Today, I thought it might be a fun video to talk about my favorite
lenses over the years. Not necessarily best as in like, you know, best objectively, best optical performers because I think if that was the list, it would all just be uber
expensive cine lenses. But instead lenses that have had either a significant impact on my career, lenses I've used a lot or lenses that have some
kind of sentimental value. But I didn't wanna just
do all the lenses myself. So, we have a guest: Terry Warfield, everybody. (audience cheering and applauding) - Sup? - He's here to help with the list. I think I'm gonna do five.
Terry's gonna do five. We also wanna hear what some
of your favorite lenses are. You'll get a better sense of what we're talking
about as we get into it. But let us know in the comments. A lens that means
something to you and why. - A lot of times it's
about nostalgia, right? Nostalgia, and like,
sometimes it's an area, and maybe this ties into nostalgia some. So, some lenses remind
me of something, right? Like a situation I've been in
or maybe a period of my life. - I think you're 100% right
that lenses can almost represent a time in your life- - Yeah.
- That's when I was using that lens.
- Yep. - And it probably means more than how sharp it was or whatever.
- Yeah. - And I thought this'd be a fun topic because often on this channel we're nitpicking longitudinal
chromatic aberration or something like that. - Yep.
- And instead it's like, "What lens were you using and
why is it special to you?" - Yeah, the first lens on my list, and again, this is no particular order. 50mm f/1.2 Gangsta Mode. Okay?
- Okay. - It is um-
- He means G Master. - G Master. - For the people that aren't
familiar with Terry Warfield. By the way, I didn't really
give a proper introduction. We operate in the same
circles, but there's a chance that some people haven't
seen both channels. - Hey, it's me. All right, I don't like
calling myself a filmmaker. I don't like calling
myself a photographer. I don't like calling myself,
what's the other word? Influencer?
- Influencer. I fricking hate that word. Listen, I'm just a nerdy
dude who like cameras, who like to go on videos
talking about these cameras and trying to teach skills that I know and I've learned along the way. So, I'm just trying to pass
the torch and pass it down so that's what I do. I'm a 50mm snob. - Okay.
- All right? I know some people prefer 35 and whatnot. I love 50mm. And actually this is my one lens that is not tied to anything sentimental. I purely love the 50mm
f/1.2 all based on ability. It's a crazy sharp lens. The bokeh is really, really good. And of course, it's the G
Master and all that stuff, but it's just an amazing
image that comes out of it. If I had to pick my thing
that I don't like about it, it's a fat lens. - Yeah.
- It's a big lens. - And they made the 1.4 after. - And it-
- Which is more compact. - And arguably, and I
said this in my video, probably 95, 96% just
as good for what is it? A thousand bucks less?
- It's significantly cheaper. Yeah. For my first lens, I'm gonna go a little bit of a different direction. This is a Canon EF. So, DSLR 24-105 f/4 L IS USM. - AKA dinosaur is what I heard. - The only reason why I'm
putting that much effort into the lettering is because Canon makes multiple versions of every lens. So, this is basically the Mark 1 of the 24-105 f/4 for
EF with stabilization. I don't know how it stands
up to 2023 standards. I don't know, man. But it was for years, it
was like a workhorse lens that felt like it had no
business being as sharp as it was for a crappy kit lens, right? It's not a crappy kit
lens. That's the point. And I think like there
was probably some primes at the time that it was competing with. The only issue you could say
is a little bit slow at f/4. - Yeah.
- That'd be my con. That lens was a significant
portion of my camera journey. And so, I gotta give it props. - That's fair. And I'll say that 24 to
105 is probably one of, it probably is the most
versatile zoom range out there, even if it's f/4. - Although speaking of Canon in 24-105s, have you seen, it's for RF now? I'm pretty sure. Well, it's gotta be 'cause
they're only making RF lenses now, right?
- Yeah. - But it's a 24-105 f/2.8. Have you seen this thing? - No, but it's probably
the size of a submarine. - Yeah, it's big. I think it even has like lens supports and stuff like that on
it because it's so big. - Yeah.
- Now, it solves that problem of people are
like, "I don't like an f/4." But you're gonna pay the price. Both the price and the size and weight. - Did they come out
with a price for it yet? - Probably. I don't think it... I saw that and I was
like, "That's not for me." You know?
