"This is to ensure critical focusing when magnified 1:1 pixel."

If 4k is too high resolution on a monitor, why not just offer 2:1 pixel zoom? Then you can judge critical focus at 4k and still zoom in as if you had a 1:1 1080p.

"Enrich 9k -> 18k"
Also known as upscaling.

"The sensor on the 9x7 is very large."
This sensor is 0.8 mm taller than a 9x7 Monstro crop and 3mm *smaller* than an Aleax LF. I wouldn't say it's particularly large although it is higher resolution.

I would say I would rather have the convenience of a Alexa LF or Monstro (especially regarding 7GB/s of datarates and no obvious memory card swapping capability (do you have to open up the computer and offload the NVMes every 2 minutes of takes?) than 9k vs 5.5k. Especially since a lot of large format filming is in nature. When I was filming in the jungle I had to keep like 5 Hours worth of mags on hand because offloading was never convenient. Having 10 minutes before having to stop shooting indefinitely seems like a show stopper.

Looking at the tech specs on the manufacturer's website (https://www.ximea.com/en/products/high-speed-and-high-resolution-cameras...) it looks like the fastest output it has is 10gbe. So you would need a laptop with 10gbe. But that just moves the problem since you would still need to write to a USB3.1 drive eventually. And with 4 nvme slots that's at 7GB/s going to be 2TB each at most. So 8TB / 7GB/s = 19 minutes before you need to stop down and copy/check delete the onboard storage. Or you have to just treat the entire camera processing computer as a memory card and swap out the whole camera body every time it fills up. Again, for IMAX applications that doesn't sound worth 9k vs 5.5k

+1 I was like.. "How on earth do the VFX applications add up to 100%".

So if I work on a film in AE, 3ds max, Vray, Nuke, Photoshop and Unity... which of those applications did the "survey" decide to count toward 100%?

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.