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 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 Tony! Thank you so much for checking out this video and commenting! I can definitely see how this combo became a staple because of how the whole marriage of GH4 and Metabones came to be, I was at a much different point in my DP work and didn't realize that I actually was more sensitive to using background compression as my means of determining what kind of focal length I'd want to use. Not about how much I can crush things away in the Bokeh, not the extra stop of light as I learned to light, but focal length and what it does to the background and face of the actor. In the end though it all depends on a filmmakers style as they experiment with setups and lenses etc, but id say when it comes to the Sigma 18-35mm specifically, I think one could go with the booster or not and be totally content with the lens and what it has to offer with the MFT sensor. Thanks again for stopping by! Hope to see you in the next one!

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 Shocks and Feelers Showbix Academy! Thank you so much for checking out this video and commenting! So glad you enjoyed this 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 again Niz! Thank you so much for commenting! I'm definitely very interested in seeing what Fuji has up their sleeves as they continue to develop their cameras, they may not have the brand recognition yet, but I believe they will get there, they are doing some great things! Thanks again for stopping by! See you in the next one!

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

Hey hey Eric S! Thank you so much for checking out this video and commenting! The more I shoot I know in the case of the Sigma 18-35mm, I don't see a reason to have a speedbooster. However if I had investing in full frame zoom lenses in the past, the use of a booster would definitely be nice. Think it really depends on what lenses someone currently has at the time of consideration. Thanks again for stopping by! Hope to see you in the next one!

Hey hey Lance! Thank you so much for checking out this video and commenting! So glad you enjoyed this 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 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!

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 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. kzfaq.info/get/bejne/qq2lhstzxLLFaKs.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 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 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 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 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 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!

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 Anthony! Thank you so much for checking out this video and commenting! Glad you enjoyed the video! As of right now, two films that I helped with is on Amazon, my own film is going through a different system right now and will be available again soon. "Maximillian" where I served as principle DP: amzn.to/2D1jP7e (Amazon US affiliate link) "Wuxia 2" where I served a 2nd unit DP: amzn.to/3346CUq (Amazon US Affiliate link) Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

Hey hey Rich! Thank you so much for checking out this video and commenting! Haha I appreciate your kind words, I gotta say I never thought id get close to 4000 subscribers in a little over a years time of creating this channel. I'm sure there are a million reasons why I didn't grow like Mr. @Peter McKinnon did in a years time, but we're both different creatives diving into different areas of video. I would be extremely blessed if I ever reach his level of following, and I will for sure use that blessing to collaborate with companies like @Panasonic USA to see if I can test their new cameras in action narrative films sets. It would be great to take these new cameras into a narrative set alongside documentaries to give viewers a different look at these cameras and see how they perform in a controlled vs non-controlled filming situation. Sorry I'm rambling haha! But I truly do appreciate you giving me your time in watching my videos! Till the next time my friend!

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.

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 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!

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 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 Carl! Thank you so much for checking out this video and commenting! When on a GH5, you're looking something like a 18-75mm (in MFT focal terms), which means your FOV is something like a 35mm-150mm (in full frame terms if you think in this way). In terms of your DOF conversion, it will be a F2.8 in FF terms, F5.6 in MFT terms, but you still have the extra light gathering properties of the booster. Hope this helps! Thanks again for stopping by and I’ll see you in the next one!

My own first feature film can be seen here: amzn.to/2LRXFIo (affiliate link) The two other films I helped be the Director of Photography for won't be released until 2020.

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 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" kzfaq.info/sun/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 KZfaq videos better even though KZfaq 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.

