fuzzynormal

​Just look really really hard at it. Also, do the skin tones look a little off to you?

​Ouch.  It hurts just to read that.

Hey OP,
Here's something that's not terribly funny (IMHO) as the comedic timing editing is way too off for my tastes --and I'm guessing the director/actors weren't willing to "kill a few babies" In order to land the jokes a lot quicker and just land the gag, but.... you really get a sense on how the lighting is a viable character of the comedy.  Plus you get a breakdown tutorial on how they did it.  The production is clean and considered.  http://nofilmschool.com/2014/03/lighting-tutoral-capture-9-visual-styles-without-moving-your-camera
 
Also, here's the down-est and dirty-ist trick I know to quickly determine if you're lighting your stuff somewhat effectively:  Squint super hard while looking at your setup.  If your subject(s) details disappear into silhouette you got some work to do.  Only works if you're NOT trying to obscure the subject, of course.
 

Good ambition.  You're onto something, you just need to refine it. I also did sketches (a looong time ago) for fun.  My ideas and my comedy were pathetic, but the process of making mistakes while filming was invaluable. 
My advice is this:  you're trying to fix the wrong problem.  If you want your work to look better you need to worry about a bunch of other things before lens selection.
And, honestly, a slightly wide lens is ideal for comedy stuff.  You're already set.
I'd fret most about lighting and knowing how to create strong balanced exposures on subjects.  Your lighting is uninspired and kind of distracting.  If you can't learn to do it well, maybe hire someone that can...or is at least willing to try hard to figure it out.  It's heavy lifting, so you need to love the challenge or find someone that does. 
I can't emphasize it enough.  The thing that separates good shooting from bad shooting is not the gear, it's using whatever gear you got with the right light.  Good shooters chase good light or make good light.  They combine it with numerous others imaging skills to make something special.
This is why, in filmmaking, you'll see a talented 17 year old kid with an old Canon Ti making films incredibly better than some camera-gear-head with a brand new [insert latest expensive and popular technical camera here] and every lens at his/her disposal.
The deal is simple, if you want to get better than everyone else running around with a great camera these days (aka: everyone with a vague interest in DSLR/mirrorless video), then get better where it actually makes the most difference.  No lens can salvage a poorly lit frame.  And in case it needs saying:  exposure is not about pumping enough light into a shot, it's knowing how to place or remove the right amount of light where it needs to go for pleasant shots to result.
It's like music.  You don't make nuanced music by playing a cacophony of relentless sound.  Good music happens in the space between notes.
Lenses?  A very important tool, however they're only a part of everything --And this only addresses the simple technicalities of production!  Governing the artistic performance side of it all is another consideration altogether...and your camera is one of the main characters!  
 
...Of course, you could be like many and just buy camera gear as a catalyst to some creative motivation.  I've done it...

Good ambition.  You're onto something, you just need to refine it. I also did sketches (a looong time ago) for fun.  My ideas and my comedy were pathetic, but the process of making mistakes while filming was invaluable. 
My advice is this:  you're trying to fix the wrong problem.  If you want your work to look better you need to worry about a bunch of other things before lens selection.
And, honestly, a slightly wide lens is ideal for comedy stuff.  You're already set.
I'd fret most about lighting and knowing how to create strong balanced exposures on subjects.  Your lighting is uninspired and kind of distracting.  If you can't learn to do it well, maybe hire someone that can...or is at least willing to try hard to figure it out.  It's heavy lifting, so you need to love the challenge or find someone that does. 
I can't emphasize it enough.  The thing that separates good shooting from bad shooting is not the gear, it's using whatever gear you got with the right light.  Good shooters chase good light or make good light.  They combine it with numerous others imaging skills to make something special.
This is why, in filmmaking, you'll see a talented 17 year old kid with an old Canon Ti making films incredibly better than some camera-gear-head with a brand new [insert latest expensive and popular technical camera here] and every lens at his/her disposal.
The deal is simple, if you want to get better than everyone else running around with a great camera these days (aka: everyone with a vague interest in DSLR/mirrorless video), then get better where it actually makes the most difference.  No lens can salvage a poorly lit frame.  And in case it needs saying:  exposure is not about pumping enough light into a shot, it's knowing how to place or remove the right amount of light where it needs to go for pleasant shots to result.
It's like music.  You don't make nuanced music by playing a cacophony of relentless sound.  Good music happens in the space between notes.
Lenses?  A very important tool, however they're only a part of everything --And this only addresses the simple technicalities of production!  Governing the artistic performance side of it all is another consideration altogether...and your camera is one of the main characters!  
 
...Of course, you could be like many and just buy camera gear as a catalyst to some creative motivation.  I've done it...

​Actually, many would want it to say that no matter what crap they framed up.  
Or, even better, "Great Shot!  That was so much better than what you'd get from [insert competing camera brand here]."

new firmware is on my nx1 - was so simple to install.  It has enabled 6k IMAX recording and global shutter and 14 444 pro res files and slo mo up to 400,000 FPS and made the camera say "nice shot" everytime I get a good shot.  I highly recommend upgrading.

