TurboRat

The adapters like the one I linked to are just a tube with two lens mounts on each end.  Maybe I'm missing something but I don't think that will damage the lens?
I have heard about the rear element in a lens hitting the lens element in a Speedbooster, so maybe that's what people are referring to, but I really don't know.  
I'm sure someone else here will have the answers

@TurboRat I am using the Kipon Baveyes Ultra (speedbooster) - Contax to m43 to adapt Zeiss to GH and eventually to the P4K when it arrives, working well with the 50mm 1.7 and 35-70mm 3.4 lenses, slowly building a set of these ?

Thanks!
Yeah, I got a Fotga m42 to m43 adapter.  Like this one: https://www.ebay.com/itm/M42-Lens-to-Micro-4-3-M4-3-Adapter-EP1-EP3-EPL1-EPL2-EPL3-G1-GF1-GH1-M42-M43/251677877818?hash=item3a992ba63a:rk:1:pf:0
It's "dumb" and so doesn't have electrical contacts, and also doesn't have a glass element in it, so it crops into the lens making it seem longer.  Ie, a 50mm lens on the GH5 with that adapter would be the same as a 100mm lens on a FF camera.
I've got another one on order that has a focal reducer in it so we'll see how that works when it arrives.

I have conducted a bunch of tests comparing shots between the XT-3 and the Pocket 4k, which unfortunately I can't share because they are of my wife and she won't let me post them online. I will see if I can do some shots of other folks whom are comfortable having video of them shared online. But for now I can give a bit of insight with my findings. The highlight retention/roll off of the Pocket 4k is miles ahead of the XT-3. Having the ability to have RAW, is also miles ahead of the XT-3. Both of these are obvious to me and I pretty much knew them going in. I think we all knew this. The colors straight out of the camera, again, blackmagic wins. So is the obvious choice the Blackmagic Pocket 4k? No. Keep reading...
After all that, the combination of a more organic/slightly softer looking image and much MUCH smoother motion cadence of the Fuji XT-3, make it look more cinematic, with less work. When both cameras are out of harsh light, I prefer the video of the XT-3. Just the way the movement looks is immediately apparent and almost jarring. I know a lot has been talked about whether the pocket 4k is the same sensor of the GH5 or not, personally I am not here to say it is or it isn't, but the actual movement (motion cadence) reminded me of my old GH5. You can soften the video all you want, add grain, but tweaking motion cadence is not an easy thing. So I really value the way the motion looks.
With both arguments out there, I still don't see it as a clear choice for the XT-3 or Pocket 4k, unless you start factoring what you want out of it. If you do gimbal work, the XT-3 is hands down a better choice with its great auto focus. If you need RAW, then you don't even need to read or bother with your choice and I am not sure why you even read this far, the Pocket 4k is your choice. Screen on the pocket 4k is amazing, fujis is small and harder to use. But, you can use a small Ninja on the Fuji and record prores. With the Pocket 4k, unless you are using CFAST, you will need to mount an SSD on a cage. So with either one, chances are you will have either an ssd or monitor on top of it.  I prefer having a monitor on top, because thats an added bonus of easier to focus and choose angles.
Here is where I stand. I shoot video and do photography, pretty much 50/50. The specs of the pocket 4k blow my mind. They are amazing. But, for what I do, I am not sure if its worth having 2 cameras, 1 for photography and 1 for video, which means more gear I need to carry - as opposed to just my Fuji to do both.I bought the pocket 4k to see if it would blow my mind. It has impressed me, but has not blown my mind. I lose some, no RAW, not as great of a color science, and far better codecs. But, I also gain some with the Fuji, smaller body, easier to balance on gimbal, autofocus for gimbals, and no need to lug around 2 cameras and more lenses for each system. This last argument is whats making it harder to just keep both. The fuji regardless is staying, because its my main photography camera. Its a keep the fuji or keep both choice for me.
I am going to do more tests once the sun goes down a bit and see how they fair outside of the harsh light I tested today. Right now, I am leaning toward sending the pocket 4k back, just to simplify things. When I have too much gear , over stimulated/whelmed with choices - I end up NOT being creative. This is why I have always liked hybrids as a photographer, the camera is always on you and ready to shoot video when you need.
Decisions, Decisions...
I am open to answering any questions on either camera.

Yeah there's some technique to make the aperture clickless. Just never bothered to read the manual lol

Enjoy your Voigtlander! Never learned how to declick their apertures though but that one's handy!

They're PL mounted, so no clamps needed, thank god. And my Iscorama has the Maxiscope mod on it, so it's also super easy to handle.

Well I know what happened to a lot of you guys cameras LoL. Sorry. I wanted the one on the Very bottom. ?
 

In the Conclusion he sure doesn't sound too enthusiastic about it! Interesting.

