RED has always had all sorts of BS licensing gobbleygook. When the first RED cameras finally became available, the software absolute shit. They had all sorts of stuff in their license agreements about not reverse engineering, not redistributing, et cetera.

I had to figure out many parts of their software and make wrappers and separate tools so that queues could be started and run without monitoring, because their software would famously have an error, then just stop, making batch transcoding a full-time job.

I intentionally posted all sorts of things that were in violation of their license agreements in hopes that they'd take note and try to make a stink, but they didn't, probably because they didn't want to raise awareness of how badly their software sucks by fighting with people who were making it better.

The company has always pretended to be much more grandiose than they really are (see their attempt at making a cell phone), but really, they're just OK.

Honestly, though, the quality of their codecs suck. The color information just isn't there. You can watch Netflix and immediately tell which things were shot on RED, because they'll be grainy (which they think is a feature) and will lack nuanced color. Compare with anything shot on, say, Arri ALEXA, and you'll never look at RED the same way again.

All of this is to say that the company probably won't do anything nefarious that would get tons of negative attention, but they do always think they're the Next Big Thing, so you never know when the crazy will outweigh the careful. If it were me, I'd return it.