In the analog days red was not a happening color. Between cameras, transmission equipment and the tube on your set, red was muddy and dull. It was avoided like the plague.
People would often specify red until shown how it would appear. It was only a good idea in the abstract.
We’re digital now. Red is back on top. It’s sharp. It’s penetrating. It’s usable.
It’s the kind of thing that sneaks up on you. It wasn’t until I took a look at the control room monitors that I realized how nice it is, especially this time of year, to have red on-the-team.