The cost of a Red system is (without the robocoperies), on line with a high-end medium format system, wich considering the target and investment-return is to my eyes what I call "cheap", or at least reasonable.
We are talking in Spain about those numbers:
the MX is sold at 20.000 €
the Epic M complete: 58.000 €
Epic X brain: 35.000 €
Rear and slide modules: 1.500
the remote: 750
a 40 MPx Phase back: 17.000 €
the big boys backs are more than 40.000 € (don't remember the exact number but it's somewhere there). Tell me about that!
and all that without the lenses also, without body, without anything.
In that context Red is cheap (or MFD are expensive) depends the point of view.
But, back on the robocoperies, that's also true and specially true with any dslr like the Canons: matte-boxes, microphones, monitors, storage, supports etc...
If you get that new Canon, it will be 7000 just the body, no raw video and obliged to get all the accessory saga we where talking about, plus, what will be that new codec? Will Canon writte fast an AMA script so we can link native? that remains to be seen. Or are we going to be obliged to chase the version point___ of Premiere Pro or Avid, or even worse, a third-party little application created in a hurry that would do the job. Like if we didn't already have enough mess. The 12 fps I.S is already been done by the prosummer Sony and I'd like to see how many seconds it will handle that, and how many seconds it freezes the buffer when it's full. Then... to be fair with Canon, the video bitrate announced is really good. The low-light will be very good, as expected, and I don't giive a damn if it's a 18MP or 25MP reso, it's more or less the same story really. The old Leica R 10MP digiback could still smokes some bigger sensors in print to date. Those reso are mostly marketing claims.
About the GH2 vs NEX _ ? ... I've tried the Nex, it clips way more the highlights than the Pana that already clip a lot, to me (maybe I didn't get well the user manual) and I'm absolutly unable to see the differences in footage in a blind test, except at higher isos where I found the sony a little more workable. I could work with both of those cameras. But I've already seen a GH2 on a big set manipulated by experienced videographers, never saw any NEX, so the Panasonic is probably not that bad...IMHO.
About the clients that ask for more than 30 MP ? Yes, some of you might experience that, but in my case, all I hear since about a year or 2 is "make it smaller". (even for printing output).
About Red, I don't own one at the moment (it's in my plans), but regularly edit R3D and it's one of the most friendly workflow I've ever seen. At least to my way of understanding what a good workflow should be. Raw video is great indeed. (without talking about the performance and qualities and flexibility that those deliver).
Correct me if I'm wrong, but it seems that R3D will be like a PS format, readable between generations, no? Because tomorrow will have an AVCHD # 4, 5 or 6...that nothing will read, as always.
And even in the case there where issues in the future, RCX will read-writte those for free on Mac or Windows.
I have 2 set-ups with the red workflow, both are rock solid and free of platform issues (wich is not the case in the Alexa because of ProRes). I use one kind of workflow using Avid Media Composer via AMA, and another one using Red-Cine X and Edius 6 in a dpx workflow. Then, send all that into Nuke. Absolutly no hassles.