You're absolutely right that tokenism is not representation. Which is a good thing to consider when an actor is going to bat for Disney/Marvel, who had absolutely no diversity in their superhero slop for years, either in front of or behind the camera.
When we talk about diversity in cinema, this should include diversity of stories. When Disney strong arms cinemas into running 70 screenings per day of Endgame or whatever, that is pushing aside the voices of other filmmakers, especially people of color. The point of the criticism of Simu is not that Tarantino is some saint - but rather that even with all his faults, he's done more for diversity in film than Disney/Marvel (which is a big yikes!) And to be clear, I'm referring to his work to distribute Hong Kong cinema, not his casts.
The article could have used more criticism of Tarantino's voice and work. But it is without a doubt Simu is misguided here, not sure why you felt the need for quotes there.
Super strange hill to die on here. Set builds are easily more environmentally friendly - no generators, streamlined onsite recycling, limited trailers, less plastic waste for catering, huge upside for less commuting for crew members.
I'd much rather use wood, a renewable resource, to build a set than extra fossil fuel and plastics to accommodate location shooting for medium sized crews and up.
This was my gut reaction too but looking at their website, it seems TrueCut's aim is let you dial in how much judder/strobing/motion blur you want in post. Seems like there might be a method of tuning this effect per deliverable too.
Not the most essential thing but if you're insisting on releasing the films on every large screen in existence today, it could be useful to avoid making it look like a soap opera
The reason films originating on photo-chemical film have been lost to time has not been a deficiency of the format but rather a lack of care and proper storage by the stakeholders. Digital, on the other hand, has NO archival format. In fact most high budget films are still having prints struck for archive only.
Netflix's resolution requirements have nothing to do with preservation and everything to do with selling their higher tier subscription that includes 4k streaming.
To be more diplomatic than the other commenter here - this is not like a parabolic reflector like the Briese system. The light would have to be positioned near the front face, aimed back into the umbrella with the added ability to focus the light. The Light Dome 150 is simply a circular softbox. It's useful that it's a perfect circle compared to an octa, but that's about it.
They offer a full mobile projection and color correction suite that seats 8. 10k per week for that seems pretty reasonable...