Cinematography & Cameras

The BEST Lenses for cinematic Video-Complete lens buying guide for DSLR and Cinema cameras

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Are you looking for the perfect lens collection for your video production and cinematography? I’ll show you all the lenses I’ve purchased over the years, why I use one lenses over another and show you my complete set of zooms and primes.

I’ll also walk you through the order of my lens purchases, so you know which one to add to your lens kit first.

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Today, I want to talk all about lenses all the lenses that I rely on and the reason why I use one over the other.  So people ask me all the time what my favorite lenses and really depending on any given situation it kind of changes There is really not one lens that’s perfect for everything so I have a variety of lenses That I own and I have a variety of lenses that I rent depending on the job so the lenses that I own.  I’m going to talk about in order of when I got them and why I use one over the other.

So the very first lens I ever got was this lens. It’s a canon it’s got a image stabilizer built in and It’s great for photography too, but I use it mainly for video And I actually have three of these lenses because it’s just one of the most versatile lenses, so when we have a three camera Shoot this ends up being the the lens that’s on every single camera now the reason why this lens is so great first of all, this stabilizer is a great tool for shooting handheld and this is one of the few lenses that has that built into it Some of the other lenses I’m going to talk about like prime lenses don’t have image stabilizer So if you plan on doing handheld work this lens is a must-have lens, and it should be the first lens in your kit now.

I’ve had this lens for years and its really held up. I mean, it’s been through so much travel I think this is the very first one I ever got and it’s been through so much travel and so much

Flights, and you know being used in so many different conditions, and it’s never Let me down. So this is my number one recommended lens the second lens. I ended up buying was kind of it’s a Brother I would say it’s a 62 35 lM

So it’s just a wider version of the 24 to 105 the nice thing about this lens It’s actually a 2 8 so being a 2 8 lens you get a little bit more light The effort from time to time ends up being a lens

That’s a little difficult use indoors in a low-light scenario where you can’t light, so this lens is actually really nice for those wider shots Architecture establishing shots of buildings exteriors

This is definitely my second favorite and second most most used lens then from there I went to complete the set for the canon lenses so you got the big brother Which is the 70 to 200 to 8 and this L lens?

This one doesn’t have image stabilizer. We have another one. That’s being used right now that has image stabilizer

So depending on what kind of work you’re doing You may want to get the one with image stabilizer? But this really sits on a tripod for me for the most part being a longer lens So I don’t have to worry about it that much the next lens That I use often is another canon lens and they say 100 millimeter 2.8 Macro lens the reason why I got a macro lens is because with a lot of tabletops food scenarios

Where you want to show a little object this could really get close and get that really shallow depth of field So if you’re doing a lot of tabletop type of thing product type things, this is a really great lens

It’s not really good for interviews like set up like this I’m actually shooting this with one of my primes that I’ll talk to you about in a second, but this lens is really great for Product shots basically so if that is the things that you’re going to be working on make sure you get this lens

It’s a hundred millimeter 2.8. Macro is a canon lens and this could come in in a stabilized version This is not the stabilized version, but if you’re going to be doing stuff on a monopod for example But it could come in handy, but if you’re just gonna be on a triPod lock down on tabletops This is a great very inexpensive lens It’s a few hundred four or five hundred dollars but for what you could get out of it. It’s it’s really priceless

It’s one of my favorites now I’m going to talk about the primes so you could buy in fact I only bought one prime years ago a It’s a 1.5 15 millimeter now the reason why I bought this lens is Because interviews look so great on a 50 millimeter Setup, this is actually a 35 so it’s a little wider I like to back up and put a 50 on but I wanted to show you this lens and this opens up to a 1 5 I’m shooting this with the 35 millimeter version of this lens, and I think it’s at a 2.8, or F/4 right now is the setting and you see the background falling off if you put this on at a 2.8 being a little Longer lens the background falls up even more so I love this lens And this is part of the family so the next step was Completing the prime set so the prime set comes with a 14 millimeter

The 50 millimeter and the 85 millimeter, and I think I bought those individually But now I think you could buy them in a set But the 14 million millimeter is kind of a little bit of a fisheye But it’s great for architecture and depending on what camera you put it on if it’s not a full-frame camera it Actually allows you to not really have a fisheye effect so it’s actually a great

Camera or a lens for exterior shots of buildings. I love this lens too and The 85 this is the 85 here this one. I use a lot on interviews, too specially in a second angle of an interview, so if the 50s doing this kind of shot, I’ll set up a closer shot of

The interview on an 85 millimeter. Maybe have it even on a slider it’s a really great lens to be on a slider on a second angle so this end of 50 is my two lenses that are used all the time in the prime world where you have this kind of setup and

Besides these lenses there are lenses that you would use on scenarios where? You’re more running gun and you want a more versatile zoom range So there are some zoom lenses like the 24 to 105 that are more versatile for handheld work and those lenses we went like cinema zoom lenses that are made by companies like Zeiss and some cooke lenses that we went from time to time and we’re shooting on reds from time to time using the Red Zone, and there are just all kinds of different lenses that you don’t really need to buy and you could use a

you know per project and you could rent those but really having a set like this over time it’s It’s really versatile in most scenarios

I have the right lenses that will pair up with the right camera for what I need to achieve and All my lenses actually are ef mount These are all ef mount lenses But we actually do use a lot of sony cameras and other cameras

That allow you to use these with an adapter. So for our sony FS7 for example. We have the ef mount to mount the E-Mount is the sony mount and we have a just a converter That allows you to use these lenses and the nice thing about those kind of adapters Is that there are some of them have a speed booster? So they make this F4 lens to a 2:8 lens which makes this the most versatile lens being A28 at 24 to 105 is just a perfect range and perfect aperture for that kind of setup, so again, you know build up slowly depending on what you need if you need a prime lens if you do a lot of interviews if you do a lot of tabletops get the macro lens if you do you know a lot of long lens stuff Make sure you have the long lens But kind of build up this you know I didn’t get all these lenses at one time It was just something that I got as I needed more and more lenses if I was ranking at lens for five times

I really I would realize it would be better if I would buy it so it kind of built up over time and The more high-end lenses like zeiss prime’s that we use from time to time those are still rented because we are still Satisfied with the image quality that we’re getting out of these less expensive lenses so we still haven’t spend the $30,000 that it takes to get a really nice prime set and

Like Rokinon said could be around $2,000 for all the lenses so it’s very versatile and very handy for most of our applications

I hope this video was helpful Please make sure you subscribe and like this video if it helped you and I’ll put a link in the description for all these lenses

So if you want to buy any of these lenses the link is below Make sure you click on that link and get the ones that are going to best work with your workflow again you don’t need to buy all these lenses by the ones one at a time that are really going to be more versatile for the Kind of work that you do and make sure you come back every week for a new video on filmmaking and editing and all About the creative process and I’ll see you on the next one. Thanks for watching.

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Affiliate link to all the lenses in the video:
Canon 24-105
Canon 16-35
Canon 70-200
Rokinon bundle
Metabone speedbooster EF to E