This is your only pancake lens on the list. The super small compact size gives it a lot of bonus points as a "walk around lens" to always have with you.

I'm getting a set of LOMO squarefronts. I grew tired of adapters... The only thing I kept was an Iscorama. ?

People should tend to stop seeing the world B&W. Fits only (good) photography... LOL Some other beef to annoy me is when people don't let to themselves the right of sharing the other side's angle.
In some other words:
...it is not allowed to the other side to have the same standpoint we seem to already have taken exclusively treated but in a condescending manner.
Pathetic to say the least. The world is free for everyone, like the sun when it rises. 

Who was the poster BTW?
Because with the current level of technology we have, IBIS and AF makes as much sense as your thread and discussion. I wouldn't consider anyone to be serious including yourself inferring such silly statement though ; )
Natively at my own, we're used to say where the trouble is: trousers' fault or the arse, to be honest...? : D
When people lack to add context to favor the proof by assertion up to the fallacy...
https://en.wikipedia.org/wiki/Proof_by_assertion
https://en.wikipedia.org/wiki/Appeal_to_the_stone  
 
Nothing about laziness, even though lazy filmmaking is up for ages. Hollywood blockbusters audience to begin with.
It is more related to one-shooter-show, hybrids and digital can afford. Small and lightweight setups where you can handle ideas rather than targets on budget, that is, a sort of continuation of the new wave movements some decades later.
Antonioni would have loved it. I personally heard Tonino Guerra himself to label these small devices as the sunny future of filmmaking.

Yeah I have two good monopods and the times where they really work out on the video side is about zilch! Sure on the Photo side, but you might as well leave them at home for video. And the ones with legs, ain't no way you are just going to even bend over to look in your camera bag with a video rig hanging off of it. Impossible to pan even with a Fluid Head on it. Jerky as hell on average. Sure you can luck out once in awhile with one, but why bother. Just too limiting.
You have to have one hell of a good, heavy tripod to get video stuff to work. Like a Monopod is going to work like a charm. Yeah maybe leaning back against a concrete wall holding one, but how often that going happen LoL. And you are allowed to just bring the legs together on a real tripod and use it as a pretend Monopod.

I don't know if it's wrong timingbut the Kowa's and Rectiluxes would have been perfect to pair with your GH5 with it's Anamorphic options ? 

Had lots of write speed errors with Sandisk Extreme cards that I used. Went with Freetail Evoke and Prograde instead and never had that kind of problems.

I sold my Kowas and my Rectiluxes a while ago, and just recently got a GH5, so my timing is all wrong. hahaha.
There are older versions of the Helios that have 13 blades, that's gotta be smoother.

You can see the hexagonal bokeh from the Contax in my early tests using the 3FF-W. Not the loveliest shape, I'll admit.

It's called a MeFoto travel tripod... Surprisingly sturdy for the size (I think the mobile phone camera made it look smaller than it is). Though the wing will be on a bigger Manfrotto at weddings. 

I’ve been saying this for a while now. The DSLR Revolution was ruined by “filmmakers” using the equipment as if they are on a Hollywood set.
It’s been said ad nauseum... different tools for different jobs. I have a film idea I am fleshing out that is entirely static shots... so of course I’ll use sticks for that project. The film after that will be a found footage movie... I’ll probably use a camcorder with OIS turned on, or a camera with IBIS and you can be damned sure I will use Sony’s PDAF or Canon DPAF.
For the film I’m working on now, I decided to shoot handheld with just my camera and a strap, for some of the reasons Kye mentioned, but also to get in and get the shot. I’m relying on Canon IS and it is serving me well. With dialogue scenes, I’ll put the camera on sticks or use my monopod because I don’t want any movement while rack focusing. But I will say that I would love to have DPAF for tracking shots and for touch focus. I’m getting by without it, with a few misses here and there but it’s doable. 
I think webrunner’s point is valid though. I’m just a hobbyist, so I have the time to do more takes until I nail the focus or nail it enough that I can cut away in the edit. But if I was a videographer that gets paid to shoot events... without a doubt I would get a Canon or a Sony... time is money... or I’d get a camera with IBIS for the same reasons. 
Obviously this is a post born from the P4K thread and although I understand the OP’s sentiment, the problem with the P4K, which isn’t the P4K’s fault... even though the front record button is slightly misleading to the vlogger crowd, is that a lot of videographers feel they need the specs of a cinema camera to shoot a talking head video or an event and it’s those people who webrunner is referring to regarding the benefits of IBIS or AF.

