Twentieth Century Fox has revealed the first wave releases for UHD Blu-ray the titles being Exodus: Gods and Kings, Kingsman: The Secret Service, Fantastic Four, X-Men: Days of Future Past, Life of Pi, The Maze Runner and Wild, so let's take a quick look at each movie.

Exodus: Gods and Kings
Camera Red Epic Dragon, Zeiss Ultra Prime and Angenieux Optimo Lenses (helicopter shots 2D) Red Epic M-X
Laboratory: Company 3, London, UK (digital intermediate), Fluent Image, London, UK (digital negative management)
Negative Format: Redcode RAW
Cinematographic Process: Digital Intermediate (2K) (master format)
Redcode RAW (5K) (dual-strip 3-D) (source format)

Kingsman: The Secret Service
Camera: Arri Alexa XT Plus, Hawk V-Lite, V-Plus, V-Series, Cooke S4, Fujinon Alura and Angenieux Optimo Lenses
Blackmagic Cinema Camera, Canon L-Series and Cooke miniS4 Lenses Blackmagic Production Camera 4K Canon EOS 5D
Mark II, Canon L-Series Lenses Phantom Flex, Cooke S4, Fujinon Alura and Angenieux Optimo Lenses
Negative Format: Codex
Cinematographic Process ARRIRAW (2.8K) (source format) Cinema DNG RAW
Digital Intermediate: (2K) (master format), Hawk Scope (anamorphic) (source format)

Fantastic Four
Camera: Arri Alexa XT, Panavision Primo V and PCZ Lenses
Negative Format: Codex
Cinematographic Process: ARRIRAW (2.8K) (3.4K) (source format), Digital Intermediate (2K) (master format)

X-Men: Days of Future Past
Camera: Aaton XTR Prod, Arri Alexa M, Panavision Nova, Leica Summilux and Fujinon Premier Lenses
Arri Alexa XT, Leica Summilux and Fujinon Premier Lenses, Bolex Camera, Phantom v642 Broadcast
Negative Format: 16 mm (Kodak Vision3 250D 7207), 8 mm (Kodak Vision3 250D 5207), Codex
Cinematographic Process ARRIRAW (2.8K) (also dual-strip 3-D) (source format)
Digital Intermediate (2K) (master format), Spherical (16 mm footage) (source format) (some shots),
Super 8 (source format) (some shots)

Life of Pi
Camera: Arri Alexa, Zeiss Master Prime and Angenieux Optimo Lenses, PACE Fusion 3-D
Negative Format: Codex
Cinematographic Process: ARRIRAW (2.8K) (dual-strip 3-D) (source format), Digital Intermediate (2K) (master format)

The Maze Runner
Camera: Arri Alexa, Cooke S4 and Angenieux Optimo Lenses, Red Epic, Cooke S4 and Angenieux Optimo Lenses, Silicon Imaging SI-2K
Negative Format: Gemini 4:4:4, Redcode RAW
Cinematographic Process: ARRIRAW (2.8K) (source format), CineForm RAW (2K) (source format) (some shots)
Digital Intermediate (4K) (master format), Redcode RAW (5K) (source format) (visual effects)

Wild
Camera: Arri Alexa XT, Zeiss Master Prime and Super Speed Lenses
Negative Format: Codex
Cinematographic Process ARRIRAW (2.8K) (source format), Digital Intermediate (2K) (master format)

What we have are a group of films shoot on 2.8K video and mastered at 2K HD, being upscaled to UHD (Not full 4K), none of the films listed are true UDH.

So what I take from this thread is:

Kingsman - Arri Alexa Shot at 2.8K. Pointless release
Days of Future Past - Arri Alexa Shot at 2.8K. Pointless release.
Life of Pi - Arri Alexa Shot at 2.8K. Pointless release.
Maze Runner - Arri Alexa Shot at 2.8K. Pointless release.
Wild - Arri Alexa Shot at 2.8K. Pointless release.

Right?

I am going to wait for holograhic movies so Scarlett Johansson can do a striptease in my living room.