I'm done with speedboosters on my GH5 + Sigma 18-35mm [Viltrox EF-M1 vs M2] 

Greetings Ensanche Films! Thank you so much for checking out this video and commenting! I will say, the Speedbooster XL is a different beast, great for GH4's 4k crop and even better for GH5/s users. If I had invested in the XL when I was primarily using the GH4. My lens choice would actually be different and instead of the Sigma 18-35mm I would have gotten either the 24-105 f4 or 24-70 F2.8 full frame lenses. Mainly to serve my one lens solution and focal length, but the only thing I will miss from both of my workhorse Sigmas (18-35 and 50-150 f2.8) is that both of the lens barrels do not extend when zooming in and out. These two lenses have been great because of this build design. Other than that I'd say hang onto that XL, if you've already invested into it I wouldnt say to get rid of it, that specific booster is much more magical than the standard .71x boosters! Thanks again for stopping by! Btw, very nice Music Videos, do you have one of the gimbals that come with a wireless follow focus module? Really like your gimbal sweeping work. See you in the next one my friend!

@@TLDR_filmmaker Thank you for taking the time to read and answer! I use a Ronin M and I built a DIY wireless follow focus with a servo, an RC transmitter and receiver attached to the gimbal. I will get the Tilta Nucleus M in the future, but for now, it does the task when I have to shot wide open and the depth of field is pretty shallow. And I totally agree with you about the lack of extension of the Sigma 18-35, thats a big advantage and why I am moving to it. Getting several focal lenghts without rebalancing the gimbal is super efficient. You have a new subscriber!

You're most welcome and thank you so much for subscribing! Awesome that you made a DIY Wireless Follow Focus! I was thinking about that at one point, but recently some nice affordable wireless solutions are showing up, might eventually get one depending on how much gimbal work I introduce into my work.

Hey hey Jacob! Thank you so much for checking out this video and commenting! For background compression changing I'm referencing when I move the camera to obtain the same framing, with or without a booster, while keeping the lenses native focal length constant, or if I keep the camera in the same position but change to a different focal length to match the original framing of the subject. Sorry if that sounded all over the place between the two examples how the compression can change. Essentially if you trying to keep the framing exactly the same, you'll either have to move the camera or change the focal length once you use the adapter. Both of those actions will affect the Background Compression. You are definitely correct in that if I left the camera in the same spot as well as the lenses native focal length and ONLY changed the adapter that the background compression would technically be exactly the same. As you said my framing of the subject will now be either closer or further (depending on which setup I'm coming from) Hope this makes sense! Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

Hey hey Wes! Thank you so much for checking out this video and commenting! The reason I don't believe the extra stop of light is that much of a forefront feature anymore is because as a narrative filmmaker, we plan each scene setup and if we need a little more push from our lights or an extra bulb/panel to get us to the right exposure, then its no big deal to combat. We aim to shoot every shot at ISO 400 on the GH5, if we are in a pinch and need an extra strop, we'll go to ISO 800 without hesitation. There's definitely a lot of tools that help us get to the right exposure. Cameras these days are so good with their overall sensitivity and for narratives and lighting should always be a main concern. But, I totally get it if someone needs that extra stop because they film events in uncontrolled shoots. But for narrative filmmakers that don't skimp on the Pre-Production phase or are able to solve exposure problems quickly on film day, the extra stop isn't as much of a concern. One stop of depth of field also isn't all that big of a difference for us either. We don't like to film with razor shallow depth of field when filming a character unless the script calls for that type of visual cue, we generally film to keep a good majority of the actors face in focus. So we are looking close to f4.0-5.6 (in FF terms) The times where we need a shallow depth of field shot we will move towards our second lens (sigma 50-150mm) to achieve those looks. Lastly, for me I am mainly concerned with what the light is doing to the scene in terms of mood and how it makes the actor/actress looks. And then placing the lights strategically so that I can use the most appropriate focal length to capture the feel of the space and character. This last part about focal length is why I am taking away the speedbooster, with the booster on I am not using about 20% of my lenses capabilities in terms of how I film. In the end it really all depends on what a filmmakers needs truly are, and as long as they are aware, they can make switches in their gear setup to best suit 90% of their typical needs and work faster through a feature film Thanks again for stopping by! Hope to see you again in the next one!

That makes sense, I totally get it.

TLDR Filmmaker wow.... that was in depth

Also isn't it harder to focus shooting wide open, so better to light your scene then open it full whack?

In reality, there's only about an extra third of a stop. I've tested my own Voightlander 58mm f1.4 with and without and the extra third can be accounted by the added area exposed. There is also loss of light through the speedbooster as well.

Hey hey S. Weck! Thank you so much for checking out this video and commenting! So glad you enjoyed the video! I will continue to do my best with my content and reviews! Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

Hey hey Declan! Thank you so much for checking out this video and commenting! Nice! What lenses are you rockin with your BMPCC4k? There are some times where I'll still using my Viltrox booster on more telephoto lenses, but as for the Sigma 18-35... this lens is darn good on its own for a M43 sensor! Thanks again for stopping by and I'll see you in the next one!

@@TLDR_filmmaker I'm using my collection of modern Nikon lenses (I primarily shoot stills) such as the 28mm f1.8G and 85mm f1.4G. It doesn't bother me that only a portion of the frame is being used. They're more than sharp enough for 4k video, and have great contrast and flare resistance. Of course I could have sold one of my D810s to get a Z6/Z7 but with the big screen, the BMPCC4K is a joy to use, and raw video recording suits my typical approach to post processing.

Gotcha! I haven't quite gotten to play fully with a BMPCC4k, but I can definitely see myself using it on certain projects!

Hey hey again E Mind Looks like I answered your first comment, but you added something in this second one. Hope the dummy battery is working well for you! I still use it all the time and it hasn't fail to keep my GH5 going longer when I need it!

Hey hey again William! Thank you so much for checking out another video and commenting! I'd definitely agree with you that the GH5's noise is pretty much there in general, even more so with the GH4. Don't get me wrong, that extra stop of light definitely helps in a pinch whether it be for documentaries or extreme gorilla filmmaker in a place where you didn't get permission (obviously not a recommended filming style haha) I have a set of Rokinon primes I used for my first film and those lenses definitely pump in more light than the Sigma, with a booster they are magical because of their full frame image circle. This video may not have been the most clear, but my intended message was that the booster + Sigma 18-35mm I believe may not be a end all be all pairing due to capping off 1/3 of the lenses focal look that generally isn't always used for each scene. Of course it depends on the cinematographers style to make that call. Depending on the type of filmmaking, I think we are starting to get into the age of cameras where fast lenses are slowly going to become irrelevant and you will only use the aperture to judge if you'd like to invest in shallower depth of field. I've mentioned this hypothesis a ways back in my A7iii video or Gh5 where I believe ISO performance on cameras will eventually get to the point where 6400 ISO is dead clean or more than acceptable, and at that point filmmakers of all sorts can comfortably film without major lighting and with a f2.8-4.0 lens. I am, to a certain degree excited for that day to come as it means I can be lighting my sets with less powerful lights and save on the need for extreme battery solutions to light up a large wide set. That being said, I also don't get as urked about cameras that don't have great noise performance anymore. The reason is that many consumer electronics TVs, bluray players, and some cell phones all do their own internal denoising processing. Some TV's allow you to turn this off, but some don't. I first noticed this when watching some of my old work on my TV and realizing that it looked cleaner than I remembered editing and found out my TV had a denoiser to give the best crisp image. So... at this point it may not even matter how noisey a lower end camera is, the final delivery medium is out of our control. Thank you so much again for stopping by and engaging! Hope to see you again in the next one!

Thanks for such a thoughtful and helpful reply. There is no doubt cameras have progressed in astounding ways in a very compressed amount of time. Say, in just the past five years. The effect, in general, has been removal of crippling limitations and an increase of the exercise of one's creativity without the camera getting in the way. This is great whenever you can reduce the technical considerations and allow the user to concentrate on what Aristotle called "the final cause"---the creative/inspirational side of things. For me the real recent breakthrough was not with better sensors and cleaner ISOs (though that is a fantastic plus), rather it was due to IBIS. This freed me from AF OEM lenses and allowed me to use a whole world of third party lenses in the kind of shooting I like to do: hand held. Many of these lenses are not so cold and clinical as the newer, technically "better" lenses, but have fantastic character that can be used to good effect. The further away I get from using and depending on AF the more I see its use killed creativity and imagination. I don't care how good AF is, how convenient it is, how easy it may seem, the end result is the camera is in control, and the camera is not as smart as me and never will be because it is impossible for it to have the one thing I have and it will never have: intention born of imagination. From that perspective I now see AF now as a crutch and an addiction and a limitation. IF it were creatively superior Hollywood would have used it long ago and fired all the focus pullers. Of course, MF can be perilous, especially in the serendipitous circumstances of hand held shooting--but, personally, I see such is not a rub but a risk, and risk always implies an opportunity--you win some and you lose some, but the wins take your results out of the tedium and boring predictability of the sterility and antiseptic nature of modern AF lenses. Yes, this is a philosophy---with all its difficulties and limitations its virtue in being a philosophy is that you, as a human, can have one--the AF lens cannot. To the degree one relies on it something of the humanity of the result is diminished. My 2¢. thanks for your interesting and thoughtful content.@@TLDR_filmmaker

I love that you reference so many philosophical principles into your reasonings, I always enjoy bridging these ideas as I believe a lot of creativity comes from a deep feelings that go beyond the surface level perceptions. I completely agree with you about IBIS, it changed everything for me when I went from the GH4 to the GH5. As you stated all my manual and vintage lens collection can now be used handheld and it's amazing. So far a good deal of my vintage lenses are from Vivitar that came out of the Tokina and Komine factories, I hope to eventually invest in a FD and Contax Zeiss set. AF is one of those things that, at my current stage of development and budget, am keen on using for certain situations. As camera companies like Sony have done what I figured would happened in the future, they are using Deep Learning AI to understand what to keep in focus. I hypothesised that at some point a camera will remember the persons face, shirt color, hair color etc etc so that when you tell the camera to keep this subject in focus during a tracking shot or a dialogue shot where they could be rocking back and forth. That it will be pristine. Definitely a time saver on a indie film set. However that being said, I would also like camera companies to have a manual override because what if you are doing a long take where you need the look at something else as the character leaves? That's where I completely don't want AF to take over because we do need that human interaction for these moments... but then again, someone can easily tap a screen and tell the camera that we are not tracking something else for the time being and we'll come back to the character later. Technology will eventually, some some degree be integrated with our filmmaking, but I think the industry will always have half and half. For myself as a director I always take into account what is the most time efficient method on set as I hate to do things for the sake of doing it. I need a reason why one timely method is better than the efficient method, visually, and if I can't answer for the timely method, then I will always go for the efficiency method to save time and budget... AF may become one of those efficient methods for dialogue scenes. Action sequences, probably not so much, I will still have me and the camera operators use manual focus for those. Really enjoying our conversations! Thank you so much again for engaging!

