This is the Panasonic Lumix S5,
and it's a strange camera that kind of makes you rethink
Panasonic's entire lineup. Let's get undone! [offbeat music] ♪ Gerald Undone ♪ ♪ He's crazy ♪ What's happening, everybody?
I'm Gerald Undone and... my name Jeff. So, let's start off
with some disclosure here. Panasonic sent me this camera
and kit lens combo to review and I've had it
for just over a month. After I agreed to review it,
I was informed that I could keep
the samples if I wanted. Generally,
I prefer to do loaners for cameras because I like
that separation, but I deal with free samples of
other gear all the time and it doesn't
affect my objectivity because just because something
is free doesn't make it good and I don't want my place
filled with useless free stuff any more than you do. So,
I'll be evaluating this camera at its retail price, like
any review should be conducted but I wanted you to be
fully aware of the conditions under which I
received this camera. But we'll talk more
about value and my recommendations at the end
of the video as usual, and as with all of my reviews,
Panasonic does not get to see this video before posting.
Also, my approach to this video was to evaluate both the
photo and video capabilities of this camera but with an
emphasis on using this kit lens that came with it to see
how it would work as a combo and to provide a small review
of the lens while I'm at it, since I think
this combination is a big part of the targeting
for this new camera. Because this new camera
is definitely smaller and lighter than
Panasonic's previous offerings. Together, this combo
weighs just over one kilogram at around 2.33 lb, at
only 715 g for the body only. This is a big improvement
compared to the S1 which weighed over
a kilo without a lens. And then try and make
some kind of vlogging combo on the S1 by adding,
say, the 16 to 35, you'd be closer to 1.5 kilos.
So, this is noticeably lighter when held out
with your arm extended. It's actually even a bit smaller
and lighter than the GH5, but it's
still a little bit bigger and heavier
than the a7S III. The body design is
somewhere in between the GH5 and an S1. It doesn't have
a top screen or XQD card slot and has a fully articulating
screen instead of the multi-tilt version on the S1, but
the overall aesthetic is very similar to the S1, just
sort of a more compact version. This in-between is mostly
positive but there are a couple of new annoyances.
First off, I don't like this new AF-On button.
It's small, bubbly and slippery and I find it difficult to
fully depress with a flat thumb. With big fingers like mine,
you need to get up on the tip of your finger to press it all in.
The new forward command dial is a little weird at first too, but I got used
to it pretty quickly. The rest of the controls feel
pretty familiar and comfortable, and I've generally always liked
the ergonomics of Panasonic, but there are some compromises
that were made to make this body smaller that
I'm not too fond of. One, they're now
using a micro HDMI port, which I really dislike
and when you're using it, the angles your screen
can take are very limited. I actually prefer the S1's
basic tilting screen here because at least
I can get it to angle upwards while using HDMI.
With this camera, you can't, because you can't
rotate the screen forward with the HDMI connected.
And when using the screen as front facing,
which is how it beats the S1, I like that they have
the microphone jack above and out of the way of the
screen but they didn't think to separate the flaps
for the mic and headphones, so sometimes this
giant audio jack flap can block some of the screen. I also don't like that
only one SD card slot is UHS-II. To be fair, nothing on this
camera actually requires UHS-II because it doesn't have
the All-Intra recording options of the GH5 or the S1H,
but I prefer to have both slots be the same. Luckily, this
doesn't prevent you from using the backup recording
options because, again, UHS-I is all you need for that.
Now, it gets a bit stranger when we look at the battery.
This camera is using a new battery type which
is also sort of a hybrid between the S series and
the G series with some backward compatibility. Judging by
the pinouts on this new battery, it has the old-style connector
from the BLF19 that you'd find on the GH5
and G9, but also this new set of pins for the S5. So,
you might be able to use these batteries in your old
G cameras but I don't think your old G cameras
will work in this camera because they
don't have the new pins, and neither are compatible
with the S1 or S1H. This is pretty peculiar,
if you ask me, but thankfully, the battery life was
pretty good. Recording 4K video, I was getting about 2 hours
15 minutes on a full charge, on an average. For photos,
it depends how you use your camera and your
EVF settings, but you can get anywhere from 500 to
1500 photos depending on how conservative you are.
