Zatara

Yes - 2K RAW on the Odyssey 7Q is best suited to slow motion, where it's the only option.  You'll get a fair bit of aliasing and some softness - the mode wasn't really designed for normal capture, and sensor read out in 2K RAW mode simply isn't tuned for high detail capture.  4K RAW, on the other hand, is largely excellent.  For short scenes where maximum DR is critical, 4K RAW is by far the best format.  For everything else, aside from slow motion, you're likely better off exposing properly, and capturing in ProRes.  Of course, be aware RAW files can be a bit of a pain to work with.
In ProRes mode, you can do full 4K, or the 4K2HD mode, which debayers and down samples the 4K RAW signal on the fly, producing a considerably sharper image than the 2K output.  If space is a premium, I'd recommend this mode.  Otherwise, I recommend shooting in a mix of 4K ProRes, plus 4K RAW for scenes requiring extreme DR.  You can use the 4K capture to create a 4K deliverable or, crop/re-frame/stabilize, then down sample to 1080p.
Note that even if you shoot RAW, you'll still need to be very careful of exposure - the 7Q can show quite a bit of noise with SLOG2, so shooting in RAW doesn't mean you don't have to carefully light things.  The FSRAW signal also bakes in a few details, so you'll still to properly white balance, just as you would with ProRes.

FWIW, 24mm was the more common length in stills glass years ago (see Canon FD), and, I suppose, hits closer to FF 35 equivalent on a APS-C sensor than 25mm.  That said, cinema glass typically includes the 25mm, rather than the 24mm (see, Xenon FFs, Zeiss Master Primes, Cooke, etc).  For that matter, the 85mm is more typical in stills glass, whereas the 75mm is the more common focal length for cinema glass.
Matching up to the Xenons (or Zeiss Master Primes), for example, we'd ideally want, in a six lens set: 21, 25, 35, 50, 75, 100 -- with a 135 next in line (and possibly more desirable than a 21mm for FF users).
As an A7S/FS700/BM user, I can absolutely say I'd love to use the A7S with a set of well built, dedicated cinema glass (and intend to pick up a set of the Xenons - though if the SLR Magic timetable were sooner, would be very interested in those).  Though the Rokinon DS's are a great value, they don't have nearly the build quality of more expensive glass.  Camera bodies come and go -- lenses can last a lifetime, so paring up a long term solid, durable set of cinema lenses while swapping your camera body every few years is a sound strategy.  Remember also, sensor sizes are getting larger (see Dragon 6K), so FF coverage may be very important in future proofing a set of lenses.