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 and we listen to the audio
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in the description below. 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.