Wedookayfilms

​Yeah, the counter weight is nice. I have that one on the C300 rig back at work since I dont need it on mine cause I have the Shape shoulderpad/counterweight combo.

And the dremel worked! It was risky for sure but I covered it with a lens cloth and rubber band. Blew everything off the back lens and then took the cloth off. The back of the lens is fine. Thanks for the help!
And now my the lens works fine in the Gh2- but people should know if they buy the metbabones contax g to micro 4/3 adapter, with a biogon carl zeiss 28mm lens, they will need to cut the ears off to make it work.

Dremel, as in the rotary tool, used for smoothing surfaces, engraving and surely cutting too, depending on the attachment used.
Cover the optic elements with a piece of cardboard and attach some tape to fix it in place (protect the glass). Then use one of these tools and cut away carefully.

http://www.dremel.com/en-us/Tools/Pages/CategoryProducts.aspx?catid=2013

I definitely would not take that lens apart unless you have done it before. Get a lens cloth,fold it and lay it over the rear glass element. Tape it to the body or something so it stays on and you can Drimmel the shit out of those ears. Maybe lay another piece of cloth or something over that for extra protection.
 
 

I say go for the gini rig if you want durability and customization. It's a great starting base. You will find out what you need to add to the rig to your liking and as cinegain says it's easily customizable with other 15mm rod based accessory's. I have had mine for 2 years, one series all shot on a small boat at sea(small rust in screws cause of salt but no biggie, very easy to replace) travelled with it alot. Never failed me, solid. I like that  
Used it with 5D, Gh2, C100 and C300.

If you read the comments there you'll find out that the one you're linking to, some of the parts it consists out of are plastic. I also have Ginirigs stuff. All metal everything.
Just threw two examples together real quick for ya. The first one below is one of these offset dual rod setups, is more rigid and well-built than all the really cheap stuff and much more modular. So you can get some parts from Lanparte for example and throw it on there. Yeah, haven't thrown any counterweights on it, but it's easy to adapt to. With a small lens it's nice 'n easy, but that 80-200mm for example does get to you a little. Follow focus is the Kamerar one (FF3 if I remember correctly).


2nd one is more of a run 'n gun thing (ABCRig). It's more of a cage with handle that has some shoulder rig abilities than a shoulder rig per se. It's nice 'n basic though.

This is the one I use: http://kamerar.com/products/shoulder-rig-counter-weight
It's pretty much perfect.

Here's a pic of my rig as it is today.

​I own this one. I like it a lot, well made, strong. It's a bit heavy since everything is metal no plastic. Did not like the shoulder pad however. I got this one instead and I love it: http://www.shapewlb.com/en/product/products/accessories/shoulder-pad/adjustable-composite-shoulder-pad_53.aspx?id_page_parent=132 with the counterweight: http://www.shapewlb.com/en/product/products/accessories/shoulder-pad/counter-weight_55.aspx?id_page_parent=132 
With my other accessory's I have perfect balance on my shoulder, I can let go of the camera and it stays.
But yeah, I can recommend the gini rig

You could peek around the corner at Zacuto, see what they're doing on the Fast Draw: http://store.zacuto.com/images/products/secondary/z-dfd-4.jpg .
So, to mimic that to a certain degree you could get the FOTGA / NEEWER DP3000 shoulder pad for example. Then get a second rod and a counterweight. For parts check Jag35, Kamerar, Tarion, Bandc, Fotga, Neewer, et cetera.
But a 2 rail offset (not straight to back) setup imho is king. I know you have your solution because it probably kinda works and was cheap. But there's pretty affordable stuff from the likes of ProAIM/Filmcity and Ginirigs for example, that would be much nicer to work with I feel like, also without breaking the bank (I mean, who doesn't want a rig from Vocas/Lanparte/Redrockmicro/Letus/Trusmt/Zacuto/Cinevate/Kinomatik/ARRI... but you know #topdollahdollahyall$$).

It doesn't appear to be fully locked, and that's unsafe.
 
The first video that I linked is a tutorial from Metabones.  They attempt to show an internal black tab fitting into a black slot along with demonstrating which external ring to unintuitively turn.  I am afraid that they don't do a very good job of conveying what's needed for the operation, so you have to pay very close attention to everything that they try to show.
 
There have been reports about folks having to file the internal tab to make the lens function properly.  Mechanically, these lenses seem a little "over-engineered."
 