- Yeah, yeah. - One thing I should say is that I was talking about the Mark 1 not because it's better than the Mark 2 or anything like that. I just never used the Mark 2. I think the Mark 2 came on like 2016. I was already transitioning to mirrorless. But I mean it's
probably a better lens. So really it would be that one. But I only ever used the Mark 1. - I would think it would
probably be a better lens. (Gerald laughs) 15 years plus newer, right? I think it's probably-
- We're gonna make it worse. - We're gonna make it worse.
- Mess with you. - That's right. All right, it's my turn. - Yeah, what you got? - My number two would be like, it's a old school Minolta, okay? - Okay. - Minolta.
- Who's Nolta? - Minolta.
- Okay. - It's not my Nolta? . Oh, no, no. It's my Nolta. The 70-210 f/4 beercan. It's just something
about the image quality. It wasn't the sharpest lens out, but you know how we like to throw this character term around? - Yeah.
- When we talk about lens. - You gonna bring on that character? - I'm gonna bring it out. It had freaking character. And it gave you, what's the lenses that
have like the swirly? - Yeah, they got the Helios.
- Uh Helios. It had like almost Helios type bokeh. So real, real swirly bokeh. And it was just a legendary
lens for old Minolta cameras. And honestly, it's still
sitting at home on my shelf and that's one lens I refuse to sell. - Is that how they say it in Cleveland? - Yeah. Minolta.
- Okay. - Now, that's the lens for
me that had nostalgic value. - I bet. Yeah.
- Right? Because we used to, my stepmother used to have a old Minolta camera. And I remember she would
never let me touch it, so I would wait till she
left and I'd be like, "I'm gonna touch this
fricking camera," right? But that's how I got into... - Oh, Terry gonna touch that- - I'm gonna touch that camera. Tight Shirt Terry gonna touch that camera. But so that was a lens for me
that had like nostalgic value, although it wasn't technically the best.
- No, I get it. - Right.
- That's a nice story. For me, my number two would
probably be a Sony 20mm f/1.8. - Ooh. - And this one is weird
because I don't have any of the other reasons
for it as far as... Like optically, I think it's darn good. - It's good. - It's not like the most
excellent, but it's pretty good. And I just had a lot of really
great photo sessions with it where I really liked the field
of view architecture stuff. I was like walking around New York, I took one of my favorite pictures of the Chrysler building with it. And I was just like, "I like this lens." And everything about it just... I don't know, like
there was a couple times where I took a shot of like,
sort of a pretty cliche typical one of a New York City building where you can see in
the windows a little bit and some of the lights are
on, some of 'em are off. But there was one down in
the corner that I realized somebody was actually creating
a silhouette in the window. And I was like, "Oh, how lucky is that?" But it's gonna be junk
down in the corner. And I zoomed in over there. I was like, "Oh, that's
actually pretty sharp and pretty nice." And I think that's when they
sold me on it when I was like, that shouldn't have worked
out as well as it did. And then, you know what
I started doing with it? It became the studio tour lens. I guess for me it's always like, did you help me somewhere along the way more than just sit on the shelf and collect dust or something? Which some lenses end up there. This was not a dust lens. This was a on the camera, getting it done. - All right, third one.
I'll make this one short. Tamron 17-28mm f/2.8. - Okay.
- Fantastic lens. - It's not the sharpest tool in the box, but super small, super lightweight. 17-28, I used to think
it will be a problem 'cause I'm like a 16-35- - Right.
- Type of dude, right? But I'm willing to accept that trade off to get a lens that small, right? I might be missing out a
little bit on the long end, but I get f/2.8. I get a barrel that doesn't extend when I zoom in and out, right? And the image quality is
decent and it's small. And what I love about it is back when I did used to run gimbals, even though I can't stand gimbals now. - Balance.
- Is the balance doesn't change. So, no matter if I'm at 17 or 28, I don't have to recalibrate the gimbal or anything.
- That's good point, yeah. - I think the only thing
I didn't like about it was it doesn't have Tamron's
new design language. So, it does feel a little
cheap and plasticky. I mean, I think they could
definitely give it a refresh. And again, it wasn't the sharpest tool. - So it never got a Mark 2? - It never got a Mark 2. - A lot of the other ones, they've already done that, right?
