Matt Scott in Australia shot something similar a while ago and posted about it on his blog.

http://mattscottvisuals.com/blog/2015/4/24/the-sonyf55anamorphic

and the lighting post:
http://mattscottvisuals.com/lighting/2015/4/24/outdoor-wrap-and-rain

Especially as most cinema cameras closely resemble the sensor size of APS-C anyway, so an 85mm would look like an 85mm, and a 135mm on an APS-C looks the way it does, whatever the full frame equivalent may be.

I still think the best part about 4k, which isn't explicitly mentioned here, is shooting in 4k, but when uploading, or even mastering, render in 1080. That way you get a really crisp 1080p image, crisper than simply recording in 1080, and you still have the option of uploading and mastering in 4k should you want to. And although there is a differing opinion, and correct me if I'm wrong, but you can downsample 4k 4:2:0 and end up with 1080 4:4:4.

The 8bit 4k ending up as 10bit 1080 is highly debated however, and I'm not sure where I stand on that one.

Personally, I looked at the matte box idea myself, but I don't think it's that important until you have other things. If you really need shade, then I reckon a lens hood would serve. Spend your money on things that you know you need.

Thanks for your input everyone, however, as good as they are, I think that for my needs a cage is a bit of overkill. I am considering going for a C bracket, made out of tube, similar to the one below:
http://www.ebay.com.au/itm/pro-C-Shape-Support-Cage-Top-Handle-grip-for-...

With this bracket on the bottom:
http://www.ebay.com.au/itm/FOTGA-DP3000-Mount-Bracket-Rail-Block-Rod-Cla...

I personally just import everything into Premiere Pro, and cut it, then add music etc, transitions and so forth (if I choose to, which is rarely the case), and then I grade in Premiere Pro, just using RGB Curves, which gives me access to contrast directly, as well as, well, Reds and Greens and Blues, which I can change in the highlights, and shadows. Works for me.