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

Guten Tag Tomeks! You're most welcome! Thank you so much for checking out this video and asking a question! In my personal opinion, the extra approx 2/3 extra stop of light vs ISO performance on the GH5 is not that bad, of course this really depends on what your filming location is like. When it comes to the GH5 I am comfortable using ISO all the way up to 3200 if I have to, the aesthetic of the noise (That most people really won't see, only filmmakers, but you're not making videos for filmmakers) is nice to me when it comes to dark scenes. But if you truly want to keep ISO down, I would suggest you check out my review on the Boling P1 light [VIDEO HERE: kzfaq.info/get/bejne/fNKJgtV2nKqReX0.html ] This light is portable, decent battery life, depending on the lighting at the club you can use the RGB mode to counter that light and create contrast on your subjects. There are also RGB Effects modes like Flashes, RGB Color Cycles, Sirens that you could add to the club to give even more dancing lights into your foreground subjects. Not sure if these two ideas will be sufficient, but hopefully it gives you ideas of where you could go to creatively battle a missing 2/3rd stop of light! Hope it all helps, thanks again for stopping by 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 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 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 Angel! Thank you so much for checking out this video and commenting! This adapter will definitely help you get that additional 20mm (full frame) reach on the telephoto end. I haven't seen or played with the Tamron 28-75 before, but looking at a product picture it seems the focus throw is very short, which could be a hindrance for some. For me I have taken the booster and now it will live on my Sigma 50-150 f2.8. If converting my entire setup to full frame terms. This means I now have 35-70 f1.8 (light gathering, not actual DOF) and a 70-213mm f2.0 ... So essentially I'm good to go from 35-213mm with two great zooms. In the end it really depends on how you film and the characteristics you look for in your moving images. If you are looking just for a lens to get the nice portrait shot, you may consider getting a Canon 50mm 1.8 mk1. For the longest time the Sigma and the Canon 50mm with a booster was my kit. Super small setup to take with me to set and I get all the shots I need. I also had a dummy non-boosted adapter in there incase I wanted a 100mm look. Hope this helps! Thanks again for stopping by! Hope to see you in the next one!

Greetings Stu! Thank you so much for checking out this video and asking a question! In terms of filming action, my major preference is to film it with a lens that has a mechanical focus instead of a fly-by-wire focus system. But if you plan to film action sequences with such a wide lens, it may not matter as much because of most everything will be in focus. The next question you will need to look at from other filmmakers video tests is how much distortion are you ok with on these wide angle lenses. I've only played with Tokina 11-16 once (v1 I believe) and I remember being able to clearly see barrel distortion. I don't mind this if its only for location wide establishing shots done at a flat front on angle, but for subjects moving within the frame whether it be wide or medium, the distortion bothers me. These are the main two concerns I would have regard the decision between these two lenses: Focus Mechanism and Distortion. My own personal preference is that I would not invest in a wider lens because those lenses I feel work best when locked down and are not moved. The moment you move the camera with these ultra wide lenses the image begins to really show what the distortion is doing. These lenses to me are specialty lenses like if you want to do a hyperdrive look of a car or vehicle bending space and time. Or a character realizes that they are tripping out and suddenly feel tiny in a sea of people that don't even acknowledge his/her existence. These are just the few examples I can think of of how I would use those focal lengths and they are all just one off shots before I go back to standard focal lengths to cover the moment/rest of the movie. This is definitely something I want to dive further into in a video, about how I determine focal lengths and what I actually prefer for certain scenes. I sort of talk about it in this video but there is a lot more to my decision making aside from just staying in the 35-70mm look. I love the 100mm look and sometimes I do deploy the 24mm look if background objects are tall enough (Trees, buildings, bushes etc) Hope this helps a little bit and not further confuse the question! Thanks again for stopping by! Hope to see you in the next one!

@@TLDR_filmmaker Thanks so much for your response man...really appreciate it and have a couple follow up questions if you have time... The "distortion" you're talking about here, when does it come into play? Oh a gh5, with a Tokina, that means at the widest, we're at 22m, right? Is anything less than 24mm something that creates distortion? I don't want a fish-eye look for the action sequences I'm envisioning but a little bit of distortion at the corners is fine if I can get the look of fists/feet looking big as they swing past or toward the camera. I want to ensure I can get enough space to show the physical movements of the action, while emphasizing the individual components of that action, if that makes sense. With regard to the f-stop of at least 2.8 for cinema stuff...why is that? Should I never get a lens that is higher than that if I am only planning on doing videography or cinema stuff? Cheers man.

