From the perspective of post, both RAW and 4k are a pain in the ass. The Alexa (which has an image sharper than 35mm when shot at 2.5k RAW and very close at 1080p). is so popular because of this. It's what's used on most new TV productions and its image is generally more pleasing than the Red's. It's easier to work with, too. Why do you need better than that? Are your videos going theatrical? Are your clients screening at 4k? We don't even have affordable 4k monitors to post on. There will be a significant market for 4k video some day soon, but until then "true" 1080p is extremely sharp, and a $6000 C100 is cheap enough that replacing it in five years (without replacing any lenses) won't break the bank.
I think your perception of the advantages of Raw are all wrong. In a way, it's easier for big budget productions to get away with not shooting in raw because they can light everything very well on set. For the indie guy, Raw affords the artist a lot of latitude to nail the proper exposure and WB in post. Just like film, there is more detail to recover in the shadows and highlights using RAW.
In short, Raw offers the same advantages for cinema as it does for photography, and these advantages are far from trivial.
Now, i agree that it can be a pain in the ass in post, but if you get the right workstation it's easily managed. And within a couple of years the firepower needed to handle the Raw workflow (at least in 1080) will become standard issue.
What leads you to believe any of that? The Alexa has far better latitude than the Epic and is MUCH easier to light for; DPs I've worked with who've worked with both always say as much, and I've been on set with the two as A/B cams and the difference in highlight rendering is very dramatic in the Alexa's favor, despite it recording Prores 444 (at 10 bit) and not 14 bit RAW. This is because the Alexa has two gain paths and it merges a tremendous amount of information into one high quality, very gradeable flat image. I've posted extensively on both Alexa and Red (for TV, in 1080p) and the Alexa footage is much more flexible with better latitude. The only situation in which RAW offered me an advantage was when white balance was totally off, but that's a sign of an incompetent DP.
What experience has led you to believe what you've written? Because it contradicts what everyone else who has used those two cameras has found. The footage coming out of the Alexa looks nothing like your dSLR jpegs. It's flat and in a true log colorspace and has more latitude by far than any other video or still system.
Furthermore, 1080p raw would be a terrible format to work in; the "real" resolution would be 2/3s that at best. And 4k raw downscaled to 1080p takes all the horsepower of debayering and then the horsepower of downscaling for a deliverable that will ultimately not be much sharper than "true" 1080p (like out of the c100 and c300) in the first place. Those are "4k" bayer cameras; they just do an immediate conversion to "true" 1080p; unfortunately they have fake log curves and poor dynamic range. Fwiw, I've rendered hours of red footage (both in 4k and quad hd) on super high end mac pro work stations maxed out with ram and it takes days and days without red's $5,000 proprietary card. With CUDA you could surely get real time 1080p raw, but that's got the equivalent sharpness of 720p at best. You're talking out your ass about this stuff, frankly. Some day something similar will be here, but it's not as close as we think and in that time you can recoup the low cost of a camera system purchase (spend more money on the lenses than the camera).
Rent an Alexa. Rent an Epic. Shoot difficult footage side by side. Post side by side. Then get back to me on how much inherently better RAW is than Prores.