Not all production with the RED camera is Hollywood-scale. Craig Meadows is in a smaller market, doing mostly local and regional spots. Even though he's only had his RED for a short time, he tells you here about how it works, its workflow, and how it's already making a big difference for his clients.
I don't think FCP excepts DPX files without the Glue Tools plug in and it's far from daunting since the RaveHD can be mounted directly to the MAC. The Mac just sees it as one big drive with files sitting on it, be it DPX, QT, AVI, DNxHD or whatever (it really just becomes a matter of if the editor can utilize those particular files). A shop using AE, Shake, Combustion, etc...also see a benefit as these apps do work directly with the DPX frames and can be accessed as easily. One big factor with working in frames is that is you have a sequence of 1,000 frames, you can pull any number of the frames you need (be it 1 or 1,000)into any app without having to pull the whole sequence.
RaveHD along with many other apps can also do a conversion from DPX to QT and is a proven workflow. We have many customers going the DPX to QT route for editing along with a QT to DPX route for other parts of the workflow. They are also going back to the RaveHD to conform back to the uncompressed DPX frames. There isn't a single "Best" way this is being done, because everyone requires a bit different in their workflow. We don't specify how it should be done, only give the tools to do it the way they need......
I know Frames scare many, but it can really be no different than working with a clip with one big benefit, the ability to work with any number of frames and or replacing any number of frames in the sequence easily.