You're most welcome man, glad I can help and give you things to think about before you make your investment! The Tokina at the widest end with a speedbooster will actually give you a 15mm look. (Lens Focal Length x Booster multiplier(0.71) x 2) The distortion that the Tokina gives I think is opposite of a fix eye where the middle of the image bulges out towards you instead of away. Regular focal lengths have this distortion too depending on how the lens was made, but wider lenses are more susceptible to some sort of distortion. There are ultra wide prime lenses available (Laowa 7.5mm) that is "rectilinear" where you won't get that bulge distortion. However the moment you start panning or tilting that lens you begin to see the weird distortion in movement as everything will gets extremely exaggerated. The distortion will look more cool if the camera is traveling forward or backwards on a dolly or gimbal to maximize the "speed" effect. When it comes to fighting scenes I dont utilize the wide angle look because while the fist coming at the camera will look big compared to the body, the arm will look very long. I tend to use a 35-50mm look for hand to hand fighting and frame it accordingly whether I want to see the whole body or only the top half. The major misconception that I fell into early on was that a "wide angle" = showing the whole body. What I learned later was that you can indeed see more of the body without having to step backwards to get the same framing, however the movements coming at the camera no longer looked natural and depending on how far or how interesting your background is, the wide angle lens can make the image look a bit odd because the background objects look too tiny making the fighters look unnaturally large. So thus I tend to use anywhere from 35mm-50mm (full frame equivalent) 17.5mm-25mm on your Olympus lens. And will either get close to the fighters for swinging fists (these focal lengths are wide enough to give the perception of speed) and if I want a wide of their whole bodies, I will move back and use the 50mm to make sure the background matches up in size with the fighters while still being able to see the whole fighters. f2.8 when it comes to MFT system is enough because you want to be sure to keep all your fighters and action in focus. I'm not a fan of Hollywood where everything is shaky and not in focus so you can't grasp what's actually going on. You watch something like John Wick where they use the Hong Kong style of action where nearly everything is in focus so you see everything. When you're talking about f2.8 on a full frame camera, it will look different from a 2.8 on a GH5. No one is in agreeance with this and have argued over filmmakers actually showing the differences. I try not to get into these arguments because the proof has been shown that a F2.8 on a MFT equivalent focal length will look somewhat similar to a F5.6 on a Full Frame Focal length. Example of what each system needs to do to look somewhat similar. MFT = 25mm f2.8 FF = 50mm f5.6 So in this case, having a grasp of how visual looks will differ from the lens you choose to what system/sensor you're filming on will vary. You will want to get familiar with these ideas to quickly make decisions if you should use a GH5 or a Panasonic S1 or Sony A7s for a certain shot to get the look you want as well as what lenses you want to invest in. I don't currently have a full frame cameras but I deploy lenses from MFT, S35, and FF on the GH5 sensor to get the looks I want without needing to actually have a different camera body for each lens. So long story short, I prefer to keep all of the character in focus and do not like to have razor shallow depth of field. However I do have lenses that can go shallow when I need it, but otherwise I will keep them around f2.8 to f5.6 depending on my needs and available lighting setup. Sorry this is extremely long, I do plan to do a video about this in the future about how I choose lenses as a DOP and how I determine which one to use for certain types of scenes and shots. Hope this helps!

@@TLDR_filmmaker dude thanks so much. I think I understand now why the Tokina is so popular - it seems to be one of the few zoom lenses that is both affordable and can hit some wide angles on the MFT sensor. It makes sense because the other options are pretty expensive... Will look forward to your future videos on this topic. Cheers!

You're most welcome! And yup yup, the Tokina is a pretty unique lens at its price range. I don't know if you knew, but there are other version of that wide lens.. I think a Tokina 11-20mm f2.8 version and I think the 11-16 has a Mk1 and Mk2, I can't remember. I'd definitely check out optical reviews of each one to see which one you like best as I believe they were all different in some way. Thanks again, see you in the next one!

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 Guy! Thank you so much for checking out this video and commenting about the bokeh question. I've never actually seen or held a 50-100 in person, I wonder how it compares to the Sigma 50-150 2.8 that I decided to get in its place, cause that lens is definitely on the heavy side. I definitely don't use the 50-150 as often unless we are filming in a more open space where, depending on the actors action, i'd choose to use that lens for a tighter background compression. Other than that, I really really wish someone made a 24-105 f2.8 (full frame) that would pretty much be the end all for my narrative needs when attached to a booster (lol here I am talking about using a booster) Thanks again for stopping by! Hope to see you in the next one!

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.

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 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 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!

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 hey Ted! Thank you so much for checking out this video and commenting! I have a feeling the metabones may handle a direct light source better, but I was quite surprised with how well the native Sigma handled a direct flashlight. Granted it's not big window like I showed in the example towards the end of the video, but even then I was surprised at the image quality I was getting with the Viltrox Booster attached in that shot. I'm definitely a fan of filming with a large bright light source behind my subjects, I think Spielberg's DP, Janusz?, does this quite often in his movies. Glad you were able to get some value from the video! Thanks again for stopping by! Hope to 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 J Burch! Thank you so much for checking out this video and commenting! It's interesting that I hear a lot of people having problems with Viltrox adapters on the Sony E-mount system, Commlite seems to be more or less ok with Sony. For me I've had no problems at all with my Viltrox on the GH5, everything has worked pretty smoothly for me. Thanks again for stopping by! Hope to see you in the next one!

