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Don't know which settings differ. Someone would have to look at the code. I would guess that the front-end introduced in this thread does not do multiple passes.

​The "app" that you linked uses different settings than IFFMPEG. Both of those "apps" are front-ends for ffmpeg. If you just used identical ffmpeg settings on the command line, you would get the same (or faster) speed with less cpu/memory overhead, and you would have more flexibility to change settings. With such front-ends is that the choice of settings is often limited by the author of the "app." By the way, one of the more popular "front-ends" for some of the ffmpeg encoding libraries is the open-sourced handbrake.

​This front-end probably uses different settings than the IFFMPEG front-end, so the speed wouldn't be the same.

​The grease should eventually diminish, and there shouldn't be any grinding or stiffness at that point. On the other hand, it sounds like this grease is unusually runny.

Thanks for the link, but this converter is just another front-end for ffmpeg.

It's just excess grease coming out of the aperture ring. The internal mechanism of this ring is over-engineered on some adapters/focal-reducers (not just Metabones), and it requires grease to function smoothly. Hold the adapter with the "grease" side facing down and turn the aperture ring fully back and forth about five times. Then, wipe off the excess grease with a clean towel. Repeat until satisfied.

Thanks for the thoroughly informative rundown on stand deals! When someone says "C-stand," they usually mean a C-stand with a grip head and a grip arm. So, C-stands are generally used for grip applications (to hold flags, silks, nets, etc) -- not for electric. On the other hand, many have certainly used C-stands to boom/cantelever 2k Mighty/Baby-Junior fixtures. When a truck and crew are available, I prefer the typical, heavier baby and junior/combo stands. However, when I have to carry gear by myself, I opt for the lighter stands, of course. By the way, it might also be good to price Lowel stands. Lowel switched fabricators from Pic to Kupo long before Kupo was "cool," and Kupo mimicked the Lowel stands on some of their own light-weight offerings. Don't know what has happened to Lowel pricing since they were bought by Tiffen.

Hmmm... not sure what you mean, but it sounds like you did not remove the rear lens mount to see what was underneath. I am happy to help, but it would make things easier if the reply information was more detailed, forthcoming and prompt. Did you remove the rear lens mount?

​Did you try to unscrew the rear lens mount?

It doesn't appear to be fully locked, and that's unsafe. The first video that I linked is a tutorial from Metabones. They attempt to show an internal black tab fitting into a black slot along with demonstrating which external ring to unintuitively turn. I am afraid that they don't do a very good job of conveying what's needed for the operation, so you have to pay very close attention to everything that they try to show. There have been reports about folks having to file the internal tab to make the lens function properly. Mechanically, these lenses seem a little "over-engineered." If I had to eliminate the rear protective ears, I try to remove them cleanly by unscrewing them. If there are any screws attaching the ears to the body of the lens, they are under the rear lens mount. So, it might be good to remove the silver Phillips screws shown in this photo below that attach the lens mount. Then remove the rear lens mount and see what's underneath. If the ears are mounted with screws to the lens body, then merely unscrew them and save them and the ears in a small container/plastic bag, and reattach the rear lens mount. If there is no easy way to remove the ears with the rear lens mount off, then the ears might need to be sawed or snipped off. I would be very careful in doing so, to keep plastic chips and metal filings from getting into the lens and/or onto the optical elements. One way to get the optics safely away from such work is to remove the entire optical assembly, as shown here. Here is an example of a lens with the ears cut. Hope this helps.

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

​Please go back to having message preview in the message editor. The current editor is unwieldy, and it is not WYSIWYG. For instance, one can't follow links while composing, and the links appear with an underline which doesn't show in the posted message -- one has to manually underline links, but there is no way to tell for sure if the underline took, until the message is posted. This problem and others are compounded by the lack of a way to view the format coding. Please bring that back, too. Thanks!

This article perhaps gives a little extra insight into the NX1 sensor tech and digital processing, in addition to how Samsung lenses stack-up against Canon and Sony offerings. It would have been great if they had instead compared the newer A7S and 5D III with the NX1.

