A good link for RED workflow
there are pathways for Apple/Final Cut Studio 2/Color, Adobe CS4, and Avid Media Composer then finish DS

one pathway listed is:
Render in RedRushes or the Log and Transfer interface directly in FCP 6 to ProRes 422 media in either 2k or 1080p from the 4k REDCODE media - and edit offline or online/color correct in Apple Color for Broadcast quality finishing directly from those files.

Apple ProRes article by Gary Adcock
excerpt.....while DVCProHD and Long GOP Mpeg files can offer exceptional quality for acquisition, their use in post could be a detriment to achieving high quality work. ProRes was designed to be the highest quality intermediate codec to keep the postproduction workflow data at 10bit quality, yet at a low enough bandwidth to be usable for the majority of FCP users.

Data rate for 10 bit ProRes HQ for 1080/23.98 is about 24.75 MB/s or 220 Mbits compared to uncompressed 199 MB/s or 1.5 Gb/s
This is a higher data rate than 8 bit HDCAM at 136 Mbits or DVCPro HD at 100 mbits.

ProRes SQ note: Gary Adcock's testing found that when the camera native codecs (DVCPROHD, HDV or SxS cards with MPEG-2) were converted to ProRes in software they universally ran better when using the Standard version of ProRes rather than choosing the HQ version.

Output of ProRes HQ out of our workstations with AJA Kona 3 cards records to HDCAM SR at 440 Mbits data rate.

more RED workflow info at REDUSER.net and at the RED.com/Support site you will find these downloads, and more:
RED QUICKTIME CODEC (BETA)
RED FINAL CUT STUDIO 2 WHITEPAPER
REDCINE (BETA)