just switched that day over to the edit house, preferably to a dedicated machine with an assistant. It still took a day or two to get footage ready for the editor. Also, early on, the camera dept. didn't want anything to do with onset media management and transcoding (the job of the newly created DIT), but over time, camera realized their mistake (in losing that control and revenue) and now DITs are typically part of the camera dept and most transcoding is done on set. Now post will get a drive of the raw footage and the transcodes.