- They have already. So hopefully, hey, Tamron, we
need a Mark 2 version, okay? But even the Mark 1 version
is real, real good. That's probably my most
used lens to be honest. It's actually a perfect
time to talk about Tamron because Tamron is
actually doing a giveaway for a brand new 20-40mm f/2.8 zoom lens, which I reviewed a while back. It was that tiny little
lightweight 20-40 zoom. - [Terry] Yep. - That speaking of gimbals,
balances extremely well, and the gimbal doesn't change too much. Did you like that lens? Did you review it?
- I did. I did. Yep. - And it's got those VXD linear motors so the autofocus is precise and fast, whether you're shooting stills or video. And you can customize it with
Tamron's little lens utility. I used it for the 35-150. - Yeah.
- I love it. I don't usually like lens utilities, but the Tamron one is
actually pretty dope. - It's really good. - The giveaway is open to
residents of USA and Canada only. But if you're a Canon
or Nikon DSLR user, you can still enter the giveaway because Tamron will let you substitute for their SP 35mm 1.4 lens since the 20-40 is only
for mirrorless cameras. So, to enter giveaway, just use the link in
the description below. Entry starts today and closes
on December 10th, 2023. The winner will be
announced by me and Tamron on December 11th on social media. And the winner will also be
notified by email as well. No purchase necessary. See the link below for the complete rules. - The question is, "Do you wanna win?" And the answer's probably yes. So, go get it.
- Yeah. - It's a free lens.
- It's a free lens. - Yeah. It's a great lens.
- Go get it. - I like it a lot. Uh, my turn? - Yeah. - Why don't we keep it on the Tamron kick? - All right. - Because I mentioned the 35-150 and this would probably be my newest, newest favorite lens if you will. Using it right now. Terry's lovely face is being shot. - All of this. - On this 35-150 right there. - All of this.
- Look at him. We have it set to about 85mm. Obviously the versatility
is the main thing. - Yeah. - Let me show you guys something. We can go all the way to 35. Look at this. You see this stuff?
- Where did you come from, man? (laughs) Where did you come from? - [Gerald] You're seeing stuff you're not supposed to see right now. And we wanna get real tight, intimate. - All up in here. - That's right. Terry, tell me something
emotional right now. - I gotta use the bathroom. - I see the gravitas behind
needing to use the bathroom. So, when I first got sent this lens, I was, this sounds crazy. 35-150 and it's got a variable aperture? I usually don't go in
for variable apertures because I always end up stopping down. I love the Sony 100-400, but whenever I use it for video, I would just set it to 5.6. I don't want my exposure changing- - Right.
- When I'm zooming, right? - Good point. - So, there's a lot of things
about it that I thought, "Ah, I'm not gonna like this lens." But they've actually done
something really smart, which is that you can use it
almost like a separate lens. A 35 f/2. Use it for that purpose, right? Or you can use it as an 85 f/2.8 in this shot, which is good for video. Yeah. But then we also got the rest
of the zoom range if we need. For crash zooms and stuff, it is awesome. - [Terry] Yeah. - You know what Taylor Jackson told me? A big wedding guy. - Hey, Taylor. What up? - He said that it's like the number one, like wedding lens now. - Yeah.
- The 35-150. - I could see that. I tested and reviewed the 35-150. And I had the same
sentiments at the beginning. Like, nobody wants this focal range. - Yeah.
- Nobody caress about a fixed, I'm sorry,
a variable zoom aperture. You know what I'm trying to say? - Yeah.
- I'm getting tongue tied. - But come to find out, I think that's one of the most
versatile lenses out there. - Yeah. - It covers like such a
wide gamut of focal lengths that we traditionally use
on a day-to-day basis. For me, I prefer it, and this might sound
crazy, over 70-200, right? - Because of the extra wide stuff. - Because of the extra wide stuff. And y'all also have to understand that it's a lot more difficult to get wider than it is to get longer. - Yeah, going from 150-200 isn't gonna make as big of a difference. - Right.
- As getting an extra 35mm on the wide side.
- Right. Right. So, I don't know, man. That lens is just, it's really good. And I'll say a con for you, okay? It's fricking huge! - It's big. - It is a big lens.
- Big and heavy. - But at the same time I'm
okay with the trade off because I'm getting pretty
much three fricking lenses. - Yeah.
- In one. - And would it be any different than carrying around those three lenses? You know what I'm saying? Versus just one huge lens, so? - And in an application like this, for me it just lives on my camera. It has not left one of my bodies. It has been permanently mounted. That's how much I like this lens. What do you got next for us, Terry? - Alright, Sony 24mm
f/1.4 Gangsta Mode. - Okay. He still means G Master. - G Master, okay?