Thanks for your informative reply. I agree with you about technological capabilities---one just has to remember those things exist to serve and facilitate human capability and creativity, not to replace, substitute for, or eliminate it. You mention FD lenses. I have a fair collection of them. So, I can tell you a bit about the line that may save you some $$$. First, try to get the bayonet style rather than the breech lock FDs. The breech locks are good--they are older in the FD line, but I prefer sameness in equipment, so I don't have to think so much about things while shooting. Plus, the bayonet lock is better and more secure. I use my set of FDs with the Metabones dead adapter speed booster 071. On the whole they are wonderful, but not uniformly so, at least for my purposes. I've not found an FD 35mm 2.0 that is really as good as I would like. It's the focus ring---not enough resistance for a controlled focus pull. In contrast, the Rokinon 35 1.4 works great. Remarkably, the 24mm FD is better--plus there are a few modern copies that are very good, with focus rings that are excellent and good sharp image--and NOT expensive. Regarding the 35mm, Nikon makes a better one, with an excellent focus ring and it's 1.4! The FD 85mm 1.8 is a fantastic lens--my favorite. Sharp, beautiful colors, and gorgeous DoF/bokeh. The 50mm 1.2 is good, but I've found the 1.4 to have a better focus ring and to be sharper than the 1.2---with the added benefit of being MUCH less expensive. With a speed booster it let's in a TON of light. Both the 100mm 2.0 and 135 2.8 are super, just extending all the great image features of the 85. The 85mm 1.2 is also a fantastic lens, if you can find a good copy. But it's HEAVY for hand held work. When I do a cost/benefit analysis, with an 85 1.8 that provides a 1.4 aperture it's hard to justify the $$$ for the 1.2--the best ones almost always go at a premium price. Practically speaking, that's about all a film maker would need unless they're birding. I had a guy here in the DFW Metroplex to work on some of my FD lenses to improve the focus rings. He did a good job. The 17mm 4.0 provides a good image, and the 20mm 2.8 is also good--better for focus control. They respectively give a 2.8 and 2.0 FF aperture, and 2.8, and a 24 and 28mm angle of view. The 20mm especially has a nice focus ring. If you have about 4 minutes to waste here's a little "art piece" I did with the Nikon Z6 and all FD lenses--all handheld. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-_1TmFvvFs4M.html Thanks again for responding. @@TLDR_filmmaker

Thank you so much for the FD info!

Hey hey again Go Polaris! Thank you so much for checking out another video and commenting! There are definitely some shots where I would go for a 24mm look over a 35mm, but haven't had as many location settings and amount of actors to utilize that focal length. Though part of the lost magic with the wide angle look on spherical lenses is that it doesn't have the anamorphic style, this is part of the reason I don't use the 24mm it lacks this feeling. On an Anamorphic 50mm lens your subject gets the 50mm foreground look, a 24mm wide FOV and the background compression is of a different look, can't remember what specifically it gives. My minds eye is a bit more moved by the anamorphics wide end lenses with how it shapes the subjects and backgrounds compression, I feel the 24mm photography spherical look is a bit different so I stay around the 35mm to sort of keep the aesthetic that I'm looking for. One of these days I will finally do a video on anamorphic lenses, I have the projection adapters and played with them, just waiting for a good single focus solution that won't muddle the image too much. The sharpness comparisons were shot in 4k instead of a photograph 20mp image, the reason I did this is because my use case is of course specific to filming instead of photography. I may very well have a different result in photo mode...but of course that result does not apply to video mode where we are using the setup. Unfortunately no matter how much I state it, some still miss that all my opinions are geared towards specifically narrative filmmakers and their needs. Thanks again for stopping by! Hope to see you again in the next one!

Greetings Jireh! Thank you so much for checking out this video and commenting! According to the description, you did purchase the correct lens for the Metabones EF-MFT booster. The Metabones have a history of their mounts being super tight on some lenses because of how the front chrome plate is manufactured. You could try another Sigma lens to see if does better, but chances are it may still feel extremely tight. I have heard Metabones in the past, if you contact them about the problem, that they would send you a new front metal plate for the mount that can easily be changed. But not sure if they do it anymore. Hope this helps! Thanks again for stopping by! Hope to see you in the next one!

@@TLDR_filmmaker Thanks for your reply, i really appreciate it, but after doing some research i believe that the Sigma lens that i received seem to be the wrong mount because i also ordered a Tokina 11-16 EF mount and it fitted perfectly and the mount looks a bit different from the Sigma mount... is there somewhere i can send you an email you a picture of the lens mount that i received to get your thoughts?

You're most welcome! The channel's email address is in the "About" tab on my channel, that's the best way to reach me that way. It could very well be there was a miss package at the factory and that they placed the wrong lens in the wrong box, or the seller/retailer sent over the wrong box. Either way I'd be happy to give it a once over to confirm that the mount on the Lens is not a Canon EF mount.

@@TLDR_filmmaker thanks for your assistance, I just sent an email, Subject: Wrong Sigma 18-35

Got it and replied! Thanks again for stopping by! Hope you'll get a working Canon Sigma 18-35mm soon!

Hey hey K S Zanika! Thank you so much for checking out this video and commenting! My film is currently undergoing a switch in distribution company, it will be back soon! Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

If you are a photographer, the sharpness would be a concern. If you do video, the sharpness that photographers are looking for is not what we're looking for in video. The Sigma 18-35 is still a legend in the Micro43 space. If you plan to rely on AF for video, your GH5 won't perform that well. If you're looking to do photos, its best you just purchase native lenses from olympus or Panasonic for that.

@@TLDR_filmmaker Nice i love hearing that! I'm not looking to do this professionally (not anymore at least). I use to shoot video for weddings but im so out of the game I'm just looking for some nice lenses to pair with my GH5 for my own personal use in Japan. I always show with primes in manual so im gucci with no autofocus. I appreciate the fast response! Got any ND filters you prefer? I've just bought a BlackMist from Tiffen 1/8 but just to test. I leave for Japan in 2 weeks :D

My current favorite VND is the New Freewell V2, but thats on pre-order so it won't get to you quick enough. You're next best option for travel would be the Nisi Swift system: geni.us/A1L8y (affiliate link) The Nisi uses a true color coating that gets rid of the color shift you normally see with cheaper VND filters. I've used them before and they look pretty much as if you use a normal ND filter. Hope this further helps, enjoy your trip and eat lots of good food in Japan!

@@TLDR_filmmaker I checked out that Freewell V2 in a youtube review and its really nice! I like the stops from 3-7. I wish I could grab that one but this Nisi seems like it gets no vignetting or color shift like you said. I wish it wasnt so pricey, but I dont splurge on camera gear ever or travel too often. Thanks for the recommend I'll use the affiliate link now.

Hey hey Amit! Thank you so much for checking out this video and asking a question! With the M1 adaptor your focal length will be 48-140mm, so your lens will feel much more like a telephoto lens when on a MFT camera body. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

Hey hey E Mind! Thank you so much for checking out this video and commenting! I have, the speedbooster has not gone back on my Sigma 18-35, instead the Viltrox now rests on my Sigma 50-150 f2.8. I feel this is the better combination as it brings these two lenses closer to each other in terms of Aperture and bridges the gap between the focal lengths. I actually now have a Olympus 12-40mm and I do plan to make a video about my thoughts on the two lenses and if one is better suited than the other. I definitely use both lenses very differently for different types of video work. Both are very great lenses and of course can do the work of the other, but I do have other opinions on why I specifically use them differently. As for getting the fastest primes possible on the M43 format. The cheapest and most sensible route is the one I took back in the GH4 days. I got a generic speedbooster from eBay, but there are better one called the Lens Turbo if you want to get the extra quality in optics. I paired that booster with the Rokinon f1.4 Primes (photography versions), this essentially turned those lenses into f1.0. A 24mm becomes a 35mm, the 35mm becomes a 50mm, the 50mm became a 75mm. I then purchased a dummy adapter so that I can further expand these primes up to 100mm. While the depth of field is now f2.8, the light gathering ability is still the lenses original f1.4. This combination allowed me to film my first feature film without the fear of not having enough lights (most of the movie was shot at f2.8). All that being said, I have no reason to suggest you go the Viltrox with an Electronic lens route. Because there is no way to get decent AF through those lenses (if that's what you're after). They won't be reliable enough so the best bet is to just get manual lenses as you our the camera op will most likely be operating the camera. Hope this helps! Thanks again for stopping by and I’ll see you in the next one!

@@TLDR_filmmaker I appreciate your insight! I already decided on the 18-35 with the viltrox. So right now I will be rolling with the 12-40 & 18-35. Looking forward to you review on the 12-40...i like that it's weathered seal and has clutch focus ring. Any links to your feature film. Blessings

Hey hey again Conrad! Thank you so much for checking out another video and commenting! I am of course going to be keeping the booster too, except this time its going to be living on my Sigma 50-150 2.8. Between the two zoom lenses, one without a booster and one with, I pretty much now have 35-200mm f1.8-2.0 covered. The 24mm look i'd probably use more in photography than a narrative film, the uses for the way I shoot a film is quite minimal, I still do love the look, just not for narrative films. Whoa whoa whoaaaaa may I remind you my earlier videos my hair was outrageously long compared to this videos lol (Had to keep my hair long for character I played in another film) Thanks again for stopping by! See you in the next one!