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 Peak Yan! Thank you so much for checking out this video and commenting! Don't get me wrong, I still use my EF-M2 it just now sits on my Sigma 50-150mm instead of the Sigma 18-35mm. As a narrative filmmaker and knowing my focal lengths that I like to use, it didn't make sense for me anymore to have it primarily on that lens. Try and see what focal lengths you do use but also compare it against your lighting situation as I'm always on a narrative film set where I have full control of lighting. Many down below make great points on how they use it for their needs when it comes to run and gun. Hope this makes sense and that the adapater has worked well for your needs! Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

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!

In my experience, while the Viltrox speedbooster increases resolving power, it can also lead to smudged edges at some focal lengths/focus distances. Not necessarily a sharpness issue, maybe just different rendering of OOF areas in the corners. As I love the look of the Sigma as it is, I sold the speedbooster and got the non-optic version. It's great they make both!

@@azardragneel I haven't really payed too much attention to the far edges so that certainly makes sense.

Hey you two! Thank you so much for checking out this video, commenting and engaging! Great to hear from photographers in how they approach these boosters. I definitely think for videographers we get away with the whole sharpness debate, there's just too much going on in a frame where sharpness becomes almost relative to the actors action. As far as CA goes and other image anomalies in video, I don't bother nitpicking that anymore, a lot of the Marvel Netflix shows have plenty of CA here and there. I'm pretty sure a lot of industry DP's are having a good chuckle at the things people claim destroys video as unwatchable when they are happily working in the industry. But I'm sure we can all agree, what a time we live in for the tools we are able to get our hands on and create either photographers and films! Thank you two for stopping by! 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!

Hey hey LathspeLL! Thank you so much for checking out this video and asking a question! Yup, I show the Haze I was getting in this episode and how I used it to my advantage for the fight sequence in a movie. That part of the scene was shot at 18mm wide open at f1.2. Does yours look worse than that? I know when I tried the Kipon MFT Booster way back when that the element inside made everything hazy and softened the image no matter what I did in stopping down the lens. The Viltrox for me is a delight with how sharp and clean it is compared to generic passive boosters and Kipon. However if you haze image is there no matter if you shoot against a window or having the lights behind you... then I would have to say there might be a problem with the optics and you might need to get a replacement. I can't know for sure without testing it against mine, but pretty much I shot it in the worst possible situation right in front of the window and thats the image I got. maybe if you try and recreate the shot I did in front of a window and compare, if it whites out your foreground subject completely, then I'd say you should ask for a replacement, cause it should only haze and raise the shadows just a little bit. Sorry I can't be of more help, but hopefully this helps in some way. Thanks again for stopping by and I'll see you in the next one!

I have two M2s, both of them have smoothness at wide open. Actually they have glow to a degree it’s unusable except you want to shoot a dream sequence :)

Gotcha, does the 18-35mm's lens hood help? Depending on the light source and angle, perhaps you may need to use a french flag to try and minimize the glow (assuming a strong light source is making its way to the lens) On a different note there is a very very odd rumor that the GH6 would have a S35 sensor, but needs to be unlocked in firmware. If this is true, I know many will hate that you have to pay to unlock the sensor, but Id love it for the option to jump between S35 mode and MFT mode with lenses. My Sigma can then be used natively at S35 or cropped in like I am now with the MFT, no more need for boosters when using S35 lenses! And then any sort of booster haze/softness won't exists as much. We shall see what happens!

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 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 ralixfilm! Thank you so much for checking out this video and commenting! Definitely! On my first feature I invested in a set of Rokinon Primes up to 85mm and we'd jump between some cameras having the cheap boosters and non boosters back in the day. Boy have times changed, but those memories of having the lenses pull double duty here and there was magic. Thanks again for stopping by! Hope to see you 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!