(laughs softly) Listen, lemme tell you something. The only word I've been able to use to describe how the photos or B-roll look, 'cause it's a great B-roll
lens is magical. It is a really magical look
that's hard to replicate. But there is a catch with that lens. - What's that one? - Breathing. Focus Breathing.
- Oh sure. Yeah. - That thing breathes more than a runner who just got done running five miles. Like, it's ridiculous. So, like as a video lens it's fantastic and with newer cameras with
breathing compensation, obviously they combat it, but then you get cropped in a little bit. I think that's the major,
major con is the breathing. Otherwise, it's a beautiful lens. - It also felt like it was
a turning point for Sony that when it came out
people were gushing over it because it was like, "Is
this what we can expect now from these new G Masters?"
- It was so sharp. - Just so sharp, so high quality, compact. It was like it had it all. - Yep. - I'll throw my G Master in now. - Okay.
- Also breathes. Might even breathe worse. I don't wanna cheat
and make it two lenses, but I was tossing and turning between the 35 f/1.4 G
Master and the 35 f/1/.8 because I've used them both
a lot for different reasons. Because of the breathing, my
video lens was the 35 f/1.8. In fact in the studio that
was previous to this one? All the videos, pretty
much all the videos there were shot on the 35 f/1.8. I loved it. For the bang to buck, size,
whatever, it doesn't breathe. It's like $700. It might be the best value sort of like fixed 35mm video lens that you can get. - It was tiny. - That would be the con though
is that it's a weird lens. Like the shape and it doesn't have many
switches or anything on. It doesn't fit the form
factor of any other Sony lens. The front filter,
diameter's like 55mm or something. - Yeah, you know, that
that lens reminds me. Have you ever went to the store and bought like sliced olives in a can? It looks like a sliced olives
can is what it looks like. - You got beercan lenses.
- Yeah. - You got sliced olive cans lenses. So, love it. That's my like, I don't know,
cheating kind of tie pick. But I went with a 35 f/1.4 G Master because now we do have focus breathing compensation.
- Yeah. - Which solves that problem. And if it wasn't for the focus breathing that lens is perfect. It's absolutely perfect. I recently did a video where I compared it to the ARRI Signature Prime, which is like an insane
35mm lens and you'd be, it's like so good compared
that like, it's not as good but it's so close that it's a marvel what they're able to accomplish
in such compact size, albeit a ton of focus breathing. But the main thing for me
and the reason why I said I would come back to you on the 50mm is that I like to close focus and that's the reason why I choose the 35 and why I don't play with the 50. The 50s aren't for close focusing. Get a different lens.
That's what you want, right? - Yeah. - But the 35, you can get so close. And I'm the type of person
that I go on a photo walk and I'm looking down on the ground and I see some weird like bark and stuff doing some weird stuff. I get right down in there. And when I got that G
Master for the first time and I did that? I was so up in the business, Terry. And a lot of other 35s that I've tried that you can get close with, they suffer from a little
spherical aberration or something. This kind of like glisteny softness. There's none of that on the G Master. It is tack sharp, as close as you can get, and you can get closer than anything else. You create these really
interesting, surreal, it's because it's wide, it's
35 wide but you're so close and it's so shallow that
you get these like surreal, almost like Salvador Dali
kinda like scapes of like- - [Terry] Are they of mushrooms? - I do. I do have one of mushrooms. - You know, so when you go
on Pinterest or whatever, you type in 4K wallpaper
and it's just mushrooms? - I took those. - Gerald took 'em. But seriously, I got two thoughts on this. Okay?
- Okay. - First of all, I remember
testing that lens out and the breathing was so bad
it made me not wanna use it. Like, it's absolutely terrible. And I get we have breathing compensation now.
- You can't overstate it. You can't overstate it enough.
- No. - It breathes.
- It's so bad. Like, you would almost have
like a focal length change. - You might as well.
- Like zooming in there. - Your manual focus ring
becomes a zoom ring. - A zoom ring, right.
(laughs) So, there's that. I never took up close portraits with it. I got so turned off
by it from the breathing. - Yeah.
- That I never went back to it. The image quality was great. - Yeah.
- I will say that. But you know, it just, back
when I did test it to be fair, back then I was not happy with it. But I will give it another go based off of hearing your thoughts and the fact that we do have
breathing compensation now. - Okay.