​@@TLDR_filmmaker I don't if it's the same with the 18-35, but I have the Sigma 17-50 which I mount on my Lumix G85. When I switch for photography with that lens, I get a huge vignetting. So, I think the speedbooster was only thought to use the lenses in video mode and not for photography. Nice video btw, I'm considering getting this Viltrox to use it with my 50mm 1.8. This way I could keep the speedbooster on my 17-50, getting a 24-70 2 and pair it with the 50mm which would give me a 100mm 1.8. I think it would be a great combo. What do you think?

If I remember correctly if you are filming or taking photos in 4:3 Ratio that the vignetting will be more prominent on the 18-35mm. But you are right, I don't really notice anything when filming in 16:9 video modes. In my opinion that combination takes care of a lot of great focal lengths for video and photography. For the longest time my go-to setup was my 18-35mm and a 50mm (full frame) prime. It was a cheap but effective cinemate kit and I still use that setup if I don't want to bring my large Sigma 50-150mm 2.8 OS (the older brother of your 17-50) Sigma 50-150 review here: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-tGuShB_La8w.html

Hey hey again Chris! Thank you so much for checking out this video and asking a question! I have not, but I'd take this notion with a huge grain of salt. I have not updated my GH5 or Viltrox to the latest firmware because it works and I don't see the need to really go up to the latest GH5 firmware....yet. I'm one of those don't break what works, the only thing at this point that would make me update my GH5 firmware is if they figure out a way to cut down on the HDMI lag when filming at 24p haha. Other than that, the general rule of thumb for me is if the lens uses older focusing systems instead of STM. Then chances are the continuous AF won't really perform as smoothly as we'd like. Thanks again for stopping by! See you in the next one!

Hey hey DJP! Thank you so much for checking out this video and asking a question! It does, but it is nothing you want to use. With GH5's DFD autofocus system, its not going to produce good results on this older style lens with mechanical focus motors. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

@@TLDR_filmmaker Thanks so much for your reply. Thats what i thought. I'm actually going to pair this lens and adapter with the new GH6 so hopefully it handles the AF better but otherwise I guess its just manual focus for me! :)

Hey hey again Eduardo! The only thing I can say in terms of Nikon lenses being adapted to other cameras is that you won't have control of the aperture in your Nikon lens and it won't be communicating data to your camera. While this was ok back in the day, more people are preferring the EF variants where they are able to talk to the camera for GH5 IBIS features as well as using the lenses of aperture blades instead of a passive iris behind the back element of the lens. Although I am assuming you're more heavily invested in the Nikon camp for your original needs, but just wanted to make sure you knew of that difference between adapter Nikon vs Canon lenses to other cameras. As for the Sigma 18-35 replacing your 17-50. I used go have the 17-50 a while ago and it was a lovely lens giving you that 24-70mm full fram equiv. For my needs, as I discussed here with a mft sensor. The 18-35 perform beautifully and handled a lot of my principle shots for narrative films. The focus travel is much longer compared to the short Sigma 17-50 which has really helped for video, and it feels amazing pulling focus on the fly. Definitely a wonderful lens to consider.

@@TLDR_filmmaker i saw there was an speedbooster with aperture control(for lenses that lack the aperture ring). Also, there is a easy way to declick the D (af nikkor) and old manual focus.

Hey hey again! Man you really are going through some videos over there! My best guess is that the optic lenses are the same but there may or may not be a difference if coating. The Mark II came around the same time Metabones updated their EF to MFT adapter with the "ultra" brand. Whether there is any major noticeable different, I'm not sure. But you're best bet is to see if anyone did a comparison between the old and Ultra MFT adapter as I'm pretty sure the Viltrox uses the same optics from that factory.

Hey hey Bamo! Thank you so much for checking out this video and asking a question! You would need a Nikon F mount to MFT (m43) mount. The problem is that you will not have access to changing the aputure of your lens as Nikon lenses do it differently, it may also not transfer the EXIF data to the camera so that the GH5 knows what IBIS to be at. However there are some adapters that can claim to make it work, but I haven't seen enough results to know if acts the same as their EF counterparts like this adapter. Hope this helps! Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

@@TLDR_filmmaker thank you so much for your respond

I can't stop watching your tutorial. I puchace a Sigma 18-35mm F1,8 DC HSM für Canon Objektivbajonett. I hope it works well for my panasonic GH5? And what adaptor or booster can I use ?

Hey hey Colum! Thank you so much for checking out this video and commenting! You're not wrong, if the productions we work on ever get to the demands of an uncompressed video recording then our team will have some major thinking to do. We'd probably first go towards the sub $5K arena for budget. But it depends on the genre of film we're doing as well. Since most of our films are action with contrast lighting setups, the GH5 suffices as we don't push the compressed codec too hard these days. Loooooooove the 40mm, so versatile and just works for 90% of a film! I cannot wait for the new DZO cine zoom for MFT, a 20-70mm (40-140 FF equiv). My wide end is already set and the rest is just icing on the cake if I need to get more telephoto! Can't wait! Thanks again for stopping by! Hope to see you in the next one! What cam are you rockin?

Challenge Accepted! lol Great to hear from you again S Singh! Hope you are well, safe, and healthy!

Hey hey Alfa! Thank you so much for checking out this video and asking a question! I'm not sure as I don't have the Mark 2 model to compare, but if I had to guess, the only difference is probably the optics they are now using in the adapter. I believe the optics are essentially coming out of the same Metabones factory line but are probably A- grade or B+. I think Metabones at some point updated the coating so this Vitrox M2 Mk2 might be reflecting the subtle difference in optics. That's just my best guess, everything else looks to be the same including the firmwares. Hope this helps! Thanks again for stopping by and I’ll see you in the next one!

Hey hey Angel! Thank you so much for checking out this video and commenting! Oh definitely! Don't get me wrong, the extra light and FOV definitely are a great plus especially when adapting to Full Frame lenses. Looking at the Sigma 18-35mm specifically, I feel I don't need the boosters magic effects as much. The reason I don't believe the extra stop of light is that much of a forefront feature anymore is because as a narrative filmmaker, we plan each scene setup and if we need a little more push from our lights or an extra bulb/panel to get us to the right exposure, then its no big deal to combat. We aim to shoot every shot at ISO 400 on the GH5, if we are in a pinch and need an extra strop, we'll go to ISO 800 without hesitation. There's definitely a lot of tools that help us get to the right exposure. Cameras these days are so good with their overall sensitivity and for narratives and lighting should always be a main concern. But, I totally get it if someone needs that extra stop because they film events in uncontrolled shoots. But for narrative filmmakers that don't skimp on the Pre-Production phase or are able to solve exposure problems quickly on film day, the extra stop isn't as much of a concern. One stop of depth of field also isn't all that big of a difference for us either. We don't like to film with razor shallow depth of field when filming a character unless the script calls for that type of visual cue, we generally film to keep a good majority of the actors face in focus. So we are looking close to f4.0-5.6 (in FF terms) The times where we need a shallow depth of field shot we will move towards our second lens (sigma 50-150mm) to achieve those looks. Lastly, for me I am mainly concerned with what the light is doing to the scene in terms of mood and how it makes the actor/actress looks. And then placing the lights strategically so that I can use the most appropriate focal length to capture the feel of the space and character. This last part about focal length is why I am taking away the speedbooster, with the booster on I am not using about 20% of my lenses capabilities in terms of how I film. In the end it really all depends on what a filmmakers needs truly are, and as long as they are aware, they can make switches in their gear setup to best suit 90% of their typical needs and work faster through a feature film Thanks again for stopping by! Hope to see you again in the next one!

Dang son where the heck have you been?! Great seeing you again PE, will reply to each comment. I haven't touched the SLR f0.95 but have for the MFT Voigtlander's 17.5 and 25mm, they are quite fun for sure. But when I eventually get the Panasonic S-series camera, my Rokinon f1.4's will give me more or less the same as the MFT Voigtlanders. But wasnt there some full frame 50mm f1.0 floating around somewhere from an 3rd party brand?

Hey hey Flying High! Thank you so much for checking out this video and commenting! I do have the 12-40 lens now, and its a great lens for sure! However I actually still prefer the feel of the Sigma 18-35 on a GH5. It balances extremely well and I am able to work the IBIS more reliably. The Oly is too light for me, but I use it for lots of quick shoots where I am not pulling manual focus on the fly. I definitely prefer the Oly 12-40 over the Pana 12-35. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

Hey hey Impact Video! Thank you so much for checking out the video and commenting! I wouldn't say it sucks completely, I now think the booster serves a better purpose on longer focal lengths and FF lenses instead of the popular 18-35mm. But in the end, I wish MFT has more options for cine purpose lenses that now DZO/Foton and Meike are doing instead of just Veydra. Can't wait! Thanks again for stopping by, see you in the next one!

Hey David! Thank you so much for checking out this video and commenting! Both setups of course all have their pros and cons, I can see the speedbooster being more valuable during the reception after dinner when everyone is dancing where a wide end would be better to show the party. And of course the 70 can get a nice close up look of the bride and grooms happiness. The good thing is that you can acquire both of these adapters for less than the price of a metabones smart adapter. But in the end, you just have to take a mental note of what focal lengths you tend to be in and make your choice from there. For my needs that I need to explain in another video is that my lens choices are not based on FOV from my distance to the subject, but it's based on what kind of background compression I get at different focal lengths for different compositions of the actor/actress. Hope this helps! Thanks again for stopping by! Hope to see you in the next one!

Hey hey again Coalition! It's been awhile my friend! Thank you so much for checking out another video and commenting! Hey man, I can't knock that reasoning right there! haha Thanks again for stopping by! See you in the next one!

