IronFilm

I don't... I would if the C300 MKII were a successful seller that needed to be proctected or "not cannibalised", but the sad truth for Canon is the C300 MKII cycle is over. The original C300 had a long life and was a sold and rented long after its release, but the C300 MKII failed to do so from the start -mainly due to the FS7- and it's gathering dust in the shelves of stores and rental companies. Whatever hype sales or loyal customers it had, they ran out long ago. Canon should accept that fact and move on -even if some C300 MKII owners feel a little screwed-.

Exactly, they said "middle" codec between 8bit 4:2:0 low bitrate H.264 and 10bit RAW.
Then they went back on it, but are still calling it a middle codec and an upgrade.
It's deceitful practice.

8bit 4:2:0 on the C200 is a shame, but I understood why it had to be crippled to protect the C300 II.
What I don't understand is why Canon feel they can fool people into believing their planned codec for 2018 is an 'upgrade'
Surely C200 users know the difference between H.264 8bit 4:2:0 in a MP4 wrapper and an MXF wrapper, with meta data.
I don't think you can really call that an upgraded coded. It is still H.264, 8bit, 4:2:0, isn't it!
So Canon initially had a chart where the mysterious new codec would record to CFast 2.0 cards... Then that all changed and it is only going to record to SD cards now.
I think Canon should come clean and tell C200 owners what the fuck just happened.

The only thing that will sway them is our money. If people don't buy it that will have 1000x more impact than a petition.
But, you know this is going to sell well. *sigh*

Sure, maybe in five years time I'll be visiting Berlin? ha :-P Sorry, no immediate plans at all to go to Europe currently :-/
Yes, that is an excellent looking article!

It's not the style of writing or anything to do with the advice he's offering, I have no opinion on that... It's the fact I don't want camera and cinematography threads dragged off topic.

I wouldn't even care if they only catered to expensive cameras if they were actually adding to the discussion in meaningful, transparent, and honest ways. 
Prolost still does some great articles that actually inform. For instance: https://prolost.com/blog/rawvslog?rq=log "raw is not magic" helped me learn a lot about how code values are actually recoded in camera and better understand the pros and cons of raw and log.
It's night and day more helpful than cinema5D's "You NEEEEEED raw. What's that? A brand new, expensive camera that shoots raw happens to be affiliate linked in the post and mentioned first thing? That's so weird... Totally not planned, we swear."

I've been pondering over the thought that a better path to becoming a high quality DoP in the future is not by struggling up through the camera department, but instead via the lighting path. 

And on a related point, perhaps there is a better opportunity to make money as a gaffer than a camera op? (as cameraman is such an oversaturated area, especially at the low end)

I'm so frustrated with Panasonic that they didn't choose to use a locking MFT mount!!

Or at least a sub-PL mount like Kinefinity does. 
http://ironfilm.co.nz/what-if-kinefinitys-kinemount-became-a-universal-cinema-mount/
Exactly, and you could still beef up the MFT mount while keeping it MFT! And you could make a positive locking MFT mount. Making it even more desirable for professional users. 

I've been pondering over the thought that a better path to becoming a high quality DoP in the future is not by struggling up through the camera department, but instead via the lighting path. 

And on a related point, perhaps there is a better opportunity to make money as a gaffer than a camera op? (as cameraman is such an oversaturated area, especially at the low end)

I feel like I need a drink just from reading this thread!

Haha.....if I was that smart I would've accepted that my Mr. Bean demeanour wasn't conducive to being out and about in public wielding heavy equipment !
At least I and the newspaper buying public get to have souvenirs of the mishaps though such as (top left to bottom right) - Apologies for the low res but they're just grabs off the agencies preview page.

"The road I crashed the motorhome on" "The last shot the camera on the tripod took before the farmer tried to steal the tripod" "The last shot taken with my Samyang 8mm fisheye before I gifted it to a fan" "The shot taken with my remote camera actually in motion, spinning backwards after being kicked by a police motorcyclist" I did a few stages of Lance's ill advised comeback Tour but only started covering it more comprehensively from 2012 onwards as there became a market for it in the UK when all of our curiously asthmatic British riders started to win it.
So am I.
Unfortunately, its not a very big fan of me
 

I think Ethan is referring to the choice of EF mount over M43 mount Jon.
The mount choice makes less and less sense the more I think about it.
The single argument for having the EF mount is that it is a more robust option for professional use.
Considering how many M43 cameras get used in less than ideal circumstances by everyone from amateurs to hobbyists to professionals with all manner of adapters and all manner and weight of lenses hanging off them, you'd expect there to be a ton of anecdotal evidence of the lack of robustness of the M43 mount wouldn't you? 
Balanced against that single argument is a world of flexibility (and upgrade path) that Panasonic have closed off.
Its not like having the M43 mount would stop people using EF lenses on it. All it achieves is stopping people from using them in a better way.
 

The GH5 is a compact sedan with a ferrari engine in it but sometimes you need the whole ferrari. In this case, that means the features and form factor of a real video camera. Against Canon and Sony in the price range, this has dual native ISO, 5.7K sensor for both oversampling and eventually 5.7K raw, 2K up to 240fps, electronic stabilization, and a lighter body.
Having said that, the EF mount really kills the draw for Sony shooters who have been speedboosting or using PL. This is the single biggest drawback they could have easily avoided. 

I think this is currently how a lot of people are over the GH5.

Not by putting an EF mount on it and offering less reasons for your existing customer base to upgrade to it thats for sure.
The EVA1 is going to have to rock people's world image wise because for all people talk about it being a different market, they have to remember that the current safe bet in that market is not Panasonic so its going to take something special to bring people from Canon or Sony. They're not doing it with price thats for sure.

