Having discussions about companies like B&H is worth it, especially when it's something potentially very negative, but this is not remotely the spot for it (the forum or a post about the subject itself would obviously be preferable). This is about the Phantom 4 and its technology.

It's a processing issue, which comes down to price/performance, and not just a way to protect the most expensive models. It's the same reason that none of these cameras have 4K HDMI or 4K SDI built-in.

I wish I knew more of the intricate details but I got a pretty no-BS answer and essentially all of the things we want will come eventually, but right now RAW quality is still their first priority, and whatever they can do for the money after that in the super tiny DSMC2 ASIC real estate is a bonus.

The Coens wanted to shoot film, that's what Deakins said in his interview. The whole point of this is that he's open to anything, but the issues he had shooting 35mm on this project will likely mean he'll push not to shoot it again — though I'm sure if a director really wants it he would do it. He's there to serve the vision of the project, just as any creative is.

Yep, the answer is all of them which is why I didn't include the list. Though Jacob has written it in the Vimeo description.

It's not limited to 5, that's just the minimum. It should be noted that the original programming aspect is a small part of the program. As they say, they are also working on:

"educational workshops, meetups, interviews, and more that spotlight and support female voices in the Vimeo community."

It worked in terms of awards season, that's all I'm saying, and no, that doesn't mean I'm encouraging putting crew through hell, and I wonder how that sort of thing even shows up on screen, as that's how I started my last paragraph.

I'm not a big fan of "he said, she said" sorts of articles, especially when so much of it seems to be coming third-party and as rumors — though it's clear that the shoot was difficult.

Here's the biggest point of all that we shouldn't be forgetting: if the shoot was legitimately dangerous (and it may well have been), the unions should have come in and shut it down. That's what they're there for. On a film this big, with this big of a budget, you'd have a very hard time getting away with consistent safety violations over the course of such a long shoot.