At our in-house production and post-production company, we shoot 90% RED with some FS700 and other rented gear. Editorial uses FCPX, VFX uses After Effects and C4D, and I do initial correction in RCX and then finish color in Resolve. We ingest the RED mags to our XSAN and run all the clips through Red Cine X for initial primary corrections –contrast, blacks, saturation, whites and propagate that new metadata in the RMD's. The footage is now prepped for editorial in FCPX and VFX selects in AE and C4D. The huge benefit of this workflow is that if one changes the color of a clip anytime from here on out in RCX, the clip will update the corrections in real time in FCPX editorial and VFX AE/C4D. This means minimal versioning. This also means that these two steps can happen at the same time and save huge amounts of time so that by the time editorial is done, primary color corrections are as well leaving secondaries and look grading to finishing in Davinci Resolve. This is why a RED workflow is a superior workflow.