For me, with casual shooting, one battery lasts me all day,
with performance somewhere between the G9 and the S1,
but the camera also has USB-C port that
can charge the battery and keep the battery juiced up
while recording for seemingly indefinite
run time. I recorded for three hours
with the camera connected to a USB power bank
and it was still at full power when I was done, so
that's great. It was also during these battery run down
tests that I determined that overheating was not gonna be
a problem for me, at least not in my environment, which ranged from 22°C indoors to 28° outdoors, which is 72
and 82°F respectively. There's no record limit in the
8-bit modes except for in 4K60, but there is a 30 minute limit
in the 10-bit modes. I'm told this is due to heat,
but I'm also told that this is a very conservative limit
based on recording in a 43°C
or a 110°F environment, but in my testing,
there was nothing stopping me from just pressing record
over and over after the 30 minutes was up and it
didn't overheat even after three hours of doing this.
And I recorded continuously for three hours externally
to an Atomos Ninja V until my SSD filled up,
and again, no issues
and no warnings. And recording externally
bypasses the 30 minute limit so you don't have to restart
the recording. And, I checked it with the onscreen display
on and off to see if there was a quality difference
or an overheating change and there wasn't, which is
something I've been liking about these new Panasonics. It's how
they give you a 4K on-screen display without affecting
the quality of your image. Weather sealing is also
a bit different on this body. It has the same dust and
splash resistance as the S1 but it doesn't have
the freeze resistance rating. So, keep that in mind if you
tend to shoot in environments of -10 or below. But, overall,
I really like the body. It feels good in the hands,
there's still plenty of grip even though it's smaller and it
still has the excellent controls and menu navigation we've
seen from Panasonic in the past including a full
touchscreen display. The display and viewfinder are both lower resolution than
you find on the S1 but I found that it didn't
really bother me too much. This display feels
really similar to the GH5 but with a
slightly higher resolution. The viewfinder is the
biggest weakness, though, with only 2.36 million dots,
versus the 3.68 million on the GH5, and the
5.76 million on the S1. Also, the stabilisation is a bit
weaker, but there's two things at play here. One,
this lens isn't stabilised, so we're not get Dual I.S. with
this combo, which is noticeable. Body only stabilisation just
doesn't look as good and also, I think that the IBIS on
this camera is not as good as the S1 or the S1H. Without
stabilisation, I could hold this lens steady at 60 mm
up to about 1/50th of a second. With stabilisation, I could
get it down to about 1/6th of a second. So, it's a solid
improvement but nothing extreme when it comes to what we've
seen from Panasonic before. When hand-holding for video,
I found the footage more jittery than what
I get with the S1 or S1H, especially when paired
with their stabilised lenses. On those cameras, I get city
shots at a 105 mm with Dual I.S. that look better than
50 mm with this new combo. But, I also took the camera out
and did a vlog test with it to see how the stabilisation
worked in that scenario as well and with the lens
set to 20 mm. Here's that clip. Okay, so we're doing
a bit of a vlog test here and we're got a whole bunch
of things attached so, first up, audio wise, I'm
actually using a new mic, this is the Deity V-Mic D4 DUO
the one with the two mics. And this is gonna test,
obviously, the sound of this mic for vlogging. Also, the Dead
Cat's on it because it's quite a windy day right now,
so we'll see how they do, but also the audio
in the camera because the Panasonic cameras often
has this issue where they can only go to -12 db and that's
not enough sometimes for mics that you can't adjust the
gain on, sometimes they're just too hot and you can turn
the preamps down anymore. So, we'll see how that works,
if I'm clipping at all or anything, well,
there's nothing I can do, I can't turn it down anymore.
The other thing that we're going to check
is the auto function. So, right now,
I have it on auto ISO. I have a variable ND on so
that it has full range to play. The widest this lens goes
at 20mm is f/3.5 and we're shooting at 1/50th
of second and we're in 4K, 10-bit 4:22, 24p.