@@TLDR_filmmaker Hey i was looking for new firmware updates for the EF-M2 and noticed... there is an EF-M2ii. I can't really tell what the difference is. Better materials? Works with continuous AF? Any idea?

I've recently seen that model too. I don't think anything has actually changed except for may they now have a different batch of Optics compared to the first run of EF-M2 is my best guess. I'm sure all the optics has to come out of the same place as the Metabones ones, so if Metabones has recently changed up their formula and coating or something, then these 2nd versions could reflect the same types of optics. Otherwise I'd had to assume nothing else has actually changed in terms of design and firmware function.

@@TLDR_filmmaker ah. Seems that way as they use the same firmware files apparently too.

Hey hey Daniel! Thank you so much for checking out this video and commenting! Don't get me wrong, a booster does great things, especially on the longer lenses for APS-C or Full frame lenses in general. This video is specifically talking about the 18-35mm where I feel a booster may not be necessary for narrative filmmakers. I actually opted to get the Sigma 50-150mm 2.8 instead of the 50-100. I did a video on it awhile ago. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-tGuShB_La8w.html The booster now lives on that lens effectively giving me a great focal range of 35-213mm (FF terms) with a closer light gathering ability of f1.8-2.0. Wish I had come to this conclusion much sooner, but that being said, the Booster and Sigma has served me very well through three feature films, and I'm sure in some cases I will place the booster back onto the Sigma 18-35 for certain filming situations on set. Thanks again for stopping by! Hope to see you in the next one!

Hey hey Carlos! Thank you so much for checking out this video and commenting! Definitely! I so wished that Sigma continued their legacy 17-50mm 2.8, but updated it to the ART lineup at f1.8... with that range my opinion would shift to using it with the booster so that you have the 24-70mm look, and the non-booster adapter would be secondary when you need to be filming more telephoto (probably outdoor scenes). In the end it'll definitely depend on the filmmaker on what focal length they operate the most and base their purchases on it. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

Hey hey K9! Thank you so much for checking out this video and commenting! I've played with that lens before, it is quite awesome! For me, the Viltrox Boosters and non-booster has worked flawlessly on my GH5. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

Hey hey Erich! Thank you so much for checking out this video and commenting! Definitely, for this video its specifically directed at the Sigma 18-35, my Viltrox Speedbooster now lives on the Sigma 50-150 2.8 as now I realize it brings these two lenses much closer together in terms of focal reach and light gathering capabilities. In full frames, this combination now gives me a 35-213mm look with the light gathering being f1.8-2.0 , This definitely makes it much better on set so that I don't need to put a ND filter on the 18-35 to get near the same exposure! Thanks again for stopping by! See you in the next one!

Hey hey again Kit! Thank you for checking out this video in the back catalogue! Definitely in my early learning days I fell into the trap of seeing what everyone was using and figured, yea, thats right! But now that I've had much more experiences with different gear, the answer is now nearly always "it depends" I looked into the Olympus for a looooooong while back with my GH4, but the lack of OIS was what was killing me, now with IBIS, not so much. But The Sigma in this new configuration serves me very well, however I do want to have some native lenses in my tool kit because I definitely can use them for certain situations (mainly weight and setup). Most likely going to keep it simple either with a 20mm f1.7 or the 25mm f1.7 followed by the 42.5 f1.7. Those are probably the only two native lenses I'll have in my kit. With Panasonic now stating they are announcing a video oriented S1 at the end of the month (Kinda surprised its announcing so early, in my theory video I thought maybe next year) I will hopefully either pick that up or just the regular S1 as my FF needs camera. So many FF lenses that I can never utilize fully with my GH5 :(. Tangent there but yes, research and experience will dictate what lens is best suited for someone, and of course budget. Had Sigma did a full update of their old 17-50mm 2.8 and somehow got to the 1.8. That would have been the magical lens with or without a booster. But I know if I was traveling id much prefer either the olympus or pana 12-35/40. You just can't beat that size, portability, and quality. For narrative films, the Sigma 18-35 without booster is now my answer :) Thanks again for stopping by! See you in the next one!

Hey hey again Chris! Man it's been literally a long while from my very first Video as TLDR Filmmaker to now, both covering the same topic haha! I'm still keeping my booster too, its now living on my Sigma 50-150mm which essentially gives me a gapless range from 35-213mm (ff equiv) now both lenses giving me approx the same light gather capability of F1.8-2.0. Hope all is well my friend, thank you so much for stopping by again! See you in the next one!

How is the Sigma 50-150 for you? Where do you find yourself using/needing a fast teli like that? The thought of having a 71-213mm f1.2 on paper sounds great but I can't imagine when I'd actually use it.

The 50-150 is actually natively at f/2.8, with booster down to the f/2.0 that I stated in the last comment. In terms of that lens, I primarily use it for the 70-100mm looks as those are more common for the framing I need and how close to the background main objects that are around in the scene. When I get to 150-200 territory, those are specialty shots (usually exterior) in my work and rarely used to cover a dialogue scene. I use that long Telephoto range to set up a "wide" shot (full body of character) and have them stand substantially far away from the background I want to see (building, mountain, tree line etc) As I move really far back, zoomed in at 200mm, and have the characters full body visible, this makes the background subject look huge and can really make the character look like they are at the foot of something amazing. You see these types of shots when movie characters are on mountains or fun skylines like in Dubai. As far as the depth of field, when you are playing around with this type of shot, it really depends on how close you are to the character subject. If I'm going for a full Body shot, I can leave it at f/2.0 and be just fine because of how far I have to stand away from the character. The closer I get to framing a close up shot of the character, I will probably have to stop the lens down to f/2.8-4.0. Really depends when you are filming at the extreme long end. Otherwise the 70-120mm range, wide open isn't terrible.

Ah ya, in my mind I was thinking of the 50-100. I love my tele zooms, but have a hard time using them and rarely find myself needing anything past 100mm FF Equiv.

Hey hey Eric! Thank you so much for checking out this video and commenting! That is definitely a way to dual use the adapter for sure! I don't usually use the GH5's tele-ex as much unless I'm in a pinch because in 4k the picture quality takes a slight "fine detail" hit depending on what subjects you're filming. Otherwise this is definitely a way to get best of both worlds! Thanks again for stopping by and I’ll see you in the next one!

Where can I watch your short film you shot

Hey hey Nick! Thank you so much for checking out this video and asking a question! I'm not sure about the GH5S, but I would actually email Viltrox and let them know whats going on. When the adapter came out and camera firmware's were still changing 3+ years ago. They were very active in knowing what was working so they could work on it. Out of the 3rd party adapters, viltrox was the most active with their customer base and firmware updates. Definitely, about the quick swap. It would have been amazing is Sigma did a 18-50mm, basically just updating their older 17-50 f2.8, that would have been amazing for so many filmmakers! Hope this helps! Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

@@TLDR_filmmaker It's actually my bad. I didn't realize before I bought it that the GH5s doesn't have IBIS. I didn't think they would remove features. There is some dispute, it seems, as to whether that makes the camera better or worse for filmmaking. Thanks for responding. Keep up the good work.

Hey hey Heathcliff! Thank you so much for checking out this video and commenting! Definitely about the requirements and how they can change on short notice. Fortunately most of the work I do we have time to plan setups so our gear setups are usually the last on the list for worry. Our first one is actors and how well they take directions physically and emotionally within a scene. I will of course be keeping this booster, it is now permanently seated on my Sigma 50-150mm 2.8 that now bridges the gap from the 18-35mm. Essentially I now have a clear 35-213mm range between the two lenses and both F-stop are close enough to each other in terms of light gathering :) Thanks again for stopping by! See you in the next one!

Hey hey Jan! Thank you so much for checking out the video and commenting! I do agree the booster was nice in that aspect where it protects the sensor when we switch lenses on set. Our team generally sticks to two zoom lenses, but we have multiple GH5 bodies that we use for a shoot so generally the amount of lens swapping is quite minimal, we just hand the camera op a different camera. Eventually, if I switch the team over to the new Panasonic S1 series and the focus wheel settings work great with their native lenses. I will probably have only 24-105mm F4 lens and call it a day, that lens hits every focal length I've deployed, I rarely go past 100mm, sometimes I do, but not often and are usually one or two special shot for the film. Thanks again for stopping by! Hope to see you in the next one!

Hey hey John! Thank you so much for checking out this video and asking a question! I'm sorry the combination is not working for you :( I have never run into this situation on both of my Viltrox adaptors. I'm not sure why yours is have this trouble. My best guess is that the Viltrox adaptor pin somewhere must not be making contact either on the lens side or the camera side. So the camera doesn't see it and is giving the error. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

Hey hey Henry! Thank you so much for checking out this video and commenting! Absolutely! For some vintage manual lenses, these boosters are quite amazing for them on the M43 system and in some cases on some mirrorless APS-C systems. I have not had a chance to play with Nikkor lenses yet, most of my vintage lenses are from the Vivitar-Tokina, Vivitar-Komine, and Vivitar-Kino, hope to get some Contax Zeiss, Canon FD, and Nikkors in the future. Love the look of vintage lenses. For me, the focal reach is not my main concern, but rather how I use them to frame the actors against the background. For me I specially use the Sigma 18-35 without a booster for its constant f1.8 but also because the barrel does not extend when you zoom in and out. This has made my setup for films much easier to rig up when needed. But in the end, simply using the right tools to get the shot you need is the main goal, how you get there will always depend on your preference. For me at this time I will be leaving the booster off of my Sigma 18-35 and have it on my more telephoto Sigma 50-150 2.8, this has become the better pairing for my needs :) Thanks again for stopping by and I’ll see you in the next one!

