bunk

2 frames a second or 1/2 a second per frame

I have no idea about the repair part. However I do wonder if the pin is actually broken. I had a couple of them bend after connecting a modified adapter. Got the same message. I could bend the pins back with a small pliers so they would atleast make contact again. The pins are quite robust and don't break easily. Are you sure the pin isn't just pushed in and got stuck (you can push them in all the way). Maybe with some fiddling you can get it out again. My 2 cents in case it's not broken

I have an 1T version. Bought it one day before I left to Australia. First time you use you have to set it up. Password, Admin name, simple stuff. I then checked if I could copy files from the sd card to My Passport. Worked fine. Later I connected the disk to my computer and changed the file structure a bit.Of course when I was in Australia the card reader no longer functioned as it could not find the correct folder. At that moment I wanted to check how well WD wireless drives float in the ocean.When I calmed down a bit, it turned out that Photo on my Ipad could sent files over to the drive. With the help of Camera Connction kit, which I had taken with me, I copied the files to my Ipad and next from my Ipad to the drive. Not Ideal but it worked.Once home I reset the drive including file structure and it works fine again. No complains here.In my case I could not play 4K files on the Ipad, only a thumbnail of the first frame. Ipad2, don't know if newer version are able to play 4K content.

​ It effects close range as well, way more for that matter. Here is an example I have a lens turbo EF to m43. I use vintage lenses, mostly Contax Yashica (thanks Andy) To fit them to the lens turbo they need an adapter ring. I adjusted the Lens turbo so the Yashica lenses hit infinity without overshoot. Then I found a Yashica Auto Yashinon zoom1:3.5 45-115mm. It’s a M42 mount. It connects with an adapter ring to the EF lens turbo. Focus between 115 and 45 were completely off. So I checked if I could improve that by adjusting the lens turbo element. It’s not a real parfocal lens (I think), but it is now as close to parfocal as I can get it. If I now connect my C/Y they slightly overshoot when set to infinity …I couldn’t care less as the zoom lens suddenly is way easier to handle as everything stays in “focus” throughout the zoom range. Non of these lenses have an original EF mount, all adapterrings differ so to make it stick to one lensturbo/speedbooster you will have to make choices. Metabones advice is for varivocal lenses. From my understanding the Sigma 18-35 is a parfocal lens. And I think it’s your lens to go, so if I were you, I would make sure it behaves parfocal on the adapter …even if that means other lenses will suffer from it.

In that case you probably already have this link: http://www.metabones.com/article/of/infinity-adjustment-speed-booster-only I found it in this thread: http://forum.blackmagicdesign.com/viewtopic.php?f=2&t=21004 So it looks like you had to adjust the adapter anyhow to get your Sigma to behave parfocal I did this for my nikon 20-35. Target on any subject at 35mm set the zoom to 17mm(in your case) You will notice it's out of focus. Remove adapter with the lens still connected. Adjust the lenselement in any direction by rotating it 360 degrees. Attach the adapter again to the camera and see if that improved the situation or not. That will give you a clue in what direction to turn the lens element. Once you know in what direction you need to adjust the lens element use steps of 90 degree. At a certain point you will overshoot an need to counter rotate. When you reach that point make smaller steps till the lens behaves parfocal. With some luck your other lenses should be able to reach infinty now. If not ,you have to make a decision which lens is the most important for you to use with the adapter. Success.

​It’s the second metabones adapter mentioned on this forum that came with a loose screw. Looks like the people who ensemble the adapters are not really qualified. An adapter that cost as much as $649.- should not come with loose screws. Also ‘contact’ asking you to sent over a video of the problem sounds weird as they should know only one thing can block the connection especially after you told them you could rotate the lens element. I think you should sent it back and ask for a proper version. Personally I would like the challenge to get it back in place myself ...but then again I do have a screwdriver set

I do not own any speedbooster but do have two lensturbo's. From the sound of it looks like my last lensturbo arrived in the same condition as your speedbooster today. The element was loose as well. The tiny screw that should hold it in place was not fastened. Because of that I could not connect the lensturbo as the screw came in contact with the camera body. After slightly fastening the screw the lensturbo was fastened (ever so slightly) and the adapter did no longer block the connection. Hope it's something simple in your case as well. ...and might you have lost infinity in the process, as you have been rotating the rear element, you now know how to adjust the speedbooster

...And mine. I like V-log

​I gave it a go. For some reason I couldn't import it in Premiere nor AE (too high bitrate?). Opened it in MpegStreamclip and exported it to quicktime AppleProres 422HQ. Then Graded the clip with SyntheticAperture in Premiere.

Great links, thanks!

Scenes 1/3 are the same just different grading.I like cam A the best as it has the most pleasing framing dof to me.If I had to guess A] bmp, B] lx 100, C] NX1, D] D16. Scene 4 framing cam A most pleasing to me.Scene 5 framing A and C are close and B an D. Don't like the framing of B and D. A has A DOF advantage over C, so I choose for cam A. Guess of cams: A] bmp, B] NX1, C] LX 100, D] D16.

