First off. As an AC the lens that I'm going to hand you is the one you call for. It isn't the AC's job to make lens decisions. If you want me to do that I'm going to need a rate bump and it better same my name on the slate because I'm the DP.
Now...
The answer is which ever lens has the widest focal length will give you the widest field of view. The question you aren't asking and should is actually which format gives me the largest field of view because that is actually what gives a 25mm on a 7D a tighter FOV than on a 5D.
On the same sized sensor they both give you the same field of view. Its the larger sensor that gives you the larger field of view on a full frame lens. If you put an APSC lens on a full frame camera it vignettes right? Well it does that because the rear element isn't big enough to cover the sensor. They do this because its cheaper and apsc was considered the "prosumer" level camera for hobbyists. But if you took the opening on the back of an APSC lens off and took the opening on the back of a full frame lens off you'd find they give you the exact same angle of view. its the smaller sensor that creates the smaller angle of view. This is why you can use full frame lenses on APSC cameras. You think the super 16 set of zeiss super speeds isn't the same as the 35mm set? They are identical except the rear element is smaller and cheaper on the 16mm version. I'm assuming you are self taught and came up through DSLRs so you don't understand the full frame sized acquisition for motion photography was never a thing (except vista vision) before the 5D. A lens is a lens. A 25mm is a 25mm on all formats. What makes the angle of view change isn't the lens. The smaller sensor or smaller film negative is what makes the angle of view smaller. Do you understand that? The only difference between a Full Frame lens, an APSC lens, a M4/3 lens, etc etc is the size of the rear element to cover a smaller sensor. An M4/3 lens doesn't need all that extra glass on the back because its sensor is so much smaller than full frame but other than that its the exact same 25mm as any other 25mm. If you could somehow open up the back of an APSC lens or change the back with a full frame lens you'd notice no difference. Please got to film school, do some tests, do some research. You are confused and misinformed and perpetuating false information.
How did the conversation with your DP go? Did he not inform you of the much much larger files RAW would give you and explain that you'll need larger storage? Also I don't understand how you couldn't view dailies until you had wrapped? How were you doing data management? Did you have a DIT, Data Wrangler, Digital loader, or some variation of the role? I've AC'ed 2 features shot with the Black Magic Cinema Camera (both shot RAW) and we never had problems viewing dailies. Premiere and Resolve should allow you to see dailies and at the very least you should have been able to see clips back through the camera to an onset monitor....
I applaud you for going out there and "doing it" so to speak. I always support those who take action and actually produce instead of just talking about it but I think the frustration and sarcasm you are getting in this thread is because you frankly failed at doing research and appear to be blaming shooting RAW in your original post. There is a lot of things you didn't do before going into principle photography. You should have worked out a Post pipeline/workflow in Prep. You should have figured out how to see dailies during camera prep. You should have researched your DP better to make sure they wouldn't lead you astray. You should have had a DIT on set (or some version of one. That is not an optional role with digital filmmaking). If you had a prores pipeline worked out you shouldn't have switched at the last minute. ETC ETC ETC
There are a hundred mistakes you made that lead up to the mistake of shooting RAW but shooting RAW isn't the problem. Like I said I'm still confused why you couldn't watch dailies...But the reason people are jumping on you here is because you aren't focusing on the mistakes that you made that then in turn caused shooting RAW to be a mistake. The biggest take away from this for you and the point of your original post shouldn't be about shooting RAW or not. it should be about how trying to make a feature film without doing the proper prep can really screw you in post.
That being said its not like you can't view the files. I'm looking at raw footage in premiere as I type this. So it isn't like your movie is ruined. It might have cost you a little extra money but every feature I've ever worked on has unexpected costs. In the end you'll be fine and you'll be able to finish your movie and I hope it turns out great...who knows it might get picked up for theatrical distribution and you might need to recolor and upscale and finish out to a 4k DCP. If that happens then shooting RAW might be the best mistake you've ever made....
you just don't get it...there is nothing I can do for you. You've been lost forever and ruined by the misinformation on the Internet.
There is no difference between an apsc lens and a full frame lens except the size of the rear element. They dont adjust the angle of for an apsc lens. It's literally just cheaper because the rear element is smaller.
The 25mm is not a 40mn. Its still a 25mm. Are you ever planning on shooting with something besides a 5D?
If youre on set with an Alexa and a set of cooke s4 minis are you going to refer to the 25 as a 40?! Are you going to compare every camera to the angle of view to a dslr instead of the angle of view of nearly every movie for the past 100 years?
once again the lens isn't changing anything. The film size or sensor size is changing that is what is affecting the field of view. Its the sensor not the lens. Get a m4/3 camera. take a full frame 50mm lens. Put it on. Now take a APSC 50mm. Put it on. Same angle of view. Now take a M4/3 lens. Put it on. Same angle of view. Nothing is changing here because a 50 is a 50 is a 50 as Matt says in your link. The only thing that will effect your angle of view is sensor size.