The DGA usually opposes co-director situations for this among other reasons, but discourse with someone from there, or anyone who deals with arbitration may provide some ideas.

Enthusiastic nomination for Edinburgh as the best place.

It's a weird thing. You can start arguing that if a substance can cause sudden death it should be controlled, and then consider alcohol poisoning. You can argue that a drug that can inspire violent insanity should be controlled, then consider again, alcohol.

Drug regulations are difficult laws to deal with, since the effects and repurcussions of the substances are tied to the individual's biological/psychological makeup. Legislation tends to protect the lowest common denominator with the highest chance of dangerous, crippling addiction. The slope, she is a slippery, and there's a pile of sad junkies at the bottom where it evens out.

That said, an exciting bonus of moving to California last year was the prospect of registering specifically to vote in favor of legalization.

Yeah, just elaborating, since I suppose I wasn't clear. Which happens a lot. I suck at English.

As mentioned, shutter artifacts from the way the camera draws a frame will fuck up tracking. The Foundry has a cool tool to compensate for that, but it's not 100% reliable.

Keying gets really hard because of the (8bit) compression algorithm used in the camera starts to degrade significantly when you introduce some arbitrary level of detail that's beyond the functional bitrate of the video. Then your edges go to shit.

Renting/borrowing/thiefing cameras for different projects will teach you a lot more about the pros and cons of the tools than any amount of forum discussion. And  (this is where I was less clear) if you're only looking to do a project once in a while, just renting a camera for shooting days can be the better option financially than dropping big bucks on your own for something that may not be used enough to justify the expense.

That money could go to more important, longer lasting aspects of your development as a filmmaker (like booklearnin or watching/buying more movies) Your brain and your ability to tell a compelling story is a lot more important than talking about sexy bokeh and compression artifacts.

But then again, can't underestimate how much you can learn about light and composition from shooting stills in manual with a prime lens. Which you can do with a 7D. If you just want to hear someone say to go buy a 7D, I'll say buy a 7D. And a 50 mil f/1.4. The sexiness-per-dollar ratio of that thing is unrivaled at the moment.