Hey hey Nerd Mike! Thank you so much for checking out this video and asking a question! So this is a big miss-conception about APS-C lenses from third parties like Sigma. Basically any third part lens maker that makes a APS-C lens will use the EF mount instead of the EF-S mount. The mounts themselves are not that different except the CANON MADE ones will have a extra protrusion that doesn't work well with Boosters. In terms if this will work wth the Lumix G80, yes. AF-C face detection will not work like a native lens as the Sigma and other non-native lenses do not have the same type of focusing motors, also the way it determines focus is different. In generally its not a good idea with this contrast-detect AF system. But if you just want to use the lens for some basic photography and need a single AF, the sigma does well, but some other lenses may not. The original Canon 50mm 1.8 will never achieve focus no matter what I do. If you just need this type of adapter for video work and manual focus, then these adapters work very well. Hope this helps! Thanks again for stopping by and I’ll see you in the next one!

@@TLDR_filmmaker thank you very much, so afc works but not really smoothly. 👍🏻 I have to consider that, thank you

Greetings Jean! Thank you so much for checking out this video and commenting! Absolutely! Exposure settings aside I feel one of the things people are missing about my decision to leave the booster on my 18-35mm is the focal look and background compression. For narrative films, and definitely photography, understanding what a focal length look does to the actors face and background I feel are very important in deciding what's best for the image or story. I'm not sure if many people think about these aspects, but it's definitely the #1 thing I consider when going to a set and determining what lens to use. I've just found myself not using the 24-35mm (FF equiv) look when my booster was on that lens because of what it does. Thanks again for stopping by! Hope to see you in the next one!

Hey Joshua! Thank you so much for checking out this video and asking a question! My feature film is currently on Amazon in the USA and UK, I have link to it in the videos description. The other two films where I served as the director of Photography for won't be on Amazon until later this year at the earliest, they are still in post production. Thank you so much for stopping by! See you in the next one! If you do end up checking out my film, please feel free to leave a review, good or bad. It was my first feature film, loved creating it and can't wait to really step it up for my second!

I do use that feature from time to time in a pinch. But if I have time I'd rather not use it because of losing a little bit of sharpness from the sensor over sampled image.

Hey hey Ayan! Thank you so much for checking out this video and asking a question! Autofocus in photo or video mode with an electronic adaptor will never be as good as the native lenses themselves. If you a photographing still light, the AF will be fine for that, but if you need quick AF, it won't work as well. Video AF was never great on the Panasonic system, so I would not count on it for anything with an adapted lens. As for the focal length reach quality, if the lens is already a high quality lens, you can expect the same performance on a smaller sensor. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

Hey hey Spencer! Thank you so much for checking out this video and commenting! You bring up a great point about the warping of wide angle lenses, it'll definitely depend on the DP's artistic style if they compose a lot of with wide angles near the 24mm look. Don't get me wrong, I enjoy using the 24mm look but it's a rare shot that I don't use a lot. Most of the time is because the location and set dressing is not expansive enough to make the wide-angle look immersive and interesting. So I opt to recompose with a 35mm look. In this video I'm more specifically directing my choice to the Sigma 18-35, because it was touted for so long as "the" combo. My first lens investment was FF Rokinon primes in which I used a booster for all of them. But for Aps-C lenses, I feel the Sigma 18-35 can forgo the booster, and instead place the booster on the 50-100 (or in my case, my old 50-150mm). This bridges the missing gap between the 35-50mm range. But of course, if you need the wide angle from the sigma, just slap that booster on for the shot. Of course this is just my style, currently, it may change as the projects I work on get bigger. How about you? Do you find yourself composing a lot with wide angle focal lengths? What's your favorite focal length in general? I love the 35-40mm range for general shots and LOVE the 100mm look for more intense visual moments. Thanks again for stopping by and I’ll see you in the next one!

Greetings Jay! Thank you so much for checking out this video and commenting! It's all good my friend, I know no matter how clear or unclear I am that some details will be missed in the video. What I hoped to convey more was that the focal lengths were more important to me than getting an extra stop of light. Thank you so much for stopping by! Hope to see you in the next one!

Lighting is key get an extra light

Hey hey ewa! Thank you so much for checking out this video and asking a question! I never really quite paid attention to the distortion for my narrative work since the picture is always moving. I know on the wide end I can see the distortion, but not so much on the long end of the lens. That being said my Viltrox booster if generation 1, I'm not sure if the optics have changed since 5 years ago. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

Hey hey Biker's Garage! Thank you so much for checking out this video and asking a question! It's definitely a loaded question and there are many viewpoints to go from, I will most likely tackle this in another video at some point when it comes to smart gear investments, because unfortunately I feel some reasonings people use are missguided and in the end makes them waste money. Before I give a TLDR version of what I'd love to say, I would recommend you check out my "lenses playlist". While I'll don't get into specific of all the lenses for every camera system, it could help you get an idea of what to look for; specifically the video "5 things to consider before buying a lens for video" ru-vid.com/group/PLWbL9Hgk_9dzvCH4tPevazQZxHZ0kX0QB The golden rule I go by for most of my purchasing decisions is "return on investment". Just how much value am I getting with my purchases. I do not believe this combination (Viltrox booster or not) is a bad investment with the Sigma. Mainly because I won't buy the Sigma lens brand new, I actually got mine used for $600 (going price) and if you check Sigma's outlet and they have lenses available, you can get a factor refurbished one for that $600 price. At most expensive with a Viltrox booster you are looking at spending approx $800. Is that 800 dollars worth it? It is for me because it is offering me better light gathering abilities at a depth of field that I use most of the time (approx f4.0-5.6 in terms of full frame) Not only that but the lens is built with a mechanical focus (which is important for my type of work) to repeat focus more easily than a fly-by-wire lens. The weight of this lens compared to the smaller native Panasonic 12-35mm allowed me to go handheld much easier, the 12-35 is much too light to pull focus on handheld without my image getting abnormal shakes. I mainly shoot action films and don't like hollywood style over shakey, just a little shake when appropriate or following an attack. These are the reasons that this lens combo matches what I need. A native panasonic 12-35mm lens would cost me close to the same amount new, and while it may have more bells and whistles with weather resistance, longer reach, AF for photography and IBIS 2.0... It simply does not perform the way I need it to on a film set. If I was a documentary filmmaker where I have no control of where I am and what I'm shooting and need to pack light for travel, then the equation of my R.O.I is completely different. This is where I believe people are getting missguided. The popular recommendations we hear do not take into account for how the user will use it, sure the image quality is great, but practicality and deployability are very important. Unfortunately the best way to know what you need is to get a basic zoom lens if you don't already have one, play around with the camera and understand what Focal lengths and aperture does to your image based on your sensor size (I always refer to Full Frame equivalent as most people understand the "look" of those numbers) Once you figure those out then it comes down to personal preference and what type of lens works best for you. For me the "fly-by-wire" lenses are a no-go, I need a mechanical focus mechanism, so my investment decision was not a hard one to make. Sorry this is super long and I may have just confused you further, but I will definitely be continuing my lenses series as it's the greatest piece of investment a filmmaker will acquire, not the camera body, and it deserves a lot of thought before shelling out your hard earned money. Hope this helps! Thanks again for stopping by and I'll see you in the next one!

@@TLDR_filmmaker Wow.... This is hands down the longest, most comprehensive and worth reading reply that I have received to this day! Many thanks Jasson. It sure does help. I do have a zoom lens (Olympus), manual Hexagons and Panasinc primes. With this in mind, I feel that I'm probably concentrating too much on gear (I have a GH4 and G7, amongst others) I will follow your advice. I'm determined to make my RU-vid videos better even though RU-vid compresses and messes things up! I will check your videos indeed and follow your advice. Many, many thanks for taking the time to reply.

You are most welcome my friend. From the looks of some of your Bike tutorial videos I would say everything you're filming is perfectly fine because you are primarily focusing on making sure the audience understands the process for their bikes. What's definitely hard is that you have to move your camera around a lot in the garage to get the shot you need. As you continue to develop your videos if you find yourself needing an overhead (work table) often, perhaps investing or building a stand to mount one of your cameras over the table, do so with a very heavy duty magic arm that allows you to move the camera into all sorts of different angles from above the table. Make sure one of your zoom lenses is on that one incase you need to get close. Have lighting already preset for that table so you never have to take time to setup. Make sure you have an old or small TV or computer monitor that you can hook to from the cameras HDMI so that you can see and frame that camera easily. Sounds like a lot, but if a lot of your tutorial videos needs that overhead view, you'll be set to go all the time. Your second camera should be able to fly into a shot quickly, for that I would say a tripod with a ball head instead of a traditional tripod head. The Ball head allows you to angle the camera quickly into the tricky parts of the bike. Just throwing some ideas out there as you work on your show! I've always wanted a motorcycle, I took my safety course at a Harley dealership and they had us train on the old Buell Blast (which I think is now long discontinued). Sadily its not too safe for me to ride in the city that I live in from other crazy drivers so I've never gotten a bike :( Love the feeling of riding, so much fun and relaxing, and of course exhilarating! Thanks again for stopping by!

@@TLDR_filmmaker Will definitely take up your advice my friend. I recently purchased a Freeworld T7 field monitor and the overhead cam setup is a MUST DO for sure.

I would check the metabones website to see what that button does. I'm not sure I understand what you mean in that the lens is sharp indoors but not outdoors as it should be sharp in all cases. Unless you are talking about "infinity" focus where stuff far away can never be sharp, in this case it means the metabones adaptors optic lens needs to be adjusted.

@@TLDR_filmmaker Thank you very much for your response. You just mentioned a great point. How can I adjust the metabones adaptor optic lens?

Hey hey again Jorge! Thank you so much for checking out another video and commenting! The extra stop of light is definitely good in a pinch depending on if I need the provided focal lengths when the Sigma is on a booster. Question, have you thought about using the Ex-Tele mode in your G7? (Are you still on the G7?) I'm not sure how the G7 processes it, but when I'm filming in 4k mode on the GH5, I can hit a 1.4x crop. When filming in 1080, that ex-tele will take you all the way to a 2x crop. While you do loose some slight detail in your image, it's really not all that noticeable when watching it back. If you haven't played around with that feature, I'd definitely recommend you give it a whirl. It'll allow you to reach further while still maintaining your extra stop of light. It may not be what you're looking for, but could help when you're in a pinch. Unfortunately Panasonic still hasn't made this mode accessible through a hot button when you're filming. You have to set and then film, stop filming to set it back. It would be awesome if they could make this feature work on the fly while filming! Thanks again for stopping by! See you in the next one!