If I had to eliminate the rear protective ears, I try to remove them cleanly by unscrewing them.  If there are any screws attaching the ears to the body of the lens, they are under the rear lens mount.  So, it might be good to remove the silver Phillips screws shown in this photo below  that attach the lens mount.

Then remove the rear lens mount and see what's underneath.  If the ears are mounted with screws to the lens body, then merely unscrew them and save them and the ears in a small container/plastic bag, and reattach the rear lens mount.
 
If there is no easy way to remove the ears with the rear lens mount off, then the ears might need to be sawed or snipped off.  I would be very careful in doing so, to keep plastic chips and metal filings from getting into the lens and/or onto the optical elements.  One way to get the optics safely away from such work is to remove the entire optical assembly, as shown here.
 
Here is an example of a lens with the ears cut.
 
Hope this helps.

Thanks for posting the photos.
 
It is surprising that such a shallow protrusion could touch any internal structure in the GH2.  If that's what is happening, I would guess that the best thing to do is to remove the ears or "mill-off" the portion of the ears that hit the GH2.
 
Before you take such drastic action, it might be worthwhile to try another Contax G lens that doesn't have such ears.
 
By the way, is your lens fully "locked" into the adapter?

You have to properly mount the lens to the adapter first, and, then, mount the lens/adapter to the camera.
 
Here is a Metabones instructional video.
 
Here is more detail on the elements involved.

​If you would've check their website... it says 'This is the new updated version which has been strengthened to assist operation when using with the Anamophot, anamorphic adapter'. Optics are probably unchanged, but the housing might allow for better mounting of a clamp adapter. I'd 2nd the mention of getting a 35mm as 2nd lens to shoot with.

If you have a 25mm already I would get a 28 or 35 as a second lens so you have a tighter angle for the second camera 

It does seem strange to have two of the same lens if working with a limited budget, but if it's when the project calls for than so be it. I would think the best idea in this case would be to get another SLR magic instead of switching brands.

​
GH2 is normally like a 1.89 or so crop vs. full frame 35mm.  So for any given focal length, you'd have to double it to get the equivalent frame of view in 35mm terms.
Example...a 50mm lens on the GH2 will be approximately equivalent to a 100mm lens on a full frame camera in regards to FOV.  Makes it difficult to go wide, and especially difficult to go wide and fast.
Speed boosters effectively eliminate some of the crop factor.  For the GH2, it takes the crop down to 1.3, which is actually more than the super 35 cinema standard.   So the same 50mm lens would go from 100mm on the GH2 down to about a 65mm. So you can go wider!
Also, it allows for approx. 1 more stop of light to hit the sensor.  So it not only makes your lenses wider, it makes them faster!  An F2.8 turns into an F2. An F1.4 turns into an F1.0. Etc. etc.
 
I hope I've been helpful.
 
 

Buy a Nikon 28-70mm f2.8 for around £600 ($800 USD?) and a Speedbooster. You only need this one lens for those focal lengths and it is superb.
Check out the posts from Andy Lee (who really knows his stuff) about this lens on this forum

​I'm about to list a Novoflex C/Y > M4/3 adapter on ebay. Of all the adapters I've seen (including Metabones) Novoflex are the best: it fits both camera and lens perfectly. If you're looking to get Contax Zeiss glass for your GH2, you'll do no better!

I'm about to sell my Speedbooster for Contax/Yashica Mount > M43 so if you're interested in going the Contax Zeiss glass route and would be interested, let me know

I've seen the thread you started, be careful with eBay lenses. 'NO EFFECT ON THE SHOOT SO SLIGHT' sounds nice and all, but personally I would never accept a lens with known fungus inside of it. This can spread through the lens, might even transfer to other glass. Stay away is what I would say. I only accept some very light cosmetic damages, such as a scratch on a housing and fainting paint or something and you'll have trouble finding anything vintage that hasn't got a few specs of dust inside. But other than that, take care that it looks good, has no dents (especially not on the lens thread) or is otherwise impaired. The glass should be crystal clear, without scratches, funges, haze or cleaning marks (again, there's bound to be a few specs of dust, that's okay). Focus (and zoom) should turn smoothly. Mind with rubber rings, that these are still neat. Usually a light color shift from black and some whobbling indicates it might needs to be exhanged. Make sure the seller claims everything is working fine. No stuck apertures or anything. Also the aperture shouldn't be swimming in oil. These are the main things I care about when buying a 2nd hand/vintage/legacy lens. Feel free to ask a seller about something if you're unsure and always read the description very carefully. Maybe you're bidding on a lens with known defects, that's being sold for parts or repair. Carefully read what state a lens is in to avoid surprises. If you do this and pay attention to the upload pictures of the lens your bidding on, you should be fine. I've done my fair share of buying 2nd hand lenses and so far I've really been blessed. Most of the time the lenses look as good as new. I also check what's included. If it's being sold with original packaging, accessories & lens caps and is being shown used with an UV filter, this usually means that the owner really took great care of it. Only once I had one with a stuck aperture (partial refund) and one time there was some hazing going on, which wasn't advertised or noticeable from the pictures. But overall, I made some really really good calls.
Carl Zeiss CP2 primes sure are nice, but I'm not sure if with cinema lenses you will be reaching the limits of the GH2 (in the sense that there's more potential to the lenses than is being captured). I think cinema primes make more sense on a little bit higher end cameras. It's kinda like putting a turbo charged V12 inside of a Volkswagen Golf. I mean, you can do it, but I'm not sure if it's worth it. Just my two cents. I guess the vintage Planar's should be pretty awesome though, but I know too little about them. Guess Contax CY mount types would be the adapters/focal reducers to look for if you're taking that route. But I would encourage you take a closer look at the recommendations as posted earlier as well.

