IronFilm

In Finland it is quite difficult to start a business regulation-wise. They require a lot of upfront payments tax-wise, and you get cut off from any social benefits whatsoever. I find this worrisome when I am looking for staff as they usually prefer to not work, rather than work for random gigs. Another discussion for another forum...
However, I used to just borrow or rent cams in the UK and US on weekends and save up for gear from the net profits from weddings and events.
Here in Finland, I went through a government funded process the lasted 2 years, where you take daily classes in Finnish and attend business advisory meetings. If you are successful in applying for business support (i.e. have a good business plan, education and experience in the industry) they give you a grant of around 10 000 which they pay you every month in installments over a 6 month period. Its called 'starttiraha' for Finnish folk interested. Literally translates to 'start-up money'.
I took out a loan based on this fixed future income, and will break even sometime this summer based on equipment and living expenses. However, I would have preferred to have had a more fluid entry as it would have allowed me to test camera systems. But I needed a quick start, and have sold off most of my purchases that were surplus (silly) and have reinvested in one system.
Regardless of the grant, I still would have taken an unsecured loan - but only because I have done this business for over 10 years and am comfortable with sales, IM and SEO. I also do not know how to do anything else. If your quote is too high, I am the asshole around the corner with a better deal. Not fancy, but I don't have time for pleasantries - and I deliver (for corporate and events) because I have nothing to lose.
Fingers crossed things keep rolling along...
Edit: and the last time I spent more than 30 euros on myself for anything other than camera gear and support was sometime last year. I buy second hand clothes and rock a Huwei P9. I bought that phone only because it has a classy camera for instagram BTS - otherwise I would still be flip-phone. 30 euros was for small bottle of Paco Rabanne cologne. Even that I felt guilty about. Go figure. All net profit nowadays goes to wifey and the bambinos!

Basically the 5DmkII and 550D/T2i were happy accidents. Like, what really have they been doing since? DualPixel AF... that's about the only thing they have to show for. They're just milking that early success all they can. And to be honest, if I were a company and could get away with that... people still running to the stores to get one of my cameras, I probably as well would keep putting in minimum effort. Problem is that people are so invested into the system they have blinders on. Their customers are enabling Canon's behaviour. I'd say it's bad for the market in general.

It's not all about 4K @Andrew Reid. The sad aspect is, Canon doesn't even want buyers to get an acceptable/clean 1080p in 2017. Instead of this, the mushy 720p again and again.
The 5d m4 is the most overrated AND overprized Canon - even the 1DX II might be expensive, but it''s not overprized. The 6D is - from photographic point of view - a real bargain, even nowadays. I think, this will be similar to the 6D II, it will turn out as a great photographic offer at FF level.
I (my whole family) leaved Canon last year, selling dozens of lenses and cameras, keeping only 12 Canon lenses. I've separated photography from film/video, now heavily buying in the Nikon ecosystem for photography. Never looked back, Canon became for me completely irrelevant at the moment (for stills). In film/video cameras, I will consider their offers for sure (C200).
I know, Canon is (for volume) the #1 camera manufacturer in the world and it will consistently rank quite well, even if people like me jump on the Nikon ship. My gear is probably next to nothing in Canons arrogant eyes, but at the end of the day, it will be about 30.000 till end of this year. Plus the fact, we always serviced our gear very regurarly and invested a nice amount of money at this level. Now it's NPS making the business.
I loved their ergonomics, built quality, reliability and service. Nearly perfect - not the Sony E-Mount plastic garbage (excepting A9). BUT...dealing with a ultraconservative brigade with a post WW 2 attitude, is not funny or inspiring. And I didn't even ask for 4K, but only for a contemporary, clean 1080p...It's a shame, but hey, that's life...

"Patriotism is the last refuge of a scoundrel." -- Samuel Johnson
"Heroism on command, senseless violence, and all the loathsome nonsense that goes by the name of patriotism - how passionately I hate them!" -- Albert Einstein
Saying that someone is patriotic is not necessarily a compliment.

it could be a 5D mark III, no ? How you can make the différence between a 5D mark II and a mark III  with looking at these pictures only? @Andrew Reid   

You knew very well that the close-ups does not pose big broblem of moire and aliasing
For a filming in FHD with a C300 and an XC10 the choice of a 5D mark III as a B camera It seems obvious to me 
And I think a "soft" image is more flattering for the face of putin

Indeed, if it is quality 1080 (not mushy Canon 1080) dropping down to 720 just for the subtle moves in post within the 1080 frame can often work and not be noticed by the end viewer. 

Neither. Get yourself a Panasonic G80

Never a smart idea to buy a camera on the promise of what is to come in the future. 

Plus by the time it comes out, there will be even more other alternative options.

Simple, this is how:

You can thank having slightly less screwed up IP laws than the USA!