The sun is coming in and out so we'll see
how it does for that. I also have an
auto white balance to see just how it adjust
and if it meters correctly, we should be able to put
the V-Log LUT on and be done,
but we'll see. The sky is still kept in the shot and
I look reasonably well-exposed. I had to turn the screen up
to +3 brightness. It was on auto and it wasn't
cutting it in this bright sun. The sun just came out again
so we'll see how it does again on my face, uh, but a +3,
I can see myself well. We're also gonna
be testing the autofocus because I have the autofocus
turned on and it's doing a face detection box right now
which, I mean, it's tracking me, but I don't know if
the autofocus is keeping up because often
these Panasonic cameras, the detection works fine,
but the focus doesn't always look good. It's just unreliable,
but we'll see, we'll see how it works. Uh,
also the stabilisation, I've got the
stabilisation turned on. Now, there is
no lens stabilisation, so we're not using Dual I.S.,
this is just body only. And I found that it's okay, but it's not quite as good as
the Dual I.S. and it's not quite as good as the S1
or the S1H or the GH5, little bit worse than that but,
you know, judge for yourself, I'm not trying
particularly hard to be smooth, I'm just walking. All right, so
I'm just going to walk through some light areas and
some dark areas with changing exposure and white balance
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Another thing to evaluate is going to be
the background separation, because with this lens at
20mm, hey, my voice is echoing weirdly here. Anyway,
the widest it goes is f/3.5, so I'm right up
against this brick wall now. I'll just walk a few
feet away from it, so we can see how much, sort of,
separation you're getting there. Now obviously,
if we were at, like, 60mm, it's gonna be a lot better,
but the 60mm is an f/5.6, -as wide as it goes and this--
-[laughing] is too tight for vlogging.
So, even if you tried something, maybe, like, 30mm, you have
to have long arms to hold it this far away and I still feel
like you're not getting a ton of separation.
This is at f/4.1 now. After watching that footage,
I thought it was mostly fine. As predicted, the audio
was a problem occasionally and I don't think
the wind protection on that mic is the greatest, but the
sound was pretty good otherwise. The autofocus did well enough
for a low stakes vlog, but I did see it get soft
on my face from time to time and I also noticed
the stabilisation caused some of that warping, wobbly
stuff in the corners at time. The metering was decent.
Not the best I've seen, but usable. It did
overexpose me occasionally. Something I like
about this camera, though, is it lets you set the zebras
to a zero stop setting, which basically tells you
what your target middle grey is without needing to look it up.
The only disadvantage of this type of zebra setting
is that it locks you out of turning on both sets
of zebras at the same time, but it's nice that the S5
has inherited that option from the S1H to be able to
activate two sets of zebras simultaneously, if you use
the percentage-based setting. There's even a new function
called "Luminance Spot Meter" that you can use to point
at objects and it'll tell you if they are middle grey
or tell you how many stops over or under they are. This
is pretty sweet since I find the waveforms on this camera
to be pretty hard to read, but that should be mentioned
as a positive, that waveforms are included in this camera,
as well as the rest of the paid V-Log
upgrade for the S1. Something that costs $200
on the S1 is free and built into this camera, including
proper V-Log with V-gamut, MOV files with linear PCM audio,
10-bit video, and proper HLG. And apparently,
before the end of the year, they're going to be
adding raw output over HDMI, similar to what
they did with the S1H, DCI 4K resolution support,
vectorscope, shutter angle and master pedestal control.
So, it'll pretty much be a full framed GH5
by the end of the year because it also includes
the specialty functions like live cropping that
the GH5 had, but the S1 didn't. And when it
comes to that full-frame sensor, it's identical to the S1,
which means we're getting that same excellent dynamic range.
I busted out the Xyla 21 again to test this camera.
Thanks again to DSC Labs for providing that wonderful
chart, and I was getting a solid 12.5 stops of
usable dynamic range in V-Log with a signal-to-noise ratio
of 2. So, before the a7S III came out, that was
the best you could get in a mirrorless camera. Now,
it's second best, but still, very, very good. Also,
if you're curious about non-Log, I measured 11.3 stops in HLG
and 11.8 stops in the new Cinelike D version two. And, because
it's the same sensor, we're getting the same
rolling shutter performance, which is quite decent
for a full-frame camera. There is some jello at 4K24
full frame, but it's tolerable. And, it's almost non-existent
in 4K60 because of that APS-C crop in that mode.
And lastly, because it's the same sensor as the S1, that means there's no
Optical Low Pass or AA filter in this camera like the one you'd find
in the S1H. However, it does share
some similarities to the S1H that I was surprised to see,
considering that this is a cheaper camera than the S1. So, I expected it
to be a S1, but worse, not to be a discounted S1
with S1H features. First off, it doesn't have
the issue that the S1 had where the focus peaking gets dimmer
when you start recording. It's fixed here just
like it is on the S1H. It also has anamorphic support
with stabilisation, just like the S1H, and it even
has some timecode features. I definitely wasn't expecting
that considering the marketing materials I received with
the camera listed it as a camera for high level amateurs. Amateurs that use
anamorphic lenses and need timecode,
apparently. What a strange, little camera.