Couple weeks back I read a blog post by Alister Chapman about how the term DP has become meaningless now that anyone with a $1000 or even less can buy a camera and advertise as being one. (http://www.xdcam-user.com/2017/08/when-is-a-dp-not-a-dp/) and it got me thinking. I started paying attention to the people I'm seeing on social media in a different way, and noticed that damn near three quarters of the work I see involves no lighting. I see productions with UMPs, matte boxes, cinema glass, huge monitors, etc., but not a light to be found!
I mean, hell, I had one client not too long ago who was surprised I had any lights at all, which says a lot.
In fact, I think it's reasonable to say that the huge dynamic range and great low light ability we can get on cameras these days is killing the "need" to learn any kind of lighting. In many ways, I find this frustrating, simply because I've been trying to learn as much as I can about lighting for narratives and there's very little to be found on youtube and the like, at least compared to the billion videos entitled "how to make your videos look cinematic - Use these camera settings." The videos I do find are limited mostly to "3 point interview lighting."
But here's the good thing - Because there are so many people who know NOTHING about lighting, it's not hard at all to stand out! I'm sharing this post because for the past couple month I've been doing all kinds of tests with lighting setups while I've been learning from Shane Hurlbut's Inner Circle site and it's already made me stand out to one of my clients and gotten me in with a group of filmmakers I've been wanting to team up with for a while.
I hope that anyone on this forum that is looking to make money with video buys some lights and learns and experiments as much as they can. It's really the best way to stay ahead of the curve in this super-low-barrier-to-entry world.
(ALSO, I'd love if we could have a lighting section of the forum. Or at least a thread in the shooting section. Would that be acceptable?)

Yes, I kinda remember that being mentioned. 

But it lacks specific details, is it a business that is tied down to a brick and mortars location? Or is it a job he can take with him to wherever he has an internet connection? Or is it somewhere between these two extremes?

Please try to stay on topic, because if every thread had essays on sugar, energy, lifestyle choices and cognitive performance, I'd personally as a user searching for camera information leave the forum and never come back.

JCS, why do you think this health advice is relevant for a camera forum?
It's getting hard for threads about creativity and gear to be waylaid like this almost every time with your new age philosophies.
Please let's try and stay on topic.

Cinema5D lost me as a reader a long long time ago. 

I much more prefer sites such as:
https://www.redsharknews.com/
http://www.newsshooter.com/

Plus of course EOSHD!

I am with @IronFilm at the sound matter, Sony's are dead cheap, and I can assume much better than any Saramonic or whatever small brand (based in the fact that they are much better than the classic Sennheiser G3 option, which have sold to the millions). Sony's are battle tested, have very low battery consumption, tough as nails, and even their Omni directional mics are good for most things (a little less clarity than the cheap Sennheiser, but less clothes noise. Just put a Rycote Ristretto on them and they are good to go every where).
Also, I am working on a run and gun TV show right now (for a major network over here/doing sound) and the camera operators are using GH5/Olympus 12-100/Olympus 8 and Varavon cages. Great combo. Choose this combo for size/weight/IBIS/codec (Avid doesn't really like GH5's 10 bit right now though). I am seriously considering to replace my Samsungs with Panasonics right now, but I am not sold on the m43 sensor just yet. I think I will be waiting for next year and spend some dough on sound.
Also, my impression is that GH5 needs more batteries than GH4 (3-5 batteries each camera for a  full working day of 12-14 hours, full working days here are not like the rest of the world!), 1-2 less batteries for my NX1 in similar projects. Prepare to buy A LOT of SD cards!

Cinema5D lost me as a reader a long long time ago. 

I much more prefer sites such as:
https://www.redsharknews.com/
http://www.newsshooter.com/

Plus of course EOSHD!

Perfect?? Only if you don't need to hide the transmitter frequently! Then RodeLinks are useless. 
So it might be ok for some sorts of documentaries, or for ultra low budget corporate shoots, but for everything else you are wasting your money buying RodeLinks. 

Especially as a secondhand Sony UWP-D11 / Sennheiser G3 is similar (or less!) money than a new RodeLink.
Zaxcom or the latest Lectrosonics is waaay too expensive for me :-(

But 200 series Lectrosonics is very affordable! I am building up four pairs of Lectrosonics 200 series wireless at the moment. (plus have a 5th Lectrosonics TX/RX pair, which is fixed frequency)

And for the rest of my wireless, for the curious, I have:
2x RodeLink + 5x Sony UWP-D11 + 3x Samson Micro + 1x Saramonic UwMic9

We -most- have all these incredible 1080p 5.5" phones for a few years now, it just makes perfect sense to use them as a monitor. They have 4/8/10 core processors 2/3/4GB of RAM, and everything that can consist a perfectly good low cost monitor.
I am just puzzled how no one has made anything similar yet.
Xiaomi/Lenovo and others brands have huge 4100+mAh batteries that last days. They would be able to last a few hours as a monitor with nothing else on, and they cost around 200$ or less.
Another positive is that it could be working with various phones/brands, and future ones too.
That Ikan monitor is great though (there is an even cheaper Chinese original of this, but it seems it doesn't exist any more).
I pledged.

Only 1080. 4K is 8 bit. And not even 4:2:2.
"EOS C200 can output either 1920x1080 YCC 4:2:2 10-bit over the HD-SDI Terminal, or 3840x2160 4:2:0 8-bit over the HDMI"
http://learn.usa.canon.com/resources/articles/2017/eos-c200-production-brief.shtml
And to your other point, having to use a bulky 7" recorder is a big deal to a lot of ENG or even narratives (such as for gimbal use), so to act like it's no big deal is a bit of a stretch, especially when other cameras in the price range offer 10bit 4K internally.