What do you mean by "frame shutter"? I can set my frame rates and shutter speeds without issue. 
Also, I finally picked up a blackmagic video assist for my F3! Still need to do some more tests, but @BenEricson is right: beautiful, clean images that are very hard to make fall apart. The Assist has some quirks, like selecting "lines" to get peaking instead of the "peaking" option, but is otherwise well-featured and amazing value for money. Looking forward to shooting some 10-bit on something worth sharing!

LOL that is funny because it is soooo true.
I am sitting in a mall to post this as I have run out of credit with my (prepaid) internet and using free Wifi, wearing a shirt and jumper I purchased from a charity shop (they were absolute bargains and it is the same place I got a couple of pretty good tripods for $5 Australian each).      And am (in part) looking for lenses on Ebay while here!
 

Spot on..... I've filmed entire paid music videos on a GoPro because that was the vibe, attaching a small camera to everything POV style. 
In a studio, I've used the FS7 only because it was a tripod and I need chromakey slow motion at an affordable rate. 
I filmed my biggest ever project... on an A7S II. There was no chance to do lighting, we had to run around all sorts of locations and grab shots on the spot. 
I used the old C300, even though I had three other Sony cameras. The interviewer was adamant about "natural, organic, really good looking skin" in the interview. 
The video above, I used the A6500 with one lens to stay very discreet on the streets and still get a high IQ with a minimum fuss. 
Yesterday I used the FS5 and Inferno in ProRes as we set up 4 scenes in a very controlled space and needed very high resolution, high bit rate compositions as the colour management was very difficult with all the multi-colour neon signs knocking around. 
That said, the EOSHD vibe is certainly favoured to small mirrorless, and most of the work we show here is very "street", minimal kit and run n gun. I find it a much more enjoyable experience shooting like this, because it's very liberating. 
Creativity is the quality of the idea. Choose the best way to get the best out of the idea. In Hollywood, it's a huge crew behind 3 Arri Alexas. For a lot of us, it's a GH5 with a Zhiyun Crane and a GoPro with no permits. Whatever works best given the material. 

@HockeyFan12
"Nothing against pros, but being one sucks. You're answering to your client, to your budget, to your crew's limitations, to the clock, to the director, to the brand, to the malfunctioning and expensive and heavy gear. Yeesh. Why aspire to that life when you can, you know, have fun and tell the stories you want to tell? If you're a pro, I get why you do why you do. You're paid to. If you're not one, stop living in the worst of both worlds. Go hack a 5D or grab a go pro. Shoot something cool. No one is stopping you but your own insecurities about your gear."
I know what you mean, but every little, silly, ordinary job can be something creative, something not a lot of people working in banks, insurance or in offices can claim.
I have travelled extensively to my home country, and elsewhere, gathering condensed "wisdom" of the people and the places around (staying in a small village for 3-4 days and after 15-20 interviews you know everything about the people there and their history).
In every job you have to give similar answers. If you are a car mechanic, you have clients, you have a budget for your shop/rent/insurance/tools/how much you charge/assistant(s)/etc, and if you do a mistake you can kill someone on the road, at least our mistakes aren't that dangerous.
What you suggest is go back to our caves, palm painting and eat roots, because it is too much to be a pilot, or a doctor.
Better pray to the Spirits of the forests for good health and not eaten by a bear!
It is a job with a huge array of specialization, you can be a grip, a director, a writer, a sound man (my favorite!), and you can work in advertisement, movies, weddings, documentaries (my favorite!), you have to have, artistic, technical, communication skills and mix and match different people, equipment, techniques.
It is a stressful industry, but I am ok I never followed the Engineering career I started in University; I would be richer, for sure, but I wouldn't be me.
@ntblowz It is the most reliable AF system on video right now. It is a tool, you don't use it 24/7, but in some specific situations it can save you some time. AF systems aren't 100% reliable yet, but I would say Canon's is around 79%, in a few years that will go above 90%, but I do not see 99% to be possible any time soon, there are just too many variables. C100mk II is my favorite camera.

C200 can't do XAVCS, as it is a Canon camera!

C200 is a very weird beast at the moment, that can do raw *or* a very low end codec. With absolutely no middle ground in between!

I think only VR stands to benefit from 8K.
Cinema doesn't need it.
However, in 10 years we might all be strapped into our VR headsets for watching movies... Even at the cinema!
I'm very impressed with how immersive VR is when done right. It is here to stay, unlike 3D.
But watching 8K on a flat screen from a distance is pointless... Human eye just isn't up to it.

- How do you speak free on camera? Do you memorize a script or is it completely free?
Script is the way to go unless you feel very relaxed. Use cue cards and don't worry to much about jump cuts. There are ways to use them as an effect.
Look at Ray William Johnson's old stuff or I'm sure many here can link to others that use it successfully.  

