I centered my answer around the notion - that I still hold true - that with the exception of camera manufacturer-specific codecs, all industry-wide/accepted codecs had their pros and cons but none required an extensive work-around or were noticeably difficult to work with. However, when you do get into camera-specific codecs, then there is almost always a work-around and/or intermediary process required to convert it to a desired, ideal, and workable form, such as for REDs, Sony's XD-CAM, etc.