Hey hey John! Thank you so much for checking out this video and commenting! That's definitely a great suggestion and it's something I used to do in a pinch if I didn't have time to switch the lens. The GH5 image quality in ex-tele, to me, does take a slight hit in quality, the noise pattern became more noticeable when in this mode because of the digital crop/processing as well as the Viltrox's slight edge softness became a little more visible than before. It's definitely an awesome feature and hopefully as the GH series continues to advance, perhaps in the future the ex-tele will have almost no difference in performance. Also I really wish that Panasonic allowed you to program one of the Fn buttons to activate ex-tele instead of having to assign it in the Q-menu. It would be a great bonus if you could activate it while recording too! Do you use ex-tele often? Would love to hear your experiences with it! Thank you so much for stopping by! Hope to see you in the next one!

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 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!

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.

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 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 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!

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 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!

Hey hey Eric! Thank you so much for checking out this video and commenting! No, I have the regular photography version of 18-35mm. 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.

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 again Luminari! It's been awhile! Thanks again for checking out another video and commenting! That is definitely a wonderful setup for day shoots, on my next feature film a good majority of the action sequences take place outdoor, it's in the notes that I will be outfitting the Camera Op team with 24-105mm + variable ND for those scenes! Great minds think alike! Glad you were able to eventually get a EF-M2, back in my first video I did they were sold out quick! Glad to see more filmmakers are able to get ahold of these adapters! Thanks again for stopping by! See you in the next one!

@@TLDR_filmmaker Do a lot of event videos so the 24-105 f/2.8 (with speedbooster) is killer. Also, I always watch your videos brother! Keep it up. Would love to see a setup you guys use on your projects someday!

I'm hoping to do a much more in-depth behind the scenes look on my next feature film. We're more or less done for awhile until 2020. My next feature film may not get into production this year, a little sad about it, but a blessing, gives me more time to keep working on pre-production and have all systems a go! Thank you so much for sticking around for a year with this channel, I truly appreciate your time!

👍🏼

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!

Greetings bigdap100! Thank you so much for checking out this video and commenting! Hope to 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 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 Andrew! Thank you so much for checking out this video and asking a question! Haha I do still reply to comments as much as I can, though unfortunately if I ever grow into a huge channel that'll becoming harder and harder :( But fortunately I'm not there just yet! Yes you are correct that your NEED some sort of adapter for the Sigma lens (Canon EF version, DO NOT BUY NIKON or any others) In this video I simply was talking about using one with or without a booster optic. My advice since you are a super beginner and already have a awesome 25mm (50mm Full Frame Equiv look) is to not be looking at other lenses and learn how to film with just that 25mm lens. That lens focal length is extremely versatile and good enough for narrative films alone. The best thing a beginner can do is learn on that focal length as you will be forced to move the camera back and forth to get the shot you want instead of just zooming in. Zooming in works, but it doesn't change the look of a lens, moving the camera back and forth will and is a vital key in your development as a filmmaker and visual story teller. Instead of spending $650+ on the sigma (The sigma covers 26-50mm in FF equiv with a booster and 36-70mm without a booster optic.) You want to take that money and put it towards a tripod or monopod, budget wireless audio kit, and some lights. You can pretty much get all three for the price of that one lens. And those pieces of kit along with the very capable camera you have will really develop your abilities. After that you'll have more experience to determine what lens focal length you SHOULD get for your style of filming. For me I know I generally use 35mm-50mm, and 100mm. These are my primary focal lengths of choice for my work. I do have an assortment of videos here that may be of use for you. I do plan to create a playlist course to teach and guild beginning narrative filmmakers so that they have a good foundation to work from :) Learn the GH5: kzfaq.info/sun/PLWbL9Hgk_9dwhKZhCqmHk7GnBT3D6XHNz Best Budget Audio Kit (For USA filmmakers): kzfaq.info/get/bejne/oZykd6t4usiXlmw.html Important "Think Critically" episode about how to invest in your future and gear no matter what level you're at: kzfaq.info/get/bejne/aeB_bMSp3trKe2w.html Lighting is an area where you could waste a lot of money very quickly buy buying something you don't necessarily need at your skill level. I would begin first by learning how to manipulate light in an setting you're already in. Say a kitchen, turn on some of the kitchen lights to see what it does to the person, open the blindes, pull the sheer curtains etc etc. After that you'll start to get an idea and then can buy some appropriate budget lights to start adding in where you know is missing. Hope this gets you started! Keep trying new things now that you have a camera and lens, the more times you hold the camera and film something the more you learn each time. Videos unfortunately can only take you so far if you don't have the natural "eye" for knowing how these concepts work. Hands on is always the best when it comes to filmmaking. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

@@TLDR_filmmaker Dude, this is such a great amount of advice and info!! THANK YOU SO MUCH. I'll be sure to start getting to work with that lens I already own, invest in more essential gear, and continue to learn more and more. Good luck to you on your future work!

