Currently directing a film called Grandma Werewolf
Follow the progress at https://www.facebook.com/GrandmaWerewolf/
"What's that?! Point the 10k in his eyes! Got it!" - a grip somewhere
Honestly I'm still leaning towards the C200. As a C100 Shooter, I could match the two much better. The biggest thing people are talking about is bit rate. I mean my C100 has only 24mbps, with most light grades that enough. All of my work is for the web (not broadcast) so 35mbps/150mbps is completely fine (It's better than the FS5). Also the C series cameras are pretty clean at 5000 iso (no dual native needed).
Yeah I pulled up the pictures with a histogram and saw 0 clipping....
The best DPs I've ever worked with don't scold people when they mess up something. The best way is to teach the crew the right way/way you want it done. It shows that you not only care about it getting done right, but that you care about your crew. It also solves future problems. Show them the solution, let them come to the conclusion that they were the problem.
I think this is a drastic oversimplification. Also, why is everyone so against blockbusters? Honestly, the problem with a lot of arthouse/drama films is that they don't keep your attention. Even bad super-hero movies have a quick enough pace, enough actions and a couple jokes to keep your attention.
...But the quality of gear you have needs to match the quality of your clients. If your booking high end gigs and have cheap gear, you'll feel limited or the client might feel like you're unprofessional. If your gear is higher end than your clients can afford, you'll just be stomaching the cost of it.