@@TLDR_filmmaker Hi you doing bro? I'm now using g85s and shooting in 4k so unfortunately the ex-tele isn't available in 4k. I did use it however when I was shooting in HD and I thought the quality of the video was degraded a bit. So after a couple of uses I quit using the ex-tele.

Doing well brother! Hmm wonder if the g85 doesn't process the ex-tele in HD as well. I don't really use it all that much in HD and is more of a last resort feature if I really need to try and get a shot at an event.

Hey hey Marcin! Thank you so much for checking out this video and commenting! The Voigtlanders definitely have a unique look vs the super sharp clean look of the Leica 12. In my thoughts, I think the only difference you may encounter is just a contrast difference that you can correct in editing. There might be a slight color difference that most like isn't noticeable to the audience, you can also correct that in post. There definitely will be a sharpness difference if you are filming wide open with the 25, but honestly no ones going to really notice after you do the contrast adjustment. The reason I'm not terrible worried about mixing lenses is because most of them can be corrected to look very similar to each other between cuts. For my first major film project I shot with many different lenses from vintage to modern to cover the focal lengths I needed. After color correction and cutting in between the story elements, no one was the wiser what lenses I used. Hope this helps! Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

@@TLDR_filmmaker Thank you very much. I really like sharp lenses. I hope the sigma 18-35 + VILTROX EF-EM1 will be a good set in this respect. This less sharpness worried me. Everything else looks very good in your video.

Greetings Diego! Thank you so much for checking out the video and commenting! Definitely agree that clinical sharpness is a bit much for video, we filmmakers definitely get away with a lot in terms of what a photographers needs are. I've never thought about using a wide angle adapter onto the front of the lens like they do with consumer camcorders. hmmm may need to play around with that and see what kind of interesting images I can get, might be useful for film. I imagine a large enough one for a 72mm filter thread could be expensive :( Depending on the location of the shoot, I would definitely still deploy a 24mm look for certain shots. Or if I want to pay homage to that iconic Matrix shot of Trinity about to cap an Agent in the face. I've used that specific shot a couple of times for dramatic and nostalgic effect. Thanks again for stopping by! Hope to see you in the next one!

@@nddfghgkj3014 It's just an generic wide angle adapter. A piece of glass that goes in front of the lens. I bought it on ebay. Mine is branded as "VIEWO", but I'm not sure it is an actual brand. The label in the adapter says "VIEWO Professional Wide Angle Lens 0.7x 58mm".

Hey hey muhammad! It depends if you are doing photography, video, or both. If you're doing photography than real M4/3 lenses offer the best advantage for autofocus for pictures. If you are video only, use an adapter + EF lens gives you the most options for great lenses new or vintage that gives you unique looks. If you happen to do video and photography, its hard to say. There are some great real M4/3 lenses that do well in video and photo. These are the Olympus PRO lenses as they have a great clutch MF function for video, some of the the new panasonic leica lenses have this as well. If you plan to use the adaptor route your photograph Autofocus will be hit or miss generally.

Hey hey again Larion! I have used the BMPC4k two times, but they were with native MFT lenses. The Viltrox will work, its crop factor may be a bit different because of the larger sensor size of the BMPCC4k. I think you'll probably get slightly under a 1.5x... maybe like a 1.4x crop? Depending on the lens you're adaptor you could potentially see some vignetting with a s35 lens. But I can't be certain as I have not specifically tried this combo, it's just something I would be aware of.

@@TLDR_filmmaker thank you very much for the great info! :)

Hey hey again John! I'm not sure what happened either, the last comment only said your name but nothing else. I unfortunately do not know anyone that has used the AF version of the Viltrox F to MFT adapter so I'm not sure how well it will work. Hopefully someone will be doing a review soon to confirm it works decently well, or at least passes EXIF data through the adaptor so that IBIS and other things can be utilized in the camera. Sorry I can't give a more definitive answer. P.S. Oh my goodness, I only replied with James as the first name that popped into my head. I didn't realize it was your Fathers name.

Thanks for your reply, I just found this review, seems ok so I think I will go ahead and purchase it. and no problems with you calling me James you weren't aware of the details ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-dgZ1uoJRy0c.html Cheers and sincere thanks for your reply John

You're most welcome! Definitely report back what your experience is like!

Hey hey Nowy! Thank you so much for checking out this video and asking a question! I honestly haven't shot in 6k mode all that much except for the one time I was playing with anamorphic lenses. That being said I haven't not really noticed distortion in general using the Viltrox booster, especially if you are using Full Frame lenses. The Sigma APS-C lens on the wide angle end has its own lens distortion naturally, so of course you'll still see it going through the adaptor. Sorry this isn't a full answer, but hope it helps. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

Hey hey Johnathan! Thank you so much for checking out this video and commenting! This is quite an older video and I've talked about it more or less in the comments. There are definitely a lot of opinions on this hot topic back in the day as some people were trying to justify the smaller sensor. That moment where I showed the Bokeh balls at 35mm with and without the booster, the reason the bokeh balls looked similar in size is because I physically had to move the camera forward (with the booster) to get the same framing of the main subject. The background compression is then somewhat similar. Thats the part that gets left out in that people usually don't test it by moving the camera to get the same composition, they will usually just zoom in and show the background compression is different and now the same when the camera is left at the same distance. This is one of the reasons I left the speedbooster off my 18-35mm because I saw no advantage is I adjusted my lens to the desired focal length I needed for the look I wanted while still framing the subject. If we got super super technical in that a 50mm is a 50mm, then yes, if I popped on a 50mm and framed everything up to be the same and accounted for the math of what focal length I need to be at to simulate a 50mm look on the Sigma while still framing everything to look the same. The bare 50mm vs the simulated 50mm look would have the much larger bokeh balls and background compression. Essentially what all this to say is, a lot of people back then were too focused on the math and didn't take into account how a filmmaker would actually use it by moving the camera. Some did but it wasn't as popular of a statement and some filmmakers still had a problem with it for whatever reason. Essentially I made this video because I realized that the booster did not benefit me for my needs when I was able to get the same shot without the booster at a different focal length when I took into account the conversion. Again the bokeh balls between the 35mm booster and non boosted were very similar in size, the only difference was that I moved the camera to ensure I was still framing the subject correctly based on the new full frame focal equivalent. Sorry I know that was a lot to read and probably more confusing how I'm explaining it. But pretty much after working with MFT for the last 6 years and now moving over to full frame. I didn't worry about the math of it all and being overly technical, all I needed to know was what Full Frame Equiv focal length did a boosted or non-boosted lens give me on that GH5 as I went between S35 and FF glass with and without boosters. So that I knew what it was doing to my actors face and the background compression. That's all I cared about when determining what focal length to use for a shot so that my actors face always looked at its best while getting the desired effects. The reason I'm moving to FF now is because of sensor tech and now no longer needing to do any sort of math on set. During my 6 years and 4 feature films I have successfully determined that my cinematography focal range is 35-105mm with very rare moments of going 24mm and 135mm, I tend to stay between 30-60mm in general. Hope this makes sense and gives some food for thought! What focal range (full frame equiv) do you tend to stay in? Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

@@TLDR_filmmaker Thanks dude to reply to an older comment, your channel is genial, you give the answer first, so good, what everybody needs. Anyway, I'm 16 and just started my way, I had a 25 1.7 Lumix for 3 years. I still like but when you get close to the talent you notice 25mm a distortion with a 50mm framing. Now that I bought the Gh5 with kit lens for weddings I like the 24mm look (12mm). I'm influenced by Malick style, he uses a lot of ultra-wide. But because I had a prime lens for 3 years I like more fixed lengths and move the camera. I don't look much to the screen with the zoom, for example I think:"now I'll with a 35mm" and I look tho the ring I set to 18mm. Because I want to learn how focals perform by changing the camera distance and even because I'm used to it. So I think I would like to have 24,35,40/45 (fifty has kinda of squared composition look),70 and 90mm macro. Not much further than a 90/100mm and not under 24 most of the time. Anyway sorry for my English, I'm Italian. If you want I can show you my short film, now I'm about to shoot a new one. For last I haven't tried 65mm sensor size but by watching movies I can say that probably I would tend to shoot on the langer sensor size possible, and use equivalent lens to what I wrote before.

Guten Tag M4urizio! Thank you so much for checking out this video and commenting! Haha I do like to move my head a lot while keeping my eye down the lens, the reason I do this is to not look like a statue, so yea my eyes probably shift from the edge of the lens element from time to time. But that being said, this for sure doesn't disqualify me from being a youtube guy. I consider you a youtube guy and I don't even see your face in your videos, instead I see the beautiful locations you share in your country and your love for motorcycle? I was going to get my own motorcycle a few years back, a half exposed streetbike instead of a cruiser, but ended up moving and couldn't get a motorcycle. But I've been looking again and I hope to get one soon! What do you ride? Any dream motorcycles you wish to have? My favorite design is the Suzuki SV650S Blue version 2006 model. Anyways, thanks again for stopping by! Hope to see you in the next one!

Hey hey BloodSugarS3XMajik! Thank you so much for checking out this video and commenting! Definitely, for the longest time I wanted that lumix combo. I ultimately went with the Olympus 12-40 for its manual clutch focus when I don't want to use the heavier Sigma. I'm sure you'll have no trouble selling the Metabones and Sigma either together or separately! Good luck! Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

Do you still have the combo?

Hey hey DP C! Thank you so much for checking out this video and commenting! Absolutely! I love the MFT eco system because of this fact! Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

Hey hey again Jerome! Definitely if you're using Full Frame lenses, thats what I use passive boosters for on my first feature film with my Rokinon Primes.