You're most welcome! You got this, its a very fun and rewarding craft to learn. The Gh5 is still my most recommended learning camera because of all it offers out of the box, so you got a lot to work with as you grow. Keep playing, watch a lot of videos that explain certain key concepts, watch movies you like and see if you can see what they are talking about, eventually it'll all click. No film school required haha. Everything I've learned is from youtube and experimenting with my first camera (Canon T3i). Once you got your foundation principles locked, the world is your oyster. Keep it up and I look forward to seeing your first works, just drop by in the comments and share a link!

Greetings David! Thank you so much for checking out this video and asking a question! The beauty of the Viltrox system is that you can purchase both EM1, EM2 or EM2 ii, and still pay less money than buying one Metabones for pretty much the same function. You are correct in that AF may not be as great on the Viltrox (for photography) video is not recommended in general because these adapted lenses were not meant for video autofocus, that's true for any adapter where they have the specific lens firmware programmed in. There is no difference between the EM1 and EM2's in terms of electronic communication, it will be able to transfer the information for Aperture and IBIS. Hope this helps! Thanks again for stopping by and I"ll see you in the next one!

@@TLDR_filmmaker thank you!

You're most welcome!

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 sameer! Thank you so much for checking out this video and commenting! I haven't played with a pro mist filter just yet, but my colleagues loves it. The softness of the pro mist would definitely be much better than at the Viltrox optical end. It would be awesome if Sigma ever makes a 30-85mm (ff equiv) lens. f2.8 is good enough for full frame, f1.8 for super 35. That would be it for me, one lens to do it all :D Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

Greetings Engineer Fpv! Thank you so much for checking out this video and asking a question! I primarily use manual focus for my work instead of AF or Continuous AF as these Sigma lenses with HSM was not designed for video AF. There is one thing to consider, you need to make sure your lens AF switch is set to AF and not MF when you turn on the camera, if you don't do this the AF performance will either not work from the camera or miss completely. So make sure your lens is set correctly before hand. When it comes to adapters, your AF speed will vary depending on what lens you put in front of it. The AF from my Sigma lenses are actually decently responsive and accurate in video mode. But my old Canon 50 1.8 (non-STM) cannot focus accurately at all. Lastly, if any of the above helps in your AF case. The GH5 photo mode AF (single, not continuous) graps focus much faster than in video mode. So depending on your photo subject, it may work decently well. If it's for sports, it probably won't be all that great. Hope this helps! Thanks again for stopping by! Hope to see you in the next one!

@@TLDR_filmmaker Firstly I would like to thank you for your fasr reply and all these informations I had no idea about the manual switch on the camera, but what I have noticed to so far, is that when i do switch to manual from the lens, then the camera it acts like its setup in manual mode from the camera switch, and that did impressed me. I have also just found out that there is an update for the sigma and it does fix a lot of autofocus settings. I will have to grab that sigma dock to update it. For now I am actually using a G81, and sometimes borrow the gh5 from a friend of mine, didnt have the time to test it with the gh5 so far. I was thinking of getting the gh5 first and after the lens or do the opposite which I did :D Cheers man for your help again

You're most welcome!

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 Christian! Thank you so much for checking out this video and asking a question! Do you mean in terms of its ability to work with most EF lenses and communicating that to the GH5? In general its going to depend on what you want to use your GH5 for whether it be PHotography, Video, or both. If If it's for photography, then AF performance between all your lenses is crucial, in which case this adapter will work but the AF may be slower or miss completely depending on each lens. For me the Sigma 18-35 and 50-150 both can AF and catch, but it's probably not as a fast as a Canon DSLR Body. If Video is your main job for the GH5, then all you're really needing is Aperture adjustments and IBIS focal length information being transmitted, in which case this adapter would be perfect for that. Lastly, my overall experience with adapters as a filmmaker is that Canon and Sigma lenses all seem to work fine and communicate to the GH5. Tamron is hit or miss depending on the lens so I never use Tamrons through adapters. Hope this helps! Thanks again for stopping by and I’ll see you in the next one!