- All right? - Now I have one more. - Okay. - Sigma 18-35 f/1.8, okay? - I would've put this on
my list just so you know. Like, I'm with you. - It seems like every
lens I throw out there, you're like, oh I would've
put that on my list too. But okay, seriously. The Sigma 18-35 was a mindblowing lens. Even though it was just
a crop sensor lens. - That's the thing. You think 1.8, and you think
yeah but it's a crop lens. You can put that thing
on a full frame camera and only like 18, 19 is off limits. If you shoot like 20, 21 and onward? It looks like a full frame lens.
- Full frame. That's one of the lens I think
Sigma needs to remake, okay? Make a updated version for like E-mount. I don't, that's when it lens out. - Well yeah, 'cause that's an EF lens. Yeah.
- It's an EF lens. I wouldn't even care if Sigma just slapped a MC-11
inside of it like they do for another lens, right?
- They've done that before. - But I really think they need a refresh. That lens was legendary. If I had to pick one con
about it, it was a big lens. It was a big lens.
- Yeah, it was. - You know, if I can
add in 'cause it also, was one of those periods for
me where I used it a lot. Not previous set but the set before that. I was running a Blackmagic Pocket 4K and I think like a lot of people when they ran Micro Four
Thirds, it was like the formula. - Yeah.
- You go Micro Four Thirds, Metabones Speed Booster.
- Yep. Yep. - 18-35.
- Yep. - When you do all that, yeah you're coming outta
that body pretty far and it starts to get pretty bulky to the point that you can
get supports for that. I just left that thing
bolted down basically. I had the lens and the mount all supported to the cage on the 4K. It was like, that's the permanent setup. But that's all you needed because the focal length
then gets speed boosted, but then multiplied-
- Yep. - by Micro Four Thirds. And you get this really versatile, fast, beautiful lens combo. Of course that would
only work with EF though. - Right. - 'Cause you can't do any of
that speed boost and stuff- - Right.
- If they make a mirrorless version, right? And maybe, maybe it just
belongs where it was as like this legendary lens. I see what you're saying
about wanting an update. But yeah, kudos to the Sigma 18-35. I think a lot of people
would put that down as like an important
lens to their journey. I'm gonna do a Sigma as well. - [Terry] Alright. - So, this is the lens that I don't know how many
people in my audience are familiar with 'cause
it's niche and it's weird, but it's the Sigma 120-300 f/2.8. That's a constant 2.8
all the way from 120-300. If you're visualizing a
large lens, you are correct. I think with the hood on
it, it was probably like, like it was big and it was metal. The hood itself was metal.
You had to like bolt it on. - [Terry] Wow. - It was, but the funny
thing is it's so rugged. We were using it for hockey and it took a puck strike one time, which is why you always put your hoods on your expensive glass. - Put your hood on.
- Yeah. Because if that hit the
front element, man, right? But anyway, slap shot right off the hood. The hood like had a scuff on it. Kinda like that rubber scuff thing. But it didn't even dent. That's how strong this thing was. - Wow. - Now, I should say that
there was two Sigmas that were similar focal length, but there was a time
where Sigma transitioned into making Art lenses and Sport lenses. They started putting those
little silver circles. - Yeah, right. - So this was a sport.
It's the, I wrote it down. It was the Sigma 120-300
f/2.8 DG OS Sport. It had stabilization. That's the OS. - JKLMNOP. - That's right. Yeah. - QRST. (laughs)
- All that. But not the other one. The H whatever without stabilization. And when Sigma was making like black and gold lenses
and stuff like that. So this is, yeah. - Oh, I remember that. I remember that.
- 'Cause I think they were making it for Nikon and stuff too, right?
- Right. Yep. - So yeah, this is the proper sport lens. I think it's probably discontinued now. But I recently, Sony just
came with that 300mm lens. - Mm, f/2.8. - And I was talking about back in the day was using a Canon 300mm. And the Canon 300mm was more expensive. Then Sigma came out with this
one for a couple grand less and it was a zoom. I was like, "Well, let's give it a whirl." But obviously, the purists were like, "Well, the Canon one's
sharper in the center and everything else, right?" But there was something
that Sigma could do and this is the reason
why it gets on my list. Shooting hockey, right? You're at 300mm, you're
shooting the goalie, you're shooting somebody across the ice. And then, there's something
cool going on over the bench. You pan a 300 Prime over to
the bench, you got nothing. It's this blurry, you're within the focus
range that you can't, you know?
