I think it might be wise to understand the model of focal reducer that is being used. if of a split pin type retainer it could be that the split pins are just opened up too much and should get looser as you use it.
personally before getting the dremel or emery cloth out, I would remove the speed booster from the camera and give the two a bit of force attach then remove a few times. remving the camera from the equation means the actual camera isnt being subjected to stress.
i'm afraid its not really the mirror that causes the main problem. It's more the fact that the actual barrel of the lens (the stainless part after the 4 notched ears) is too deep and thus prevents the lens from seating into the pl port on the ef-pl adaptors - there is a step on the inside of ef adaptors which means the actual PL mount of the lens needs to be short. also I'm pretty sure some of the PL mount 35mm format supers are simply the same lenses as 3 blade the rollei versions with a small amount of focal reduction optics on the back (to shrink the circle from Full frame 36x24 down to s35 (24x15) - gaining speed. these rear optics seat very deep into the pl port so would hit the speed booster optic. Unfortunately the 50mm f1.4 is 7 blade with no option for a 3 blade. there are some 35mm f1.4's with 3 blades. most of the 85mm's are 3 blade.
I actually mod contax zeisses (35, 50 and 85) with a fixed triangular aperture (new fixed aperture can be from f2 and smaller) to give the superspeed look to great effect. I wouldn't do it to rolleis because i have too much respect for their heritage!
wonderful images. Personally I think just about any camera would deliver lush things with that 135mm f2 you used on some of the key shots in combination with your photographic skills. That oversampled sensor is capturing wonderful levels of detail and colour.
a7s and set wb correctly so you dont have to correct as much? the kelvin scale gets you close, then a bias will do the rest. the 8bit 4;2;0 issue became null and void when the image you get from the a7s is so solid in low light the lack of depth is made up for. correct exposure, correct wb and zero noise is better than a murky 10bit 4.2.2 image with loads of noise masking the colour information.
The skyline shot is showing how drastic the difference in squeeze ratio the cinelux has from middle to edge of it's physical limit any wider taking lens and the edges of the front of the cinelux are visible. notice the difference in oval bokeh at the edges of the frame. the point of focus (the aerial on the chimneys) for this shot is approximately 15mtrs away.
trusty old C/Y - west german. this is however a 'good example'. I have worked on a lot of these 85mm's and this one has the least fringing wide open of the lot.
though in 90% of cases things like the difference between a canon nifty fifity on a 550d / t2i vs a c300 + a zeiss 50 is overlooked, it should be noted that if you want the really good clients, they'll be used to seeing the results from proper cameras and proper lenses.
Personally I don;t aspire to service clients who can;t tell the difference since then the hard work also gets overlooked in the same way.
a personal favourite for dslr's with live view through a built in evf is to use a battery grip and bring the evf to exactly the right eye level when the base of the battery grip rests against my shoulder. it adds a very solid point of contact, and since the shoulder is all bone you get no heartbeat/micro shakes.
this technique has 4 points of contact- the eyebrow, the shoulder and both hands. added to this, the elbows can be kept close to the chest forming a very solid shooting position. pans are also easy since you can lock your upper body and just rotate your hips/waist for a smooth 180degree pan.
I think this looks very good. Not forced and without loads of shallowness. The rather overcast lighting is helping things out i imagine. is there much edge glow on high contrast shots with that 35mm f2?
What is concerning is that what with the gh4's crop of 2.3? in 4k mode the 35mm lens is about as wide as you can go - and it is yielding a similar fov to an 85mm on full frame (again the widest taking lens for full frame). However having to be wide open to get any type of defocus blur it looks like the 35mm is struggling to deliver adequate levels of resolution to feed than small imaging area and is mushing things a little. Granted, the vimeo compression is hurting things, but the overall look doesnt look like it was acquired in 4k
I'm pretty sure a 50mm + speed booster copy would be a much better option since it will compress more of the 50's resolving power into the sensor, gain more control of dof due to the faster aperture and longer focal length. I think a 50mm f1.7 contax + a camdiox speed booster for m4/3 will be the order of the day on smaller sensors!