Jumping back to the dynamic range and
the image quality though, it's quite good. I did notice
the blues come in a bit hotter than the reds, but the
roll off is nice and it's easy to work with. The noise is
well controlled and the image isn't overly digital looking.
Dennis sent over the latest 55Media LUTs for V-Log and
I like the way they're looking with these shots. If you aim
for 42% middle grey exposure, you can get a pretty
easy workflow with just a LUT and minor tweaking.
And just like the S1, this sensor uses
Dual Native ISOs of 640 and 4000 when in V-Log with only
minor losses in dynamic range by switching.
Cycling through the ISO range, I'm pretty happy
with the noise performance, even with the noise
reduction in the camera set to the lowest setting.
Images are impressively clean. Up to 12,800, and
don't completely fall apart until 50,000, with 25,600
being easily usable in a pinch. If we take a look at
some raw photos, we can see that there's plenty of flexibility
of push and pull these images. And they hold up well
under stress. Oh, by the way, I often get asked how I edit
raw images before Lightroom is compatible with new cameras.
I use a program called ExifTool and I change
the metadata of the image to reflect an earlier camera
using the same sensor. So, in this case,
I just changed all these images so that Lightroom would
think that they're from the S1, and then they opened fine.
And, speaking of raw photos, one feature that's
been significantly improved in this camera over
the other S cameras is the high resolution mode.
You know that mode where you create
a 96 megapixel image from four slightly shifted captures
of 24 megapixels? Well, you can do that
in raw now in this camera instead of just JPEG.
And that's pretty incredible if you think about it.
While we're talking about image quality, we should probably
discuss this lens a bit too. This is a 20mm-60mm lens with a variable aperture
of f/3.5-5.6. Generally speaking,
I don't like lenses this slow with this variable of an
aperture unless they're big telephotos, but it does
only increase the price of this kit by $300,
so I can let some of that slide. This focal range is
quite useful. 20mm is nice for vlogging purposes
or architectural work, and it covers the other popular
35 and 50mm looks too. It's well balanced on
the S5 and performed better than I expected. F/3.5 is
not fast enough at 20mm for my taste, but I was
impressed by its control of chromatic aberration.
Throughout the focal range, fringing was
mostly non-existent. Flare is also reasonably
well-controlled for a lens like this. You do get some noticeable
overall contrast reduction, but there's minimal ghosting
and colour shifts. The camera has a built-in
vignette reduction option, which certainly
does make a difference when shooting wide. It wasn't
too terrible to begin with, but it does help, but be
mindful if using that setting with filters on the
front of your lens, as it can overcompensate
and cause strange behaviour in the corners.
Speaking of filters, the front diameter
is 67mm on this lens. With Panasonic, the corrections
are applied in-camera and not controllable
in Lightroom, so I can't show you distortion
before and after comparisons, but the corrected images
are again quite good for distortion compensation as well.
20mm is where it gets it the worse, but it
cleans up quickly as you zoom. One area where this lens
shows some weakness though is in corner sharpness,
especially at 20mm. The corners get quite soft,
almost blurry when at 20mm f/3.5. This improves
by zooming in, which of course also stops down
the lens to f/5.6. For video, I hate this. I don't like my exposure
changed while zooming, and so for video, I'd probably
only really use this lens for vlogging
and with auto ISO enabled. However, when it comes
to manually focusing, it's quite good for video. The focus ring is well dampened
and the camera allows you to set the lens to
a linear response mode and control
the degree of focus throw, which is pretty fantastic. Basically allowing you
to customize the manual focus experience that works
best for you. Focus breathing is very well controlled as well.
No complaints there. And I also find the lens
to be almost perfectly parfocal. There might be a little bit
of shifting, but focus was very well maintained when
changing vocal lengths, so some nice surprises in utility here.
The out of focus areas are satisfactory for the
most part. It's not gonna win any bokeh awards.
It's fine. However, at 20mm, you do start to see
some cutting into the corners, which hurts the shape of
the out of focus highlights. This issue is resolved
by 22mm though. This lens also has a rather
lackluster minimum focusing distance. You'll get a slightly
better reproduction ratio at 20mm, but neither end
of the focal range creates very inspiring closeups.
