Also, this research is under the supervision of Paul Debevec, who spearheaded more than 20 years ago the image-based lighting and high dynamic range workflow used in virtually every single production now. If we see chrome balls in film sets, it is because of him!
That said, I don't think this will find its way on sets, mostly because DOPs/directors are very precious about the way they capture their images. The alternative they offer in the paper, using a reduced shutter speed and adding synthetic motion blur, is also a big ask - with the added problem of syncing the cameras to the lights, which would slow production.
In my experience, extracting the alpha is not an issue - compositors can get close to the GT using old tools/algorithms. However, getting the original colour around the semitransparent areas is the biggest hurdle - and each artist uses a bunch of approximations and local fixes, which are very time-consuming. Recoloring the edges would be enough to revolutionize this workflow. Given their virtual stage + deep learning technology, they are in a good position to make this happen.