@@TLDR_filmmaker Thanks so much for your prompt reply...I already have a G95 with the Leica 12-60 for photography and wanted to dedicate my GH5 for video...and like the bokeh in video so...I am a "lens hunter" for having something great ..and can't decide by myself towards which lens I should go???I'm a genetic Toxicologiest and musician but if I'm intersting in video I don't know that much... Thanks for your comment an anicve hello from Italy..;where unfortunately we're in the high red zone for now but still healthy...thanks again

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 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

Greetings Chris! Thank you so much for checking out this video and commenting! I keep hearing conflicting accounts when it comes to vignetting on the GH5S and the Sigma, someone had said they were using the Metabones XL with the Sigma on their GH5S and said it was fine. If its a soft vignette you usually won't see if it there are some strong light sources in the scene, but idk in terms of the XL's account. Since removing the booster on my Sigma 18-35, I have not looked back, I've been able to utilize all the focal lengths I use and haven't really found the light loss of one stop a problem, even in the moody contrast shots in my recent Boling P1 review. (f/1.8 @ ISO 400) In the next generation I'm sure all the sensors are going to be amazing up to ISO 6400, when that time comes it won't be about how much a light a lens can gather, rather it will be how shallow of a depth of field you'd want in the shot. Exciting times! Thanks again for stopping by! Hope to see you in the next one!

TLDR Filmmaker Thanks :) yeah it’s only soft on the 18-35 and doesn’t cause too much of an issue, but I often use my 17-50 for its stabilisation as I have the GH5S and that has a smaller image circle. So I might just buy the EF-M1 this month. Keep up the good videos 👍

I used to have a copy of the Sigma 17-50, really liked that lens, I so wished that its focus throw was like the 18-35. I wonder if Sigma will ever make a contemporary APS-C zoom lens similar to the 17-50 and update it. I have that generations 50-150mm 2.8 OS version and its wonderful, I got two of them! If you haven't heard of the lens before (discontinued) I did a review on it if you'd like to see how it performs, could potentially be an addition for your setup. They pop up on ebay from time to time. Sigma 50-150mm review: kzfaq.info/get/bejne/qq2lhstzxLLFaKs.html

@@TLDR_filmmaker Yeah its a great lens, very underrated I think. Yeah I agree the throw is a little short.

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".

Greetings Ángel! Thank you so much for checking out this video and asking a question! I’ve had the EF-M2 Boosted version for 1.5 years now and it’s been working perfectly for my needs with my Sigma 18-35 and 50-150. I bought the EF-M1 about 4 months ago and it’s also worked as expected. The adapters are made primarily out of metal and I don’t really continuously attach and detach them from my lenses. So I expect them to last me a long time. Hope this helps! Thanks again for stopping by and I’ll see you in the next one!

Thanks brother, for replaying. Salutes from Honduras, Central America.

You're most welcome! Salutes from USA!

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

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 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: kzfaq.info/get/bejne/qq2lhstzxLLFaKs.html

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 Mark! Thank you so much for checking out this video and commenting! You are absolutely correct! It's been very nice to use the Sigma 18-35 without the booster and still have all the electronic controls and IBIS on my GH5. It almost feels like a new lens to me because of just how sharp and beautiful the lens is without adapters. Truely a workhorse lens for video! Thanks again for stopping by! Hope to see you in the next one!

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 Sector9films! Thank you so much for checking out this video and asking a question! Long story short, Nikon mount lenses are built differently which makes is very difficult to allow a Nikon lens to communicate electronically to a different camera. This is why pretty much all Nikon to MFT adapters are purely passive with a built in manual Aperture dial. Because you do not have electronic connection, you will need to manually enter in your IBIS focal length if you are using it. And of course if you do the occasional photo, you will not have AF and will have to focus manually. If these things are not a deal breaker for you, the adapter should work well for your needs. If you would like to be able to use the full ability of the lens (or as good as it can get with a GH5 and other MFT cameras) You'll want to get a EF version of the lens. You could either sell the Nikon to get the EF, or Sigma has a service where they remount your ART lens to a different mount (probably not worth it as I think it was between $100-200 service) Hope this helps! Thanks again for stopping by and I’ll see you in the next one!