@@TLDR_filmmaker hey btw I've been making some short films for fun during this isolation period if you'd like (and/or sub) to view some please. Here's a link to one ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-73PVw2Pks6Q.html

@@TLDR_filmmaker sorry I forgot to upload the full version of the film yesterday ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-uWpnm9dpaj0.html here it is if you'd like to watch it

Hey hey 1001Hobbies! Thank you so much for checking out this video and commenting! Haha yeaup, thats me! There are many great options for the BMPCC4k. The Sigma 18-35 is definitely a great all rounder and can fulfill just about all types of shots for a feature film, especially with a MFT sensor. If you are looking at a 2 lens combo for a good while, when I was still on a MFT sensor, the Sigma (boosted) and a full frame 50mm was all I needed. Another option is to get both a booster and non booster for the one Sigma lens, but you will have that difference in image quality. Last option is a Rokinon 12mm (for your wide) and then using the Sigma either booster or non-boosted. Hope this further helps! Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

Hey hey Random! Thank you so much for checking out this video and asking a question! The speedbooster will only work with your Rokinon if your rokinon is a EF mount and you didn't buy the MFT mount option. It will help that Rokinon lens. your Olympus lens will not work because the mounts do not match the speedbooster as well as a few other reasons why optically it cannot work. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

@@TLDR_filmmaker what does the focul range of the 18-35 become with speedbooster. Does it become wider or more tighter

Hey hey Zharkan16! Thank you so much for checking out this video and commenting! So glad you enjoyed the video! I will continue to do my best with my content and reviews! Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

Hey hey PixelSheep! Thank you so much for checking out this video and asking a question! The reason you're not seeing much of a difference is because the Tokina lens is an APS-C lens at a starting Aperture of f/4, which I believe is close to a f/6 ish in full frame terms. When adapted from the booster, it becomes the MFT equiv of f2.8 which is a full frames equiv of f/5.6 When you look at your native 12mm f/3.5, which is full frame is about a f/6 ish. When you look at the F stop numbers they are maybe only about 1/3 stop difference, so in terms of your background blur they are going to be very similar. Especially because you are using wide angle lenses where the depth of field is much deeper than a normal focal length. Hope this makes sense, its a lot of numbers thrown around but at the end of the day the Tokina lens starting at F4 and boosted is going to behave very much the same as your 12mm at a native f/3.5. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

You're absolutely right Madedigital! Thats why I got both :)

Greetings Timbo! Thank you so much for checking out this video and commenting! Based on my knowledge, every Nikon mount lens is physically a Nikon F mount, all the other letters just mean what type of lenses they were in the older days, but they are all Nikon F regardless. So you would simply need something like this if you're looking for a booster: amzn.to/2MYtBtU (affiliate link) Or you can get an adapter without one and it should all work with your Nikon lenses onto your MFT camera. Hope this helps, thanks again for stopping by and i’ll see you in the next one!

@@TLDR_filmmaker Funny enough, that's exactly what I went out and ordered last night. Thanks. :)

You're most welcome! Have fun with it and create some awesome art with it!

Hey hey Jon! Thank you so much for checking out this video and commenting! I'm so glad you were able to find this video and that it was helpful! I definitely enjoy seeing the Sigma in its native feel, while the boosters I've used with it look great as well, to my eyes I can see a difference between using a booster and not. It seems that the Sigma, natively, has more contrast. For the price, especially used, I think its great to have both adapters on hand, and Viltrox seems to still be active with their firmware updates (which is great). Hope you can find one at a great price! Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

I seriously wasn't expecting this, I guess speedboosters are still a hot topic?

Hey hey Arth! Thank you so much for checking out this video and asking a question! Yes, these adaptors have been known to work with a G9. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

Hey hey urx x! Thank you so much for checking out this video and commenting! So glad this video answered your question! I will continue to do my best with my content and reviews! Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

Hey hey Stephanie! Thank you so much for checking out this video and asking a question! While yes, you can adapt Nikon F to EF with a basic adapter. The problem is that Nikon lenses work different electronically in general, so you will not have the ability to change your aperture and the lens won't send EXIF data to the GH5 to let it know what focal length you're at for IBIS. There is not a Nikon version of the Viltrox that gives it the same function as a Canon version because of Nikon's lens design. This is why most people, generally, will invest in Electronic Canon EF lenses instead of Nikon, its much easier to adapter electronically. Hope this helps! Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

Hey hey Anson & Co! Thank you so much for checking out this video and commenting! "without" a speedbooster? I have not experienced that personally when using the Sigma 18-35 on the GH5, especially for video. If you use the speedbooster at the 18mm end and are shooting a photo in 4:3 ratio (full sensor) that's when I see a harder vignette. But as far as video is concered without a speedbooster, you shouldn't see any major vignetting on the wide end. Hope this helps! Thanks again for stopping by and I’ll see you in the next one!

TLDR Filmmaker dude awesome! Thanks for the info. You literally helped me save a couple hundred bucks. I just bought the 18-35 and opted out of the speed booster cause I actually want to use the 18-35 focal range. I bought it for Nikon mount and so manual focus only but that’s all I do anyways so I’m not super worried about it. Keep making content i am all in!

Hey hey again Aaron! Thank you so much for checking out this video and commenting! Shimmy shimmy shimmy lol, can you name the movie homage that moment was paying to? The director and I studied that film a lot to help craft his movie, its a good time! You are most welcome my friend, thank you so much again for stopping by! See you in the next one!

Hey hey Cris! Thank you so much for checking out this video and asking a question! I honestly do not know. Some say the optic is a little different. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

Hey hey pahtashow! Thank you so much for checking out this video and commenting! Definitely a wide angle would be desirable for those shots. I recently saw a breath taking wedding photo that was taken in the Redwood Forest and the way the photography used the wide angle to get that shot, priceless moment caught on camera. I of course still have the adapter and will use it if I do need that 24mm look for cinema, but I definitely don't think everyone needed that specific combination, a lot of us just bought it because it's what we were told. But after working on a few films, the wide angle look was not the principle shot for 80% of the film. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

Hey hey Kris! Thank you so much for checking out this video and asking a question! Back then, for this video, I was using the GH5 with the kit 14-35 f3.5-5.6 cheap cheap cheap lens. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

Greeting Ryan! Thank you so much for checking out this video and commenting! Yup, what you said is what I have learned throughout the years, what was interesting for me was that with the booster causing a focal length change, but the bokeh balls remained the same size as the wider focal length with same subject framing. Bokeh doesn't matter as much to me for my decision to leave the booster on the Sigma as the focal range and background compression is what I'm after. I so wish Sigma was able to do a 1.8 on their older 17-50mm lens, if they did that I would argue one should have the booster for that combination because of its reach into the portrait end and may be more useful... but dang I'd still probably not have a booster because it covers the whole range of what I shoot 99% of the time! Thanks again for stopping by! Hope to see you in the next one!

Hey hey aristjoh! Great points on the differences. This video is quite old and I have not looked into optical adapters for a long time.

Hey hey Red City CrossFit! Thank you so much for checking out this video and commenting! I do love the sigma MFT lenses, but for narrative work I prefer to use the the more mechanical focusing lenses instead of fly-by-wire. Its harder for me to pull faster action sequences with a fly-by-wire. That being said, I have stocked up on some wonderful native MFT lenses in preparation for the GH6 to finally update its focusing technology for video beyond the contrast detect... ok not really, its more for photography, but if the GH6 does give us something like Phase Detect, I will be ready to finally utilize the AF for certain shots in the narrative films I work on. Thanks again for stopping by and I’ll see you in the next one!

Hey hey Kit Leung! Thank you so much for checking out this video and commenting! I agree about the Tokina, the distortion on the lens is a bit extreme for me and definitely way too wide for what I need it for in my work. I actually do own the 50-150 2.8, two of them actually! I did a video review on them to show why I chose them over the 50-100. I now have the Viltrox Speedbooster attached to that lens effectively allowing me to have a 70mm-213 f2.0. And that being paired to my now 35-70mm 1.8 Sigma, I am pretty much covered across the spectrum with these two zooms for my narrative work. The extra optic definitely shifts the image quality, but the Viltrox is definitely not that bad when it comes to just video resolution 4k. I bought the Kipon gen 1 electronic booster and returned it because that optic seriously made everything soft, I can't believe that they allowed it to go to market with how badly it destroyed the image. They recently released their 2nd gen, but I probably won't be testing it. Thanks again for stopping by! Hope to see you in the next one!

Hey hey ColGadarby! Thank you so much for checking out this video and commenting! Definitely! By all means if you know you’re going into a dark situation with no control, a booster is a great quick solution! Here’s hoping in the next GH camera that ISO performance continues to get better for the none “s” versions! Thanks again for stopping by and I’ll see you in the next one!

Hey hey Donald! Thank you so much for checking out this video and commenting! My Viltrox Booster is the first generation. Early reviewers who got their hands on it showed that it was very similar to the Metabones at the time. Only photographers may see the difference at high megapixel counts. Filmmakers at 4k won't see drastic difference between the two except for perhaps flaring. That being said I'll never buy another Metabones product ever because of how they treated customers with the first EF to MFT adapter. The adaptor fried two of my lenses aperture motors, I confirmed it with my old EF camera that I couldn't move them. After the lens were repaired, I tried one of the lenses and it fried it again. When I brought this up to Metabones that there was a problem. They refused to refund and eventually stopped answer my questions about firmware updates to negate this and what lenses were causing it. Only one of my EF lenses did not fry out of the three. So I'm a bit biased against Metabones base on my experience with them. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

@@TLDR_filmmaker Crazy experience. Okay, thats pretty hard! In my case this never will happen, cause i use manuell focus only.😅

Greetings Grin! Thank you so much for checking out this video and asking a question! In order for AF to work, you need to make sure your lenses AF switch is turned on before you ever power on your camera. However you said that your aperture does not work which leads me to believe you may have a defective unit, or something is blocking the golden contacts from your lens and adapter. I would see if you can get a replacement from the seller and see if that helps, if it does not then I would email Viltrox as they seem to be very responsive in hearing the problems out and trying to update their firmware to match GH5's changing firmwares. Hope this helps! Thanks again for stopping by, hope your problem will be resolved soon, see you in the next one!