- How do you feel when you see you on the video? I feel terrible. 
Seeing one self and hearing once voice is always uncomfortable. I've worked a lot in live broadcast radio and I can speak for many when I say that the feeling never goes away (exceptions to confirm the rule of course exists).
Just try to ignore it.

- What is the biggest positive thing initiate by your channel?
My personal channel is just a hobby and for fun, I don't even really try to make it grow. But still it tends to do so and has opened some doors for fun projects and real work.
I work a lot in social media professionally and there youtube has lead to profit, market awareness, etc, etc.
Its a channel and an outlet for communication with a wide reach.

- Do you have some tips for me how i can start my channel?
Allow yourself to fail, don't skimp on the audio, remember that content is king.

I remember a story many years ago when home studio recording first started to take a hold and Tom Robinson (ask your Dad, kids) was talking about why he'd got a new fangled (at the time) Tascam Portastudio to record his demos on. His reply has always stuck with me because he said that when a band reaches a certain level of success the first thing they do is get flight cases for their gear and cables that you could tie the QE2 to the quayside with. This all then has to go into storage. So when he felt like writing a song, he'd have to call a roadie, call a van hire place, get the roadie to go to the storage place to pick up the gear, book a rehearsal room (because the flight cases made it impractical to have in the house), drive to the rehearsal room, wait for the gear to be unpacked and plugged in and then he could start to jam and record ideas. At which point he'd forgotten what it was he wanted to do and had lost the energy to do it anyway. With the portastudio, he could just switch it on and get on with it.
I see a lot of parallels here too.
The only thing thats inspired me to pull the RED Epic out of its case since I got it back was to do the side by side to tune the GX80 profile.
It felt like having to go to the corner shop in a Sherman tank.
In my real day job I have to take the same 'get the big clunky stuff out' approach because there is an expectation to deliver a set standard both in terms of image quality but pretty much in terms of content too. Coverage is what its all about to be honest. And the demands of that type of efficiency directs you to a certain type of kit. All of which means I'm about as creative as the guy sitting next to me who has also got exactly the same sort of kit (with a 50/50 shot on the brand). Which means to say, not very creative. Or certainly not a massive differential in creativity. We're looking at the same scene and covering it with the same kit so inevitable we're going to be much of a muchness creatively. But the creativity can sometimes be forced upon you (by equipment failure usually!) so you have to do something with what you've got and that triggers the resourcefulness response that is so often at the root of creativity.
Being in a situation of "I can't make what I want" often makes you find better ways to make what you actually need.
After wrestling with the Epic and then putting the same lens on the GX80 and shooting the same thing, I was left (with a bit of twiddling) with these two test charts.
So, could I shoot this same scene with a camera that cost less than the media of the other one?
Yes.
Could the same be said the other way round about what I could shoot with the little camera?
Yes but not without calling the roadie and hiring the van and getting the flight cases and, well you get the point.
 

People can't be creative while they're working? Or efficient when they're not?
Wedding and event shooters aspire to pro cams because they're sick of fiddling with NDs and tiny batteries and rolling shutter and too-big or too-small codecs. The time lost dicking around with these things doesn't make anyone more creative, it only endangers their paycheck/career, AND loses them creative opportunities.
There are plenty of subjects and shooting styles that lend themselves perfectly to photo cams and their slower, fiddlier workflow... and there are plenty that don't, even past weddings and events. And this is a separate issue from creativity and freedom vs. efficiency and appearances. Someone can be completely creative whilst shooting fast-paced or high-pressure situations- at least they can if they have the time to.
I do definitely agree that the IQ gap is so much smaller nowadays that this is a much blurrier argument than it was a few years ago. A7sII, GH5, etc vs. FS5/7, C200, etc is certainly a smaller gap than 7D vs. C300, or whatever other matchup from 4-10 years ago. Smaller price gap too.
The lack of IBIS in pro bodies is also definitely adding to the blur.

V mount or BP-U60 is another common option

Wonder how many more decades they'll be in Beta for...

I like the RX100 IV that I have. But, it has serious deficiencies that remain in the V version - the overheating problem is worse than any Sony camera. I mean you cannot use the camera in high ambient heat settings and take 4K video. The camera will just stop after a few minutes of short clips. that is the true "paralysis." In the same exact settings the A7s ii just does fine. Second, the focus peaking is worthless, giving you no clue as to what is in focus. Forget manual focus (there is no magnify on the IV in 4K either, but I believe at least this was fixed for the V).

Just buy a Sony FS700 @ $2K for slow motion instead :-P

Enjoy. I'll give you a free copy of EOSHD Pro Color to go with it, just DM me when it arrives!

Interesting!! You could make a control grip like say the FS7 for using while the Panasonic camera is mounted on your shoulder