Giday again awesome response much appreciated You're The Boss! Thanks mate John

@@TLDR_filmmaker I got a Viltrox Adapter for the GH5/Nikon Sigma 18 35mm lens. Cost me $119AUD from China, I attached it to the camera body and there was significant right to left play. I checked the locking pin and it was loose, tried tightening it up but it just wouldn't. I took the lens adapter and the camera body to my local camera repair guy and he told me the screw was the wrong size it was too small (thin) he said he could fix it with a new locking pin screw which he did, cost me $20AUD and it now works fine. I thought I should email the supplier about this and added some pics so they could see the problem, in case it happens to someone else and to my surprise, they refunded me the $20 which I was not expecting, I mean it's only 20 bucks. I thanked the supplier for their generosity. Just thought I'd tell you the story. The lens and the adapter are working well. I shoot manually so no AF isn't a problem. Cheers John

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!

Greetings Brian and Alexander! Thank you so much for checking out this video and asking a question! The reason I didn't go for the Panasonic 12-35 comes from the type of filmmaking I do (Narrative films) I need a mechanical focus ring for more accurate repeatable focus pulls. The extra weight of this lens and length allows me to go and get steady handheld shots much easier, especially with the action scenes we do. It was also a future investment option because I know the possibilities of me using a Super 35 sensor camera in my future career could happen so I want to make sure I can continue using the lenses I'm already familiar with. These are the main reasons why I went invested into the Sigma instead of the Panasonic lens. If I was a documentary filmmaker and general youtuber, I would have opted for the Panasonic 12-35 + a Pana prime. Hope this helps! Thank you so much again for stopping by! Hope to see you both in the next one!

Greetings Jon! Thank you so much for checking out this video and commenting! I would definitely have to say if I had investing in full frame lenses that a Speedbooster would make more sense on a GH5, I wasn't as clear in my speech that this video was specifically directed at the Sigma 18-35mm and not other lenses. I personally now have the booster on my Sigma 50-150 2.8, its the perfect pairing between these two lenses. Does that booster offer in lens aperture adjustment on your Nikon? I remember in the early days of Metabones that all Nikon adapter had a manual Iris build into their adapter instead of using the lenses own aperture. That was one of the reasons I kept investing in Canon mount when I moved into the MFT system from the Canon T3i. Thanks again for stopping by! Hope to see you in the next one!

@@TLDR_filmmaker I totally understand the lens investment. I was a photographer first and had a full frame DSLR with full frame lenses. You are correct re: aperture control. I have the Metabones Speedbooster XL and it has it's own aperture control ring for my Nikon lenses. This however isn't working on Nikon's newest E series lenses that have electronic only control (they have to have the aperture control lever sticking out the bottom). I think the Viltrox similarly has an aperture control ring.

Ooo very cool! I'm finding myself wanting to dabble into some photography, I have all this photography gear for video.... I should definitely use these tools in the other realm, I'm fascinated with the idea of using some flashes and putting them into the light modifiers that we use just to capture one single moment. Be able to keep my ISO low and shutter high, all just because of a flash (If I'm thinking this correctly) Its so funny for me to think about it in these terms because filmmakers are always chasing lights and struggling to keep ISO low with a shutter of 1/50-60 and photographers can probably go much much higher just because of the brief flash. Very cool how that works and excited to do cinematic lighting but with flashes.

@@TLDR_filmmaker Definitely go play and have fun with it! Lightshaping is pretty much the same though the exposure triangle is a little different since you can separately control flash and ambient lighting.

Hey hey again Casey! It's been awhile! Thank you so much for checking out this video and commenting! Totally hear ya on your filming situations, also I think Music Videos benefits from that 24mm look for certain shots, more so than a narrative dialogue scene that make up a majority of the movie. Do you have any recent music videos you've put together? I'd love to check them out! Thanks again for stopping by! See you in the next one!

@@TLDR_filmmaker I'm surprised you remember me. haha I will say, having only a Tokina 11-16 and the 18-35, I find myself staying at the 35mm range the most when doing narrative/short film work. One day I'll own the Tamron 85mm f/1.8, one day!

Haha I surprise myself too, my brain usually does well remembering interactions for whatever reason. Not sure how well I can remember in the future as I continue with this youtube channel lol. Have you thought about adding the old school Canon 50mm 1.8 mk1 (non-stm version) into your setup before getting the Tamron 85mm? With the booster on it should give you a nice 70mm look. For the longest time I use the Sigma 18-35 and this Canon lens as my narrative kit. It's a nice compact setup and the Canon lens is very cheap used. The only that does not work with the Viltrox is AF if you want to take photos, it will never get anywhere close to being in focus. But for use with IBIS and aperture adjustments, you're good to go!