Hi Jazzlyn, I've been a full-time filmmaker for about 2 years now. It's going well so far, but I'm not out of the woods yet in terms of a stable career; and I may never be (I know a 60 year-old who still hustles just as hard as I do to find work).
First, video/film production is NOT an impractical career path. You wanna know an impractical career path? Psychology. English literature. Philosophy (been there done that one). Great disciplines, but not likely to give you financial security. Video production can be an extremely lucrative business, but you have to be smart about it and know exactly what you're getting into.
First, you will not make movies. At least not at first. OK, you MIGHT be a cinematic genius and get lucky, but you PROBABLY won't make profitable movies for a long time. To give you a sample statistic, Sundance accepts about 8000 feature film submissions every year; they screen about 120 of those, and I would guess that less than half of those films get a distribution deal (could be wrong on that last bit). TL;DR even if you miraculously make a movie, you probably won't make any money off of it. You will need to make money in other ways until you somehow figure out the distribution thing with feature films.
The good news is that EVERYBODY wants video content these days. And the even better news is that most people who try to make content aren't very good at it. If you are good at making friends, contacts, and charming people into working with you, you only need a modicum of talent to put yourself on the top of everyone's list. Seriously, charisma and a great work ethic/attitude go miles in this business; talent comes third.
There are so many avenues to make money in video production; you just have to find your niche and go for it. Commercials, online branded content, tutorials, reviews, cooking shows, fashion, lifestyle, vlog, corporate videos, industrials. You name it, someone needs to make a video of it. The hardest part is finding those clients, and essentially making THEM money. You have to provide value to your clients; they have to want to hire you because you provide a product that ultimately profits them. Maybe an airline needs to instruct its crew members how to be better hosts. You make a cool video that people pay attention to; the crew become better hosts; people fly the airline more often; airline makes money; airline hires you again for the next gig.
But it takes a LONG time to learn to think like that, and it's even harder to keep those business goggles on in the moment, when you're trying to sell your services or negotiate. That's why my biggest piece of advice is this: Do not major in film production or film history. Major in business. Minor in film history. Sure, take a production class if you want, but even better would be to try and get on some local video productions--you'll learn more in a couple days there than a whole semester of production class.
Movies are your passion; you want to make movies. Don't forget that. You may have to put the dream on hold for a few years, but don't let it die. That's why you may still want to minor in film history or at least follow some syllabi for film history classes and watch all the movies they watch. People don't understand how many awesome films are out there that they have probably never heard of. Film history will educate you; it will make you a better filmmaker; it will inspire you. It will help you stand out because you will by taking notes from films that nobody watches rather than taking notes on the latest and greatest (like every other video guy out there).
The other guys here are right: this is not an easy industry. But that's not because there's no money in it; it's because it requires incredible drive and focus and a lot of business smarts, which frankly most people don't have. I sure as hell don't.... why do you think I'm here? :)
I really question the idea that light field cameras will be ubiquitous in the future of production. They take some big creative choices (focus + framing) out of the hands of the director and cinematographer and put them in the hands of the post-supervisor and/or studio. I'm sure that last one would love it, but I don't think directors and cinematographers will go for it. It's already enough trouble as it is, trying to make sure your vision makes it through, with our "shoot as much information as you can, craft in post" mentality.
Beware the Ursa Mini 4.6K. Black magic is having major QC issues with that camera right now. I'm assuming they will work it out eventually, but who knows how long it will take.
The C100 is too heavy and big? Haven't heard that one before.
I've shot on Canon's, Sony's, Red's, Alexa's. The C100 is literally the easiest camera to operate solo without bulky rigging, and the image is fantastic. On paper it doesn't sound like much, but I would shoot C100 over the Sony A7 series every day of the week.
It is bigger than a DSLR, though; so if you're after that form factor, look elsewhere I guess.
Check EBay For the lenses I listed. They are more than affordable. I bought 4 Zeiss ZE lenses for $2000, and the Zeiss Contax are typically even cheaper. I'm sorry, but you're simply wrong on this one.
Please don't buy Canon glass or Rokinon glass. You can get much better glass for the same price. I would personally look into Zeiss Contax glass. You could probably get a 28/2.8, 35/2.8, 50/1.4, and an 85/1.4 with Leitax mounts for less than $2000. The lenses will be as sharp and have MUCH better contrast and color than the Canon or Rokinon lenses.