Probably no big budget films will use this. It's effectively ACES but slightly optimized for RED. Marvel has already mandated a shift to ACES so they'll just work in an ACES workflow.
All of that would be true if you could only create one deliverable. Meanwhile the 2D DCI and the 3D DCI will be different as will the IMAX copy which can be 4k Stereo.
Secrets to a Hollywood level chroma key:
1) It's not a 1-click process. You will inevitably need to use garbage masks, key mixes and a variety of techniques for each section of the image to get an optimal matte. That includes simply rotoscoping some parts.
2) You have to learn to treat your edges since getting an alpha channel is half the battle. Learning to pull color out of your core matte and working in unpremultiplied color is essential.
3) When all else fails, roto and paint.
The statement about Green being brighter than blue isn't true. I'm not sure why he's saying that, you can light blue green or red to the same exposure point.
Also one of the most important things to do when getting a good chrome key has nothing to do with the key itself it's ensuring that you're lighting your subject as if they were against the background you intend to put them into. If you light them (including your chroma background) as if they were standing in a bright white room, and then put them into a contrasty dungeon, they'll look terrible no matter what you do. Also please for the love of all that is good and holy, stop putting a red backlight on every green screen actor. It does nothing except give your character a red backlight when you're done keying to remove.
I cringed when that guy was wiping the the lens with what at first looked like his sleeve.