@@TLDR_filmmakerSo I wrote for Viltrox!!!! Hello! I appeal to you about the problem of AF and aperture! GH5S+Viltrox EF-M2ii+Sigma 18-35. Not working at all! Firmware GH5S 1.2, Viltrox 3.3. Connected Sigma 35 the same thing happens! You can hear the sounds from the lens. Sometimes the camera says "Failed attaching the lens. Make sure there is no pollution at the point of attachment" please Help me!)

Unfortunately there's nothing else I can do at this point. Everything that I could think of was detailed in my original reply. You will have wait for Viltrox to respond as they will be able to figure out the problem. I didn't realize that Viltrox has made a new second version of the EF-M2 until you said it. My best guess is that their firmware needs to find a way to communicate to whatever Panasonic did for their latest firmware update. Panasonic seems to have been breaking adapters connectability with their firmware updates for whatever reason, so its up to the adapter companies to find what changed and release their firmware. Be patient my friend and see what Viltrox can do, I wish I could off more solutions but at this point its out of my control.

@@TLDR_filmmaker thanks for the support

👍🏼

Go where? People pay thousands for a little bit shallower depth of field or a little bit more light. Sure the price isn't fun and it is way overpriced but it is irreplaceable.

@@cmdr.shepard You've missed the point of this vid and my comment. I use the SB and it's irreplaceable like yours...but some never need it. It's just straight up facts. Not everyone is like you or me. This vid isn't saying a SB is useless or you shouldn't buy one. It's saying work out if you really need one. You may well not. "Go where?" Seriously? You can't think of anything to spend £600 on?

Hey hey again Symon! Thank you so much for checking out another video and commenting! I know I'm definitely going to get flack from some filmmakers for me daring to state that a speedbooster could potentially be a bad investment when pretty much everyone has basically said "If you get a GH5 you need speedbooster and Sigma, period" I would agree with the argument more so if they are using Full Frame lenses. But really, it comes down to what focal lengths you film in, it has nothing to do with the extra stop of light that first enamored us when Metabones first hit the market. That extra stop of light is not going to give you the difference between the 50mm to 70mm background compression that I showed. This I believe is the missing factor that people don't consider when it comes to a speedbooster, the ultimate understanding of focal length and background compressions. Definitely going to do a video on it. But yes, long story short, if it works for you and what you need then by all means the booster + Sigma is awesome for what it provides. But for me, I'm losing 20mm on the portrait end that I can put to good use, now my lens is 100% deployable, not just 75% of it. Thanks again for stopping by! See you in the next one!

I mean you can easily pick up a speedbooster for $80 (nikon) or $150 (canon) and I don’t see why one wouldn’t at that price point

Hey chidorirasenganz! Thank you so much for checking out the video and engaging in the comments! The prices of active booster have definitely come down with other companies like Viltrox jumping into the game against the Metabones. It's definitely a handy tool to have especially if you have longer lenses that can benefit from it more than the Sigma 18-35mm, that I'm targeting the video at. When it comes down to it I just simply realized the 24mm look really isn't something I deploy all that often, if ever, because of what it does to the background compression in my compositions as well as the actors face (medium to closeups). The 35-70mm look, in my opinion, is much more usable for narrative films because of how it behaves. In the end it will depend on the director of photography's personal taste and preferences. But I feel if someone has a good grasp and understanding of this before they ever buy a booster then they can take that money, even if it is $150, and put it towards something else to develop a more full kit, mainly lights and modifiers if they don't have it already. Thanks again for stopping by! Hope to see you in the next one!

Greetings Lonzos! Thank you so much for checking out this video and asking a question! Not sure if your comment got cut off somewhere, but the M1 and M2 are slightly different pricing depending on where you purchase it from. In the end, from my own perspective for video, pristine sharpness is not that big of a deal because my images are moving, for photography it would be a different perspective. When it comes down to it, the extra stop of light and reduced use of the entire focal range was what I decided I no longer need with the booster, especially for this specific Sigma 18-35mm lens. Ideal I should get a full frame 24-70mm with a booster to get a fantastic one lens solution. However what I love about the Sigma is that when I zoom the barrel does not extend in our out. A few factors to consider depending on the filmmakers shooting style, for me when it comes to the Sigma 18-35, I don't think a booster is needed. The booster now lives on my Sigma 50-150mm F2.8. Hope this helps! Thanks again for stopping by and hope to see you in the next one!

Hey hey Ryan! Thank you so much for checking out this video, commenting, as well as engaging in other comments! That's definitely true about the lenses resolving power, I think this may be more important for photographers since they work at much higher resolutions, even though the GH4 and GH5 (oversampled) 4k with my full frame lenses all seems pretty good for the most part. I think filmmakers can get away with a non-clinical sharp lens as native Panasonic lenses to some feel too sharp to feel like a movie. I wonder when the tech eventually moves over to 8k resolution videos if we will start to see imperfections in resolving power of the lenses we place in front? Thanks again for stopping by! Hope to see you in the next one!

Hey hey Insert any name you want.... I'll call you Jethro! Thank you so much for checking out this video and commenting! Haha I'm not sure why you did either... but it doesnt mean you got Canon EF lenses, so if you ever went MFT or any other mirrorless camera systems you can adapt! Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

@@TLDR_filmmaker thanks, well it was in the 1-st line of recommended, and yeah, I use EF lenses

Hey hey Zouma! Thank you so much for checking out this video and asking a question! The Sigma will work on EF adapters and EF cameras in general. The marketing is hard to follow, when they say EF-S what they really mean to say is that this lens was designed for APS-C sensors (like your M50). All third party lens makers that make lenses for EF and EF-S cameras actually use the EF mount plate because the EF and EF-S can both accept it. You will not be able to use the booster onto the M50 with this lens because this lens was already designed for the M50 sensor size. If you boost it you will get a very hard vignette circle and essentially be looking into a tube. If you got a regular adapter without the booster, this lens will work fine and you shouldn't really see vignette on the wide end (18mm which is about 28mm when convered to FF terms). Canon's style of APS-C is not the 1.5x but a 1.6x which makes it a little less lightly to catch any light vignetting on the wide end. In my experience, you don't really see the vignetter in most filming situations, you will only maaaaaybe see it if you a filming a solid color wall. Essentially what I'm saying is, don't worry about it, you have to realize the types of video you are shooting that no one is looking at the corners, they will be looking at what you direct them to look at. Only Filmmakers check the corner when they are researching a lens. If you do see a very sight vignette, its not hard enough to make peoples wander. Hope this helps! Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

Hey hey D MoLa! Thank you so much for checking out this video and for the awesome comment! I definitely need to revisit "Children of Men", unfortunately the only film I've seen DP'd by Mr. Lubezki, and watch it with a new eye. When I saw that film it was nearly 10 years before I would start being interesting in filmmaking, and then of course to see his newer films and see what's changed in 10 years in his style, if any. I definitely still have the Viltrox booster, it now rests on my Sigma 50-150mm 2.8 instead. I do agree that to have one is better than not, you just never know when you could need to go wider and get that extra bit of push out of your lenses. The Viltrox EM1 does have electronic connections so my OIS or IBIS still works, absolutely love those features! I like that you are addressing how budget plays into this realm, I often feel with all the combinations of equipment, this and that, that budget gets lost in the mix and people get caught up on how they can't achieve something unless they have a certain set of equipment. As my experiences grow, I'm definitely a proponent to spend less on gear and more on the production of the film to get what the camera can't create (Props, wardrobe etc). In the end, of course, each filmmaker will have a certain set of equipment that fits their style and needs and it will be their (our) jobs to try and explain the different use cases to beginners so that they can better determine which setup works best for their ideas and situations. Thanks again for stopping by and engaging! Hope to see you in the next one!

Hey hey again amanieux! Thank you so much for checking out another video and commenting! I'd have to believe that it does, but perhaps I will do a another video testing this adapter for more photography uses. For me the decision is purely based on that I am not utilizing 20% of my lenses potential for the way I shoot. But for someone living on the wider end for their films or photographs, that's definitely a valid question! Stay tuned! Thanks again for stopping by! Hope to see you again in the next one!

Greetings Steve! Thank you so much for checking out this video and commenting! While I do love what the speedbooster does, I just don't think its necessary on this specific lens, its nice when you need it, but I don't think the wide end is as useful as the normal to slight telephoto range. Especially for narrative film looks. Thanks again for stopping by! Hope to see you in the next one!

Greetings Sai! Thank you so much for checking out this video and commenting! Glad you were able to get a replacement for the XL from Metabones, when I first invested into their gen 1 booster and it fried my Tamron lens twice, they just stopped replying to me email and never fixed the problem for me... kinda lost my trust with that company in general from that experience. Glad to hear they have fixed their Customer Support area. As far as FD adapters, if you want to get a booster version the main one that has done very well is made by Zhongyi/Mitakon. amzn.to/2UStEfh (affiliate link) If you don't want a booster then I would do a general search on amazon and see which ones have decent reviews as some can sometime be slightly off on the flange. But generally speaking all dummy adapters are quite good. amzn.to/2IzzUSr (affiliate link) With this video I'm definitely targeting the Sigma 18-35mm only, the Viltrox now lives on my Sigma 50-150mm 2.8 as it serves a much better purpose over there. I've just come to realize that the 18-35 really doesn't need a booster, but I got pulled into thought process year ago that it was the perfect pairing, now with more experiences from productions I now do not believe its necessary for narrative work and people can save some cash if needed. Obviously a good accessory to have non-the-less, but not dire. Hope this helps! Thanks again for stopping by! Hope to see you in the next one!

Hey hey B.L. Garrett! Thank you so much for checking out this video and commenting! Thats a great setup you got there for sure! WIth vintage lenses, depending on the brand, some of them I'd probably use all with boosters on a mft system to actually get some sharpness back wide open. Though I do hope to get the Panasonic S1 at some point and I can't wait to use my vintage collection and finally see how they look and behave on a full frame sensor! Thanks again for stopping by and I'll see you in the next one!