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Taking everything into consideration, we can say that Adobe Shockwave Player is a must have, especially if you have an active Internet connection.
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For a feature film shooting on a RED at 4K or above, it almost always makes sense to plan an offline edit with proxy media, followed by an online back to the camera originals.
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RED hardware, and are cutting at the lower end, like 4K, you may feel that the time spent transcoding isn't necessary.
Both Premiere Pro and FCP X have integrated tools or plugins built just for editing RED footage natively.
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In the media browser, you can apply a directory viewer filter to only see RED media files, which is useful for filtering out all those extraneous files and folders that sit alongside and house your media.
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Note: Effective April 9, 2019, Adobe Shockwave will be discontinued and the Shockwave player for Windows will no longer be available for download.
In the master clip tab, you can adjust all of the RAW metadata settings, including a wide range of color settings (complete with curves), debayer settings, and Red Rocket settings.
Pro is RED's post software that allows you to view, adjust, lightly edit, and transcode your R3D media.
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Once you have an understanding of all the moving parts involved in working with high resolution RED footage, consider how changing one detail might affect another.
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If you choose a different RED clip in your browser, you'll notice that the parameters automatically update to reflect the selected clip, without having to reopen the settings window.
Though not quite as robust as Premiere's workflow, FCP X's proxy workflow is also a great choice for RED media.
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