It all depends on quality and deliveries. Is the work for theater release, Netflix, HBO or Vimeo/Youtube.
I do not think budget is deciding factor, but the desired final quality.
ProRes HQ and DaVinci color and really good, and will deliver fantastic results.
But if you want to have more control on the process, and deliver the highest quality on video and audio, then RAW is the way to go, not budget. It may take more time, but that's dependent on the final color desired, the audio design, original music and VSFX.
Now with DaVinci Resolve, much of the workflow can be successfully done in one platform. From audio sync to editing to color to sfx to audio design to deliverables. How much you may want to push the color to achieve a unique look, audio design to enhance the experience with sound that complements the picture and create a unique experience, how much you want to "fix" that shoot with more threes, or people, or a castle.
This is my workflow before DaVinci, using NLE, DaVinci and Protools.
1. Capture:
a. Image in 5.6K Cinema DNG RAW.
b. Audio in .wav 24 bit 48K.
2. Storage
a. SSD on the field.
b. 12TB G-Raid for online.
c. 2TB LaCie for offline editing and file management.
d. (3x) 4TB G-Drive for backup.
3. ProRes.
a. The captured RAW files are transcoded to ProRes 4222LT for editing.
b. The ProRes and .wav files are sync with PluralEyes and exported to NLE with replaced audio.
4. Editing
a. ProRes files are edited in NLE in reels of 15 minutes approximately.
4. Export to online.
a. H.264 video/audio as reference.
b. EDL or XML for color correction.
c. OMF or AAF for ProTools audio.
5. Import from online.
a. ProRes 4444 4K from DaVinci. (Also DPX files if a DCP is needed)
b. .wav stems from ProTools, one stem per channel. (M&E if necessary)
5. Assembly
a. Import ProRes 4444 to NLE.
b. Import stems to NLE.
c. Add titles and/or graphics. Credits.
6. Deliverbles.
a. ProRes 4444 4K in Surround 5.1
b. ProRes 4444 in HD with Surround 5.1
c. DCP in 2K with Surround 5.1 (if needed)
As you can see, the size of the files in ProRes or RAW is not as important, just a couple of steps for greater control.
The price of hard drives today is so low a 24TB G-Speed XL is $2,200. You can store, edit, and color a feature film on that!