A great idea shot on an iPhone will be a far better viewing experience than a mediocre idea shot on an Arri Alexa.
Ideas, ideas, ideas.... if I don't have an interesting idea, I don't shoot. These ideas come from everywhere - music, film, locations, experiences, personalities.... all moulded into one. These influences come WAY WAY before any camera gear choices. It makes for much more compelling and entertaining content in the long run. 

This'll sound snarky, but it's written with honest sincerity: Go ahead and place your order. What exactly are you waiting for? Are you scared to actually start making videos or something?

Again, not trying to be rude, just curious why you seem to be here asking for affirmation to spend your own money? I'm always curious about that.

The Gx7. If you already have the M43 glass, why not? It's under $500 in the u.s..

I only shoot "manual."

Being a good editor is what sets you apart.

Knowing how to work with clients, solve their problems, and answer their questions gets you hired again and again.

In my (admittedly low-end) world gear doesn't matter so much anymore. All IQ from modern cameras is good enough now.
 
EDIT:  It's just as important to know which clients you should stay away from.  Hard to explain that one.  You just kinda figure that out through wisdom.

I only shoot "manual."

Being a good editor is what sets you apart.

Knowing how to work with clients, solve their problems, and answer their questions gets you hired again and again.

In my (admittedly low-end) world gear doesn't matter so much anymore. All IQ from modern cameras is good enough now.
 
EDIT:  It's just as important to know which clients you should stay away from.  Hard to explain that one.  You just kinda figure that out through wisdom.

Yeah, they achieved it in the 1940's. How's that for antiquated?

I only shoot "manual."

Being a good editor is what sets you apart.

Knowing how to work with clients, solve their problems, and answer their questions gets you hired again and again.

In my (admittedly low-end) world gear doesn't matter so much anymore. All IQ from modern cameras is good enough now.
 
EDIT:  It's just as important to know which clients you should stay away from.  Hard to explain that one.  You just kinda figure that out through wisdom.

I only shoot "manual."

Being a good editor is what sets you apart.

Knowing how to work with clients, solve their problems, and answer their questions gets you hired again and again.

In my (admittedly low-end) world gear doesn't matter so much anymore. All IQ from modern cameras is good enough now.
 
EDIT:  It's just as important to know which clients you should stay away from.  Hard to explain that one.  You just kinda figure that out through wisdom.

I only shoot "manual."

Being a good editor is what sets you apart.

Knowing how to work with clients, solve their problems, and answer their questions gets you hired again and again.

In my (admittedly low-end) world gear doesn't matter so much anymore. All IQ from modern cameras is good enough now.
 
EDIT:  It's just as important to know which clients you should stay away from.  Hard to explain that one.  You just kinda figure that out through wisdom.

There's a whole theory of philosophical thought that acknowledges people process "quality" regardless if they're illiterate with the medium.

I tend to agree.

There will always be anecdotal examples of people acting foolish and making bad choices, but overall folks appreciate something done well even if they can't articulate the how and why of it.

I only shoot "manual."

Being a good editor is what sets you apart.

Knowing how to work with clients, solve their problems, and answer their questions gets you hired again and again.

In my (admittedly low-end) world gear doesn't matter so much anymore. All IQ from modern cameras is good enough now.
 
EDIT:  It's just as important to know which clients you should stay away from.  Hard to explain that one.  You just kinda figure that out through wisdom.

Any camera is perfect as long as you actually do something with it...besides just take test pictures of leaves and then compare DxO charts the rest of the time.

Or, just wait for the next big/best thing. Have a lot of patience because it never comes.

Any camera is perfect as long as you actually do something with it...besides just take test pictures of leaves and then compare DxO charts the rest of the time.

Or, just wait for the next big/best thing. Have a lot of patience because it never comes.

Any camera is perfect as long as you actually do something with it...besides just take test pictures of leaves and then compare DxO charts the rest of the time.

Or, just wait for the next big/best thing. Have a lot of patience because it never comes.

Any camera is perfect as long as you actually do something with it...besides just take test pictures of leaves and then compare DxO charts the rest of the time.

Or, just wait for the next big/best thing. Have a lot of patience because it never comes.

Any camera is perfect as long as you actually do something with it...besides just take test pictures of leaves and then compare DxO charts the rest of the time.

Or, just wait for the next big/best thing. Have a lot of patience because it never comes.

Make a silent film and tell a story where two characters are always in sillohette.

Seriously. Make THAT happen. Forget the technical. It doesn't matter. Work the craft. Force yourself to consider silhouette and learn to look at light.

Start with unusual, fun, circumstances and work backwards from there. Limitations are a weirdly ironic avenue for creativity.

Obstructionism is a common exercise for artists.