When 1.28 is more or less equal to 1... how can 0.07 difference be a dealbreaker? Like Rudolf I don't get the excitement. A 35mm ff becomes a 51,520mm on m4/3 instead of the 57,155mm equivalent on m4/3. That's a 5,6 mm difference. To get the same effect with the "old" Speedbooster you have to step approximately 21 cm backward, that's around 2/3 of a foot. I doubt anyone would notice the difference in a real world scenario unless you shoot on the edge of a rooftop.

I think the main ingredient is bouncing light. Reminds me very much of overused radiosity in 3D scenes. Two scenes stand out for me1] Where they raise their glasses in the dessert (Egypt?). Two shots with slightly different camera angles and, I think, complete different reflector positions. Hence the complete different look. I don't think a filter can be the cause of that while the camera hardly moved.2] The shot, which you attached, where the guy walks into the frame while she is waiting next to the car. You can see how he walks into the bouncing light. No doubt filters are used but there is a distinct difference between the scenes where bouncing light was used and the scenes where it wasn't or couldn't be used. The last don't look so creamy to me and are probably pimped in post. Just my two cents.

I have got the T-005X, the aluminum version, it's great for photography if you're willing to sacrifice some stability for weight reduction. For video it's not stable enough. If you pan a video head the legs will slightly twist. If there is wind you will get micro shakes. It helps if you stabilize the tripod with a center weight, or open the legs only half way... Better is to buy a tripod that is meant for video.

Either something went wrong during editing or it's YouTube or you ran into another bug. There are two cases of frame skipping in your test. 1] Old men moves his right leg to the front. Just before he puts his weight on it a frame is missing. 2] Asian woman moves her left leg for the second time to the front. Frame is missing just after the moment the foot leaves the pavement.

I don't think Sirui was mentioned yet. I have the HV10 video head and it fits my needs. Bought it for around 120 euro as an introduction price. http://www.argraph.com/images/SiruiConsumerBooklet.pdf

-In Photoshop open your movieclip. Menu> Command O… The animated version. -Drag the movie clip on the 'New layer' Icon in the Layer palette. This will duplicate the layer. It's an animated layer. -Create a Selection for the part of the sky you want to put on top of the lady bug -With the duplicate layer and the selection active click the 'Layer Mask' icon on the Layer Palette. The 'Layer Mask' is now active on the duplicate layer -Drag the duplicate layer in place. -Shorten the timeline for the duplicated clip to your needs. The still version. -Select the part of your footage you want to clone. -Command C/V. This will paste the selection as a duplicate on top of the original in a new layer. It's not an animated layer. -Set a sample with the clone tool somewhere in the duplicate layer. -Make the movie clip layer active and start cloning. I don't now how FCP works exactly but you should put a masked clip on top of the other (still or animated) and be done with it.

I have the Leica D Vario-Elmarit 14-50mm F2.8-3.5 from Panasonic. When I bought it, it came with UV filter attached. Recording with the UV filter attached I get the same noise patterns as in your clip. When I remove the UV filter, the noise patterns are gone. It happens with some cheap P-size ND filters(Stealth Gear) I have as well. The Contax Yashica lenses I have don't suffer from such noise patterns when I have the StealthGear-ND's attached, at least not that I noticed. Never tested them with an UV filter. Are "native" lenses more sensible? …no idea, but I'm pretty sure it's not your GH4.

As an option maybe. I don’t have any anamorphic lenses but do like to use this new mode without having to look at a stretched live preview. I don’t know where it comes from but the grain pattern of the new mode seems to hold more information than any other mode. Extra DR ? The Photomode is some kind of jpeg in a mpg container. The result is some smeared footage. Not so in the new Anamorphic mode. Do some tests in ISO 6400 and you will find that in all modes the noise is clearly visible but in Anamorphic mode it behaves the least erratic. I think it’s because there is more information for the grain pattern to work with. Hopefully all others modes will get the same new codec(?) before Vlog will be implemented as otherwise there is not much for Vlog to work with. Come to think of it ….might be the reason that Vlog is postponed.

​In that case it might help to press the shutter buton halfway.

My guess is it's related to the OIS of your lens. http://www.eoshd.com/comments/topic/7159-micro-jitter-on-panasonic-35-100-f28-when-using-power-ois/#comment-73437

​Not the first thing I would adjust if it's a used lens you bought. If you adjust the adapter to this lens it could be off to any other lens you attach. If you have several lenses, first check the others to see if they can focus properly. If that is the case adjust Contax Zeiss instead. Chance is that it was cleaned before shipping and put back together without checking infinity. If the lens looks similar to a Contax Yashica (judging from some potos on the net it does) it should be fairly easy to do so. Here is a link with photos http://forum.mflenses.com/infinity-tune-for-contax-lens-t7011.html The three screws let you turn the focus with the lens. If you loosen the screws some you can turn the ring without moving the lens. Rotate the ring 1or 2 degrees fasten the screws and see if infinity is in reach. Don't overdo it or you will loose minimum focus distance.

This might help you. http://byteful.com/blog/2010/07/how-to-fix-the-h264-gamma-brightness-bug-in-quicktime/

A video B raw, way more color info indeed.

My unit behaves as follows. 24Hz: slow EVF and monitor in all mov. settings 50Hz: slow EVF and monitor only in 4 K settings 59.94Hz: slow EVF and monitor in 4K settings. The 24fps 4K setting seems the worst. For all settings EVF seems wors than monitor. It never bothered me too much and I hope this post won't change that ;)