- Yeah, it's a blurry mess. - Exactly. - With this one, as you
pan, you zoom down to 120 and you get this cool
shot of like the coach, like talking to the player or something. It's like a candid moment, right? And then that player skates
back on the ice, down to 300 or back, I guess, up to 300 and you're tracking 'em again. For the weight, I mean you had to put
this thing on a monopod. You could not hand hold
it. It was a monstrosity. But the fact that you could do that. When you're the only
person that gets that shot, that tells the whole thing, right? Other people were slinging. So, they would have their 300 here, they would sling up and
try to do that kinda thing. It's a different animal when you're doing this kind of thing. - So, I have never heard
of this lens before. - I bet you-
- That sounds crazy. - Yeah it's, I mean I
don't imagine anybody would have an interest in
it unless you were probably, well, sports probably, right? Like, what else? And you know, to be fair, I don't know that it has a place anymore because nowadays you
got really good 70-200s. - Yeah. - Put a teleconverter on there and you end up with like, what? Like a 140-400 or something, you know?
- 400. - So, you don't need
it, but there was a time and a place for it when it was this nice, just this great little lens. It wasn't little. I shouldn't. (chuckles) - So, what did you do
with it? You sold it? - Yeah, and you know what's funny? Is the people that bought
it weren't putting it, this was a Canon mount. I think they were shooting Nikon, but Sigma at the time and
maybe they still did it, would change mounts for you. Because the optical formula
didn't really change, they'd have to just do
a little flange work. - Right. - And so, you could take it into Sigma and they would swap out the mount for you. And so yeah, I think maybe
you couldn't get 'em anymore. And this person, there was no Nikon one left. The person was like, "I'll just buy it. Take it to Sigma, and
get it on my Nikon thing." 'Cause it's still a sought after lens. But man, and because we
would take it to rinks and it was metal, it was so cold. Like, the lens.
- Oh yeah, I believe it. - Yeah.
- It was just like, felt like ice cubes, man. Okay. You were gonna say
an honorable mention? - Yeah. I'll give an honorable mention. - Okay. - I got a few, right? But I think I'll give
the honorable mention from my list to the Sony 90mm f/2.8 Macro. - You're not gonna like this, Terry. - What? - I was gonna put that on my list.
- I knew it. (both laughing) I knew it, man. - My lifetime fans know I love that lens. - Man, let me tell you something. - Okay.
- Okay? I know them lens is old and
antiquated and all that stuff, but there's reasons that
this lens was fantastic. First of all, 90mm at f/2.8,
it's a good portrait lens. - Yeah.
- Right? - It's dual purpose. - Yeah, it's not a 85 f/1.8, but
it can get real, real close 'cause you got that extra 5mm- - Very sharp in the center. - Super sharp, right? So, there's that. The next thing is macro obviously. And that for me is a big deal. I know you talked about
like macro with the 35mm. - Well, like close focusing,
but I'm not getting true macro. - Right, so this is a true 1-to-1 macro. - 1-to-1.
- Right? - With the focus clutch. - With the focus clutch built into it. And I'm not gonna lie, I'm not gonna do the
movement on camera, but- - It's satisfying.
- Yeah it is satisfying. So, there's that. The fact that it has
stabilization built into it. - Oh, I forgot about that. - Yeah, it has. - But it's noisy, isn't it? - It is noisy and the autofocus is also noisy too, but-
- Yeah. And not the sharp, and not
the fastest autofocus anymore. - Right, right. But that's definitely my runner up. - That at one point would've been my favorite
Sony lens for sure. Terry, I wanna say thanks
for coming on the show. I appreciate it. It's always
fun hanging out with you. - I thank you for letting me come on the Gerald Undone podcast
show thingy whatever. - It's my talk show. - Talk show.
- Its my late night talk show. - Late night talk show. - It is late night now too.
- It is. - Last time I was on your
channel, I did my outro. Do you wanna do your outro? - I will do my outro. - I remember it now. It's like a? - Don't mess it up. - Squeaky. The squeaky grease
gets the wheel or something. What was it? - This guy's about to get taken hostage if you ever try to botch
my outro like that again. - Okay. Lay it on. - Peace and chicken grease. Tight Shirt Terry Warfield and Gerald. We out. Peace. And we're done.