That guy is me (in shooting travel videos anyway) and after not getting the stabilisation I wanted in some shots I bought a Gorillapod 5K (the largest one) and a phone gimbal for wide shots, but ended up not taking them out anywhere as my camera setup was already large enough for people to at funny around me, even in tourist spots.  At one location I noticed a guy with a tiny camcorder and a monopod and geez, the guy might have had a camera the size of a kit lens but the monopod made him stand out like nothing else!
I try and get shots of travel legs to use as scene change shots and I normally just get them with my iPhone, but even that attracts attention in train stations and the like, with people staring at the camera and making me wonder how much attention I'm getting from security and the like.
I go to a lot of spots where that's not even true anymore, but that's probably just coincidence.  IIRC @jonpais has said that in Vietnam people don't care, so I guess it varies from place to place.  Plus the new challenge of grown men with cameras around kids being automatically judged means that I basically can't record anywhere that people swim, many angles in parks, etc.
Thanks, but I read that as many people tend to agree that all people are too lazy.  I admire that you're willing to put in effort into your posts, but you're not quite there in getting across what you mean.  This is a common problem because people assume that everyone reading their messages has the same background, context, tastes, clients, or mood as they do, which obviously is a barrier to proper communication.
I think being "cinematic" is a fad, and that most people who attempt it aren't aware of the technical aspects that go into it.  So basically it's a lack of education.  Like most people who buy and expensive DSLR and expect that professional looking images will just collect on the memory card if they point the camera in the general direction of the subject and spray-and-pray on full-auto.
The other huge aspect of these discussions is that new camera features enable new genres of film-making.  There are people who earn a living shooting skydiving films.  If someone wanted to make those 100 years ago it might not have been possible because the cameras were too heavy, or whatever, and there they would have been jumping up and down about how light-weight cameras are critical, and all the people who made films on tripods at locations where trucks could drive to would have been saying "film-makers are so lazy right now".
Anyone who has a camera more modern than an original Bolex with 1950's quality film stock is:
too cheap to pay for film, too lazy to get film developed, too impatient to wait for it to be developed and sent back, too fancy to use basic edits, too amateurish to sync sound in post, too lazy to get lighting to ensure the DR isn't too wide, too fake to write a good story without relying on VFX, green screens, or, you-know, COLOUR. etc etc.. The above list looks completely ridiculous to most of us now because we've come to see the benefits of things like in-camera audio, and the flexibility (and cost savings) of higher DR cameras, but when someone who makes tripod films with sets and controlled lighting says that someone making wedding films, adventure films, travel films, doesn't need the new features, then that's EXACTLY what they sound like to the people who use and value those features.

I agree with most of the above, but the thinking is wrong.
Is super slow-motion required in 2018?  Not if you're shooting a doco, but yes if you're shooting a hair or shampoo commercial.
Is IBIS required in 2018? Not if you have the time, space and permission to take a stabiliser of some kind and set it up, yes if you're shooting in situations where a tripod/monopod/shoulder-rig/gimbal/etc isn't allowed or isn't practical.
Is 4K required in 2018? Not if you're shooting for a client that doesn't mandate it, yes if they do (eg, Netflix).
Is RAW required in 2018?  Not if the requirements of your scene will be sufficiently captured in a more compressed coded, yes if you need the flexibility or resolution in post (eg, green screening)
Is AF required in 2018? Not if you have the ability to manually focus sufficiently on set to track the subject in your images, yes if you don't.
Is extreme high ISO performance required in 2018?  Not if you are shooting a bright enough subject, or have the ability to light them sufficiently, yes if neither of these is true.
Anyone can ask the question of ANY parameter within photography and find examples of both yes and no, depending on the project.
ANY DISCUSSION OF REQUIREMENTS BEGINS WITH THE CONTENT TO BE CREATED.  CAMERAS ARE TOOLS FOR A JOB.  EACH JOB IS DIFFERENT.
Anyone who thinks they can generalise is too stupid to understand that other people shoot different projects, using different techniques, in different circumstances.

Your Pocket 4K advertising is getting more subliminal. Well done.

Does Anyone shoot Anything in normal speeds anymore? Jesus what is the deal with trying to see if Anything is worth a crap on a camera at 120p Slo Mo. Sam Peckinpah is alive and well.

Hi everybody!
here i wanna share some stills from a little "fiction/experimental" project I shot with some friends. All this are graded with GHa Log-C.

Wow yeah I notice the green cast in Premiere. This confirms my bias against premiere as an NLE since I also had issues after rendering in Premiere (because desaturated). I think it's officially time to move to Resolve..

Shot on: Blackmagic Pocket Cinema Camera 4K (BMPCC4K)
Lenses: Voigtlander 17.5mm f/0.95 and Super Takumar 50mm f/1.4
Resolution and codec: 4K DCI, RAW 4:1, 24P and 60p
ISO: between 400 and 3200.
Edited and graded on DaVinci Resolve 15
LUTs used: BMPCC4K film to extended video (from Blackmagic)
No grain added in post, No denoiser in post