You're right that my relative probably isn't going to be at the top of the list to be hired for that work. He doesn't work in Hollywood level stuff and I also think that he knows he's going to have to fight to stay relevant and compete for the work that's available to him. Fortunately he's at the end of his career and his kids are adults. I think he can see the writing on the wall for his career either way.
Color management and maintaining context across multiple renders is actually the conversation we were talking about and the software that he is using has mechanisms to define context across a rendered shots and even across multiple projects. He just wasn't using them as it's an alien concept to him. My point is all of that is possible and solved and will become easier as the market matures.
I also have a friend who was significantly involved in Odyssey and I think the reason why so many films are made with film at the moment is because the industry is clinging on to what it believes is authentic when being pushed towards a commoditized race to the bottom.
As people stop paying to go to the cinema and Netflix demands tighter and tighter budgets for work, I think we will sadly see the end of this means of production because fewer and fewer people will want to pay for it.
The end goal of all of this is actually customized content where the film that I see and the film that you see is different because it's rendered to our tastes. There's a whole school of thought there around a collective experience versus an individual experience, but the technology will allow it if it's completely digitally created and one would assume that will be where it will go.
In other words, I might want Odyssey but framed as a horror filmed in noir and you might want Odyssey framed as a rom-com and the AI will just generate the version for us based on the original directors prompt. I actually think that's kind of sad, but that doesn't mean that isn't where things are going.