I doubt they're going to finish at 4k. Especially if they're going with 3D, which is likely. The DCI standard only allows for 3D at 2k. Plus 4k and 2k are both compressed at the same bitrate which makes the extra resolution a lot less apparent than it should, so a lot of cinematographers don't bother with it. I'm sure that the frame size and image quality are a lot more important in this case than the much-touted resolution.
People who use film have to explain themselves, too. Especially to production managers. And film news sites. Why can't people just be happy there are so many formats to express one's self with instead of acting like one needs to replace the other?
Not too aware of how Panavision works, are you? They customize their lenses for lots of movies. They change out coatings, switch optical elements, adjust close focus, and adapt lots of other lenses for use on their cameras, all to suit the needs of cinematographers. They even adapted the fabled 0.7 Zeiss lens into a T1 anamorphic for Jan De Bont on Die Hard.
There's also the Vintage Cloud, which is basically a Steenbeck that scans film and outputs a video signal, complete with some cool film analyzer style color correction. Not sure the price, but it is very cool.
Some of them do, some of them don't. Most also don't notice what lenses you're using, your lighting setup, whether you're using a Steadicam or a Technocrane, or the time it took to make those perfect edits. But a lot of thought goes into all of it, because most people notice when you don't care. Film is just another tool; it has places and there are some places where it's not appropriate.
Any movie over a million dollars could shoot film if they wanted to, but they have to really want to because there would be some major concessions to make. It's probably easier for a low budget indie to shoot film than a medium-budget studio film, because it'd be harder to allocate the money when unions and standardized production methods are involved.
They named the 2x4 camera rig Raimicam, that's pretty telling. Since, I think, Miller's Crossing, they've used long jibs on dolly track, and occasionally Steadicam, to replicate the look and ease of the Raimicam, but in a more subtle and controllable way.
I remember Roger Deakins saying that he thought having a jib on a dolly all day was a waste until he was setting up a shot and the Coens told him to reframe slightly and they had to move the whole track. Now it's one of his preferred methods.