Overall, the lens is fine. It's sharp enough in
the centre to get the job done and most of its issues
are only bothersome at 20mm and resolved by 24.
The corners kinda suck, and you shouldn't expect
to be blown away by its resolving power or bokeh,
but as a kit lens, it's acceptable
and I like the focal range. I just wish
it was a bit faster. Before we move on to autofocus,
let's talk audio for a second. As I already mentioned
in the vlog test, I wish this camera inherited
the S1H's audio controls. It feels like a step backward to be limited
in gain control again, forcing you to use
an attenuation cable for certain mics. It has a 3.5mm headphone jack and a 3.5mm powered mic jack, and I like that it keeps
the option to choose mic level and line level, and the
preamps do seem a bit cleaner than the S1. Still not quite
as good as the S1H to my ears, but less noise
than I measured from the S1. And, I'm told
this camera is compatible with the current XLR adapter that the previous
cameras use as well. Also, I briefly tested the slow
motion modes on this camera. The high speed video
has been completely revamped. Rather than
enter it from the menu, now it's been added to
the command dial and it's been renamed to S&Q,
like what Sony uses. Once you move the dial over, then you can go into the menu
and set your frame rates. It doesn't have the issue
the S1 did at launch, where you couldn't adjust
your exposure settings when in that mode.
This is now a fully functional mode
with autofocus. No audio though because
it's an in-camera slow motion. This camera allows you to set
your region to NTSC or PAL, which is great.
Because of that NTSC/PAL switch, there's no longer a 24Hz mode, and thus
this camera does not record true cinema 24p.
It only does 23.976 NTSC. The other thing about
the S&Q mode I don't like is that it also forces you
into this low bit rate mp4 mode, which drops the bit rate
from 100 Mbps down to 24 Mbps without changing to H265.
So, it's just a worse image. This could be improved
a few ways, either by allowing
the 100 Mbps MOV files in S&Q, or by using the HEVC codec
built into the camera. Perhaps there's a processor
or thermal limitation on that mode though,
and unlike the S1H, there's also
no 10-bit options in S&Q, and this reduction in quality
isn't just a 1080p thing either because the regular 1080p
looks great. But, as soon as
you switch to S&Q, the 1080p image just falls apart with more noise, artifacts
and colour issues, and it gets worse
as you increase frame rate. At 120 fps,
it looks a bit worse, but you still keep AF
and there's no crop. At 150 fps, it looks terrible
and you lose autofocus. And at 180 fps,
it crops in on that worse image, magnifying the issue,
and again, with no autofocus. But, losing autofocus
isn't that big of a deal, as we'll discuss in a minute because it's not very reliable
in this mode anyway. As I mentioned earlier though,
the regular modes look great. 4K24 and 4K30 are full frame,
full-featured with 10-bit 4:2.2. The only limitations are in
4K60, which drop you to 4:2:0 subsampling
and 10-bit internally, and add that 1.5x crop.
You can keep the 10-bit 4:2.2 if you record externally though,
which like I said earlier, will also bypass that 30-minute
limit in the 10-bit modes, but if you need to record
internally without time limits, you'll either need to
record in 1080p in 10-bit or be stuck at 8-bit in 4K. Okay, now let's talk about
that autofocus. When I was asked
to review this camera, I was promised that autofocus
had been significantly improved, and if you've seen
any of my previous Panasonic S series videos,
I frequently suggested that they were just one
good autofocus system away from being essentially
perfect cameras. That was before Sony came along
and basically made that camera with the a7S III, albeit
a more expensive and more video-focused version.
But anyway, there's already tons of autofocus information
out on the S1 and S1H, and the G series cameras before
them. So, that all we really need to know is did
the autofocus improve? Not in any meaningful way.
Often, when Panasonic talks about improving their
autofocus, they talk about the detection methods have
improved. Now, we can detect bodies and heads and
disembodied heads and animals and people dressed as animals
and so on, but what I don't find ever gets better is the
predictability of the system. Max Yuryev did a series
of tests that I saw in advance of this video that
shows the S5 can keep up with and beat the Sony a7 III
for video autofocus in certain scenarios.
