andrew berekdar

Yep, this camera is a production workhorse... it's not designed for mirrorless camera street shooters, Vloggers, shoestring budget filmmaking.... 
As an FS5 owner with all the bells and whistles - I have 4k 100fps and 2k 200fps in ProRes or CDNG. Spoilt really. 
This C200 does peak my interest though. 
In my limited time with the rather boring C300 - it was an absolute pleasure to use that camera. 
The C300 II seems like a big misfire as seems like it needs to be heavily discounted. 
The C200 has some great features the FS5 doesn't:  
Dual Pixel AF. Superior Colour. Internal RAW. 4k 50/60p internal. Easier to grade Log.  No need for bulky external recorder. Better focusing / peaking (going off previous C-series cameras).  Those features are very, very worthy and actually very surprising. A big deal. 
However, there are a few reasons why I'd currently be in no rush to replace my FS5 with this: 
Critical reasons
No broadcast "middle" codec until early 2018.  B camera for gimbals, 2nd camera etc for smooth matching. The 5D mk IV isn't exactly worthwhile whereas Sony has a gazillion options with tons of features.  100/120fps mode uncertain.  Moderate reasons
Would lose 4k 100fps and 200/240fps modes.  Regular ND instead of electronic ND.  No Speedbooster.  Less lens adaptability.   
Good stuff at last by Canon though!
 

Canon cinema cameras raw is logarithmic like ARRIRAW and REDRAW (which are both 12-bit). 12-bit is plenty for log raw. 10 bits is still pretty good with a log curve.

Well, that was a pretty nasty little article.  Why bother ?  The guys over at Cinema5D are trying hard just like everyone else.  Andrew, you talk about them basically as if they were corporate shills, but on the other hand I remember very clearly you promoted the Zacuto eye, saying what a great small EVF for small DSLR cameras
 
and when I pointed out repeatedly that it had no HDMI input (only SDI so really not adapted at all to those cameras) in your forum, not once ever did you respond.  The point is that your criticism can be extremely harsh, yet I don't see you holding yourself to the very same standards you ask of other people.  It's obvious that not once did you try the product with the DSLR's you mentioned or even consider such a glaring error, so what was that article?  Nothing but an empty promo in the end, right ?
I don't point this out to shame you, but merely to say that your article seems harsh, strident and unfair.  You really seem to have a chip on your shoulder. You could have just as easily rebutted their findings with the points you made in a more gracious manner.  In the current climate do we really need more harsh hate filled rhetoric these days ? Maybe they got it right, maybe they didn't on the GH5, but it's important to cut everyone a little slack now and then. 

Can you pin down exactly what they mean by "hard light look"? Do they mean gritty with lots of contrast? High key? 
If it's what I'm thinking of, you could cover all the windows except one, then use that as a hot edge and gel a softer source (1/2 CTB should be fine) from the opposite side as your key. Or vice versa, depending how the ratios work out. Then some negative fill on the down side of the face. Should give you something like this. 

I would avoid undiffused redheads/blondes. They tend to have hot spots and an uneven spread, and are therefore not controllable enough to use directly on talent IMO. Better off using a fresnel with Hollywood Frost or a couple sheets of Opal.

I agree, a C100/C300/F3/FS5 with a fitted pelican case will take away a lot of the stress. At my work we have a fitted case for the 4 Light Panels, and 2x 300ii. This makes it extremely difficult to forget or misplace items. 
3.5 is maybe fine for wild sound or some cheap doc work, but not if the client is paying you a good day rate and expecting quality. Always boom the subject as well, wireless mics are great but a boom is always more solid. 
Depending on how many interviews you shoot, the C100/C300 could be a game changer for you. I couldn't imagine doing the amount of interviews I do on shoots without the tools and features that the C300ii offers.
I know that you can get great images with smaller cameras. I love the pocket camera, one of my favorite images ever, but the amount of work it takes to build it up is just too risky and too much of a headache.
The right camera for the job. Interviews. Canon C series is hard to beat.

Use Wordpress and buy a theme which is almost exactly how you want it to be from Theme Forest. Only choose themes made in past year with at least 20 4.5 star overall reviews.
Embedding videos is much easier and it will boost the video rankings on Vimeo or Youtube. 
Buy your domain name from internet.bs (avoid GoDaddy they will hammer you with unnecessary addons).  Host it with Hostmonster if in US or Vidahost in UK. Cheapest package is fine. Actually the domain name may be free with the hosting.
Use Tinypng to compress photos or the plugin SmushIt if you want to batch compress. There is also ImageOptim app on Macs for jpeg. Page speed is a big ranking factor for Google.
Dont buy any spam links or it will get banned or penalised in Google. Join Google Analytics and Search Console to help get the pages indexed in Google, get advice and see visitor statistics.
Join Google My Business Local if you want local clients or Brand if not. Make sure the category is right, then get a couple of reviews and it can be a short cut to the top with the Google Maps listings.
This is my first post on here where I am an expert, usually feel like a noob. 

Everyone has their own opinion on 3rd party parties, but when it comes to relatively inexpensive ones like LP-E6 I prefer to save myself the hassle of not being able to charge knock-offs in my original charger, reduced lifespan, reduced operating time, inability to register battery and get accurate info (like % of battery life remaining) 
If you're investing in Sony NPF batteries then that's another matter. A tenth of the price for half the quality I can accept.

So a girl in underwear with some background music. Yeah, it's a music video allright. Or porn. Could be porn.

same here. it is simply because everybody is throwing the exact same LUT on every single piece of footage.
Especially redundant on blackmagic cameras footage. Youtube and vimeo are over flooded with them. 
Since it's an easy go to "it looks cool" solution,  it is often poorly done and people look like walking oranges.
All these type of heavily stylized luts you can find online have done quite a disservice to many people imo. Sure it's easy and fast, but what happened is all videos now look the same. The grade should first and foremost support your story anyways, then be visually pleasing.
read his book on color correction, very interesting. Now I need to put the knowledge into practice...
 

Just to comment on the C100 mkii, I hear from colleagues who own them that the image falls apart early on in the grade, which I suspect you may be aware of.  
But if you're able to keep the BMPCC for projects which require a distinct look, and use the C100 for the projects where you want a look pretty much out of the camera then you've got a good combination. Horses for courses....

If you have access to both cameras, you could create a 3D LUT (this is much more than a simple gamma transform):
Using a black-body emitter / continuous spectrum light (tungsten etc.),
Using the same lens at the same position and camera settings,
Shoot a color chart with both cameras (Log for Canon, Log C with ARRI),
Create a match transform from one chart to the other (using Resolve or similar- this may be the tricky part),
Save the final transform as a 3D LUT.