It's not just TV shows and features. There are plenty of commercial edit shops that simply do not want to deal with file conversion/prep of RED, Alexa, C300, etc. files. They often demand of the production company that files are supplied as "edit-ready". This is typically handled by the DIT. That function replaces the processing and one-light transfer that a lab used to do. That has historically been the responsibility of production and not post.
Here's a very common workflow I've run into. Alexa ProRes4444 Log-C files get converted to ProResLT with a 709 LUT applied. This is before the files are sent to the editorial house. Then the spots are cut on FCP 7 by the offline editor. An EDL and the original camera files are sent off to another shop for grading. Those rendered files are often sent to yet another shop for conform/finishing on Smoke/Flame/DS. BMD seems to want to capitalize on the front and back ends of that workflow.
- Oliver
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