Most notably, when switching to
the APS-C crop 4K60 mode, and I will admit
that the 4K60 mode does drastically
outperform the 4K24 mode, but the problem is,
I never know what's gonna trigger Panasonic to
just completely lose focus and seemingly refuse
to come back. Sometimes, it's just turning
your head the wrong way, which makes the whole
head detection thing kind of pointless.
Plus, even when it is tracking correctly,
it still pulses, and if you look closely,
you'll see a face or a product get slightly
softer and sharper repeatedly through a shoot. Autofocus for video
needs to be two things: predictable and reliable. If it doesn't score
a nine out of ten in each of those categories,
it might as well score a zero. And so, while the autofocus
may be improved in this camera, it's still not reliable
or predictable enough to recommend for video. It is a lot more usable
for photography though, as long as you can tolerate
a couple of quirks. For all but
the fastest moving subjects, this camera will autofocus
reliably for photos and give consistent results. It
does struggle if you're trying to focus on lights in a dark
environment or in very low contrast scenes, but you'll
be fine shooting anything else. When it comes to action,
I find I can still manage to get four to five usable
frames in focus every second, even with fast moving subjects. That's not gonna
keep up with Sony, but it's pretty decent
for a contrast-only system, but like I said,
there are some quirks. First, when doing continuous
autofocus, the reticle stays green the
entire time you hold the button, even when the subject
isn't in focus. This is weird
and counter-intuitive. On the Sony, for example,
the box is grey until the subject is in focus,
and then it turns green, letting you know
that you're good. Not having this confirmation
on the Panasonic makes it difficult to know if you've
actually acquired focus or not, which is worsened by
quirk number two, which is that this camera temporarily
changes your exposure to acquire focus. So,
what you see in the viewfinder is a flickering exposure
with a misleading focus box that's always green. Not
only does this bother my eye after a while, but I'm basically
just spraying and praying that my shots will be in focus.
And then you review them, and see that surprisingly,
most of them are, but it just doesn't
instill confidence and can be disorienting
if coming from Canon or Sony. So, as I've said in probably
ten other videos at this point, usable for photos,
not so much for video unless it's really low stakes and reliability
isn't that important. And I realize that Panasonic
is probably too deep into this DFD system
now to change, but each time they have
a new camera with "new autofocus"
for me to test, the result is always the same. I wish they would just
accept this and look at what Canon and Sony have put out
for autofocus this year and finally develop a new,
different autofocus system. Alright, let's wrap up
and talk value because this is where this strange camera
gets even stranger. It's $500 less than the S1.
Usually, we see companies distinguish their cameras
strongly enough in their marketing segments by changing
or limiting functions so they minimize the risk
of cannibalizing sales or rendering
current offerings obsolete. I'm not so sure Panasonic
did that this time around. If we look at the S1, it does have some
advantages over the S5. It doesn't have
recording limits, the battery life is
a little bit better, it has better displays, and it's a bit more
ruggedly built. But, those improvements
are marginal, and when I compared the S1
to the S1H, I said that if you added the V-Log
upgrade and Ninja V to the S1, you could get pretty close
to the capabilities of the S1H, save for the raw output
and for less money. Well, now the S5 comes along,
still needing the Ninja V, like the S1, for max potential, but it's getting the raw update, has the V-Log upgrade
already included, is getting all those other
upgrades like shutter angle, DCI 4K for free, and is now $700 cheaper
than the S1 if you factor in the price
of the V-Log upgrade. It has basically rendered
the S1 obsolete because the S1's advantages
aren't worth $700 in my opinion. And, because the S5
is more compact, it should now satisfy
the people that complained that the S1 was too big and
heavy for travel and vlogging. Well, now you even get
a vlogging lens kit option for less than it would cost
to add that to your existing S1. But, the reason why
I called this camera strange so many times is
because it also seems weird to suggest this as a
cheap vlogging or travel camera because it's still $2,000
and clearly loaded with features suitable
for professional purposes, which is why I can totally see
the existence of this camera causing frustration
in current S1 owners. But I think
we should actually be happy that there's a company
out there willing to eat up part of its own market share
in the name of improving their products
with this new cheaper, and in many
ways better, body. But that's gonna be it for me.
I hope you found this video entertaining or at
least helpful, and if you did, make sure you
leave it the old thumbs up and consider subscribing
if you haven't already, but if you did not find this
video helpful or entertaining, try setting the
playback speed to 75%. Alright... I'm done.