@ Wedookfilms
Give Flowmotion v2 a try...very reliable.
I had problems with cards until I bought Sandisk Extreme pro 95 MB / 64gb.
I also reverted to extracting my files out of the camera via the daggy Photofunshop software supplied with the GH2 to a file on my desktop...it works well and was advised to do it like that to ensure spanning.
These days I don't use a patch cause I'm not that good at grading, and I reckon the look of a stock GH2 is good enough as it is.
Cheers.  
 

Some of the hacks don't allow playback in-camera which is what freaked you out.
It's normal. Recording is fine unless it stops half way through a shot.
Go for a hack with a lower bitrate, you'll have to sacrifice quality for reliability.
Then give it up and get a GH4 already, it's 2015 

Hey OP,
Here's something that's not terribly funny (IMHO) as the comedic timing editing is way too off for my tastes --and I'm guessing the director/actors weren't willing to "kill a few babies" In order to land the jokes a lot quicker and just land the gag, but.... you really get a sense on how the lighting is a viable character of the comedy.  Plus you get a breakdown tutorial on how they did it.  The production is clean and considered.  http://nofilmschool.com/2014/03/lighting-tutoral-capture-9-visual-styles-without-moving-your-camera
 
Also, here's the down-est and dirty-ist trick I know to quickly determine if you're lighting your stuff somewhat effectively:  Squint super hard while looking at your setup.  If your subject(s) details disappear into silhouette you got some work to do.  Only works if you're NOT trying to obscure the subject, of course.
 

Good ambition.  You're onto something, you just need to refine it. I also did sketches (a looong time ago) for fun.  My ideas and my comedy were pathetic, but the process of making mistakes while filming was invaluable. 
My advice is this:  you're trying to fix the wrong problem.  If you want your work to look better you need to worry about a bunch of other things before lens selection.
And, honestly, a slightly wide lens is ideal for comedy stuff.  You're already set.
I'd fret most about lighting and knowing how to create strong balanced exposures on subjects.  Your lighting is uninspired and kind of distracting.  If you can't learn to do it well, maybe hire someone that can...or is at least willing to try hard to figure it out.  It's heavy lifting, so you need to love the challenge or find someone that does. 
I can't emphasize it enough.  The thing that separates good shooting from bad shooting is not the gear, it's using whatever gear you got with the right light.  Good shooters chase good light or make good light.  They combine it with numerous others imaging skills to make something special.
This is why, in filmmaking, you'll see a talented 17 year old kid with an old Canon Ti making films incredibly better than some camera-gear-head with a brand new [insert latest expensive and popular technical camera here] and every lens at his/her disposal.
The deal is simple, if you want to get better than everyone else running around with a great camera these days (aka: everyone with a vague interest in DSLR/mirrorless video), then get better where it actually makes the most difference.  No lens can salvage a poorly lit frame.  And in case it needs saying:  exposure is not about pumping enough light into a shot, it's knowing how to place or remove the right amount of light where it needs to go for pleasant shots to result.
It's like music.  You don't make nuanced music by playing a cacophony of relentless sound.  Good music happens in the space between notes.
Lenses?  A very important tool, however they're only a part of everything --And this only addresses the simple technicalities of production!  Governing the artistic performance side of it all is another consideration altogether...and your camera is one of the main characters!  
 
...Of course, you could be like many and just buy camera gear as a catalyst to some creative motivation.  I've done it...