I think we're talking about different groups.
Probably most relevant to this forum is the still photographer that is looking to expand their repertoire by adding some motion, the still photographer that's making a larger shift towards motion imagery. They want more than a 5d3.
For them raw files make sense because that's a format they're use to. Most will shoot and hand off the footage, after usually processing out in prorezz.
For the traditional film maker, especially someone working on episodic television, the Alexa makes sense. It's a form factor their use to and for the producer they can go straight from camera to editing in proxies without any downtime in processing raw.
Both the RED and Alexa will require a finish out look in color grading, but for the cinematographer the Alexa has it's benefits. I just wonder how many dp's/ camera operators are going to buy vs. rent and Alexa.
You also have to keep in mind the Alexa is a 13 lb. body, which limits some usability and requires much heavier and larger support.
For the still photographer making the move to motion, especially if they are rent rather than buy type of person, the numbers for any RED make more sense, regardless of raw vs. prorezz output.
Personally I wish the RED would shoot a prorezz or raw file, depending on project.
What kind of surprises me is Arri seems to be ok with essentially a 2k system whether the standard alexa or a 4:3 system for anamorphic.
What doesn't surprise me is RED going to 6k. I don't think anyone is going to edit in 6k, but I believe RED is thinking 6k not only sounds better, but should (time will tell) produce a better still image.
Also RED has Canon and Sony hot on their heels selling 4k raw cameras.
Obviously RED will sell their cameras to anyone, same with Arri, but I would bet RED sees an opening in the market for a dsmc camera that works for still photographers as well as film makers and a lower price point/
Now I know there is going to be the scream that buying a motion camera does not make you a film maker, but keep in mind a lot of commercial work is not centered around narrative cinema, or episodic TV.
Commercial clients are asking for video to parallel their still productions and will continue to do so and shooting each still scene in motion does have value. I could point out hundreds of instances but that will go no where with the traditionalist in either still or motion.