Sure, on paper I think the Sony seems good. But there is so much more to this than a spec sheet. I guess you could say I'm vaguely open to it using it, but more interested in finding out how well it works, with time. When you count on it for your living you don't jump into different things when your existing set up is hunky-dory. I admit that I'm looking at it without trying it though, so my biased opinion is most likely half baked or perhaps tainted with other stuff as I will try to explain without sounding like a douche.
What EVF's I have used I've not liked at all. The extra DR interests me and the fact I can use my Leica lenses interests me. I think the new sensor is going to work better with these lenses because of the more shallow light wells from the BSI design. The EVF does really turn me off, yes. Like watching a TV or being caught in a shopping mall all day. Manual focussing in a dark studio with stopped down focussing is not ideal. I might feel differently once I try it, but when a big OVF works so well I have no reason to try it. How well does it tether? I've heard it is slow?
Lastly, and this may raise some eye-brows, but it matters, then there is the size of it. The "client perception" that any brand carries. Some don't even look at what you use, most don't care but I get strange and worried looks from clients occasionally when I use my Leica M on some projects, as it is, but it's reassuringly expensive and there is some brand influence there too, and of corse the results are impressive (which is why I choose it and continue to despite all this) and there's no problem, ultimately, but it isn't all that matters unfortunately. A discussion about it normally ends any issues but it can be awkward and just because they appear happy does not mean they are not potentially worried or easily swayed by your competition (who use these sort of stupid things, trust me!). Client perception is very important and I don't believe they're going to want me shooting their big campaign on something they see as an amateur camera, that looks to them like a toy. When they are paying you lots of money they are expecting lots of gear. I wish these things didn't matter, but sadly, they do, and are out of my control as much as I've tried in the past. I've also found there is an inherent commercial value, a client perception in the craft of photography and mastering big and/or complex cameras to great effect, particularly when the results are so good, unique etc. There comes a time when it's not just about your photography. Your photography has got to be outstanding or your out. Everyone elses, your competition, is and at that point there is also a show you have to put on for your clients. A little a7r, while possibly in some senses, capable, doesn't really fit into that. There is simple differentiation also...that's a whole other thing. It seems people consider you a bit of a dick or a douche for saying this sort of stuff but this is what my experience is, take or leave.
Finally, most importantly, ultimately, it just seems more like a computer than a camera to me. Like an appliance. It does not inspire me one iota and I have no interest in the camera itself, but the same can be said for a lot of modern camera designs.
But the industry is changing and budgets are shrinking. Some things that really mattered don't really matter any more. Some things stay the same. There are of corse new things to worry about too. Clients need more for less, they have less time and more things to worry about themselves.