Red is in a very different market. The cameras are a really small fraction of the production costs in feature films.
Also keep in mind that the high end red products are very tricky to use. I worked on a production where one was used.
It pretty much needed it's own doctor, shrink and shaman to keep it happy. Feasible with a big crew
For a luxury photography product like the xpan that is primarily a landscape camera it needs to simply work, and work on the road, in the jungles and on the mountains.
As things converge I don't think RED is a 100% completely different market.http://www.red.com/shot-on-red/photography
RED does seem to think out of the box. They have a roadmap they haven't met, but the thought of a 6xwhatever wide format sensor is interesting.
Not all RED's are used on 30 million to 100 million dollar projects. We have three REDs (two R1 with the mx sensor and one Scarlet).
Actually this image is a 4k still image from the Red1.
We use the R-1's most of the time, on nearly every shoot and if the project permits or requires use a very good steadycam operator and his focus puller with the second R1. The scarlet we use as a B cam or for smaller areas.
It takes a learning curve, but we've never had an R1 go down working around the world in 110 F weather to 20 F weather. (knock on wood).
I now find the R1's much easier to set up and use than the Scarlet, but everyone works differently.
Also the price of an R-1 and Scarlet is equal to or less than most MFD cameras.
For processing Cinex is as easy to use as C-1 or lightroom.
FYI i've never seen any camera, digital or film that has the dynamic range of the Reds.