I am familiar with the protective "ears" on the backside of the wider Contax G lenes, but I am not sure I understand the problem with this adapter and camera. Are you saying that you can properly mount the lens into the adapter, but that the lens ears poke through the adapter far enough to interfere with the internal structure of the GH2? Can you post a photo of the back side of the adapter with the lens mounted on it?

Very inspiring. Thanks!

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

​ Try sliding the button toward the camera and hold it there, while turning the lens clockwise.

​The throat diameter on the NX mount is 42mm. The RJ focal reducer for my EOSM has a rear element that is around 30mm in diameter, and it "converts" APS-C to near full frame, just like the OP's hacked Metabones speed booster. So, assuming the rear element of the Metabones adapter has a similar diameter to my RJ adapter, the Metabones could be modified to fit inside an NX mount, with a little room to spare.

A stock with a 12 stop capture range?... without any special processing? That's impressive. Just before digital, we were lighting for a 7-8 stop range of tones with most film stocks. One could pull (under-develop) while over-exposing to capture a greater range of tones (along with less saturation and less grain). As I recall, "one stop" pull would yield about a two stop increase in capture range, but getting that extra stop of overall exposure sometimes required double the electric package.

Nice work. Didn't notice any jello -- wasn't looking for it.

I am seeing differences in exposure in most of the recent comparisons/tests posted this general forum. In both of the tests shown in this particular thread, it appears to my eyes that the A7s images are brighter overall than the 1D C images. Can we additionally shoot gray scales and charts, and match the brightness on a middle gray shade in one comparison, match black shade in another comparison and match white in another comparison? Such tests might give us a clearer idea of what's going on. Also, with most monitors, it is easier and more accurate to compare images if they are posted side-by-side, rather than one above the other. Thanks, and Happy New Year!

I know that I mentioned this awhile back, but Handbrake is a GUI frontend of ffmpeg, so if your ffmpeg has the h265 decoding library, you should be able transcode similarly with Handbrake. On the other hand, using ffmpeg on the command line can give one a lot more control of a transcode. The syntax is fairly easy to learn. The same is true of mencoder, which has a lot more filters than ffmpeg. Unfortunately, I don't think that mencoder currently has any h265 capability. Both ffmpeg and mencoder have players -- ffplay and mplayer, respectively. The command to play a file (from the "current" directory) in ffplay is: ffplay <video file>Of course, replace "<video file>" with the actual name of your video file. If the video file is in a directory other than the one that is "current" to the terminal, you must supply "path" with the video file name in place of "<video file>". For full screen we merely add the "-fs" flag: ffplay -fs <video file>See how the full screen flag works? Transcoding works in a similar way, but there are usually more flags.

Neither camera appears to have extra yellow, so you don't appear juandiced (but perhaps a little gaunt ). The color you perceive might be your system/set-up. Have you tried turning off all the lights and closing the shades? Is there anything that is blue in color on or near your screen?

​Thanks for the correction and for the additional info on the shutter conflict and edge sharpness. I had forgotten that the sensor area was smaller for 4K on the GH4. Good to know that GH4 speed booster works without a hitch.

​Don't you mean no full frame, 4K, dslr camera? There were plenty of nice 4k cameras before the 1DC, some similar in size to a DSLR and some smaller. Any item seems special, when one keeps adding particular conditions that make it so, even when those conditions are somewhat arbitrary. By the way, the Dalsa Origin (which appeared around 2003 as the first 4k cinema camera) employed a huge medium format sensor. Everything was necessarily bigger in those days. Actually, for awhile, the GH4 has been able to utilize a focal reducer which boosts it's low-light capability to within around 2/3 stop of that of the 1DC, while also increasing it's effective sensor size to a 1.3 crop factor. So, the GH4 ranks only a "matter of degree" slightly less in regards to the conditions of "low light" and "full frame." However, in regards to the conditions of price, size, range of usable lenses and battery life, the GH4 is significantly superior to the 1DC Since it appeared, the A7S could record UHD through any 4K hdmi-to-sdi convertor to a number of recorders. Incidentally, a few folks have made their own 4k recorders with embedded pc systems.