The main thing you’ve got to understand about sensor size and lens compatibility is that a lens made for a crop-sensor camera won’t work on a full-frame camera becase it won’t cover the entire sensor. Thus, you’ll get black vignetting around the edge of your image. Also, if you use a lens that’s designed for a mirrorless camera on a camera that has a mirror, you’ll damage the mirror and lens.

When you get seriously interested in shot sequencing, storyboarding, and making cinematic videos and films, you definitely need to have an array of lenses for video or a very good zoom.

Some say your lens should cost 2x what you paid for your camera. This is just to illustrate how important the lens is. That said, I use a lens that cost half the price of my camera and while I know I’ll upgrade at some point, my videos are not suffering.

But you can use them just fine on your crop sensor Sony. Meanwhile, the E lenses are for crop-sensor Sony cameras. You cannot put an E-mount lens on a full-frame camera.

I teach filmmaking online, and I’ve also spent hours helping family members who are aspiring filmmakers and video creators. Across the board, everyone gets confused by lenses. It’s a complicated landscape.

According to Nikon USA, “Bokeh is defined as the effect of a soft out-of-focus background that you get when shooting a subject, using a fast lens, at the widest aperture, such as f/2.8 or wider. Simply put, bokeh is the pleasing or aesthetic quality of the out-of-focus blur in a photograph.”

A-mount lenses are for Sony cameras that have a mirror in the camera body, whereas E-mount lenses are designed for mirrorless cameras.

The aperture is the spherical opening in a lens that lets more or less light through the lens and, thus, into the camera body. Your aperture is also called the iris. It’s measured in f-stops. F-stop numbers are NOT linear, which is why most people get pretty confused about aperture.

The BMPCC has a crop factor of 1.558x. So you need a 30mm (approx) lens to get the equivalent of a 50mm. A 17-55mm zoom lens will cover all the major shot sizes you need.

Olympus 8-25mm f/4 PRO & Olympus 40-150mm f/2.8 PRO – With these two lenses you’ll have covered almost everything you need. But you’ll have a funny gap in the middle where you might want to add 35 mm primes.

9) Any lens that’s got an f-stop of 1.8 or lower is considered fast and will be great for low-light situations. However, f/2.8 is still fantastic. And f/4.0 is fine if you’re mostly shooting outside.

For someone who wants to create interesting dynamic handheld shots, investing in a wide-angle lens in addition to a standard zoom lens might be a good idea.

But ONLY do this if you’re going to be doing crew-based filmmaking. You don’t want to be messing around with a bunch of prime lenses if you’re a video shooter doing run-and-gun work or a solo filmmaker.

Sony FE 24mm f/1.4 GM Lens – The pricier version of the 24mm with a wider max aperture for low light and beautiful blurry backgrounds. GM means it’s built for life.

Again, I know this can be confusing. But keep going! By the time you get to the bottom of this page, you should feel pretty clear about what is the smart thing to buy.

You should buy a zoom lens that gives you the equivalent of a 50mm lens with some room on either end. In other words, you should buy a standard zoom for your camera’s crop factor.

But for a camera with a crop factor of 1.6x (which is most Canons) then a 30mm lens would give you a field of view (frame) that’s close to what the human eye would see. Thus, the standard zoom for a crop sensor camera is often 17-55 mm, while for a full-frame camera, the standard zoom is usually 24-70 mm.

Panasonic Leica 10-25mm f/1.7 – Combine this lens with the 25-50mm to get a full range of wide to medium shots when shooting. With an ultra fast aperture, this is a very solid combo that will give you great imagery for years.

Please note: a 50mm prime lens isn’t the best to purchase unless you’re exclusively making narrative films using a full-frame camera. You might end up having this as part of your suite of lenses, but it’s certainly not the best or first investment you should be making as a video creator or filmmaker.

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If you’re going to do bird videography or sports videos, you need a serious zoom and a serious tripod. But if you’re going to do more typical shoots, then a standard zoom will do the trick.

If you have a crop-sensor Sony, then you may wish to buy one of their more affordable lenses which are made to go with cameras that have a crop factor of 1.5x.

Well, you can’t put a crop-sensor lens on your full-frame camera. Instead, you’ll go with an EF lens. Have you noticed yet that this can get complicated, and there’s no single perfect answer? That’s because there are so many variables regarding lens choice.

First, if you have a crop sensor camera i.e. most mid-range DSLRs, then the Canon 17-55mm will usually be the best choice for you. While if you have a full-frame Canon, the 24-70mm lens will almost always be your best lens choice for video. Canon has many outstanding lenses. If you have a Canon, read the post on the best Canon lens for video that I wrote recently.

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So I’m going to quickly break down the main types of lenses for video so we can make sure that you don’t end up with a very expensive bookshelf decoration that collects dust.

Your zoom should have the full-frame equivalent of a 24-70mm lens. So if you have a Canon crop-sensor camera like the Canon 90D, the best lens is the Canon EF-S 17-55mm f/2.8 lens. While if you have a full-frame camera like the Canon 6D Mark II, then the best lens for run-and-gun shooting is typically the Canon 24-70mm f/2.8 L USM (which is not image stabilized).

Panasonic Leica 25-50mm f/1.7 – This gives you a nice range for either crop sensor or full-frame cameras. If you have a crop-sensor camera, you’ll want to pair this with a shorter zoom or prime to cover all your bases.

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These are the lenses that I recommend for the different types of cameras that most video creators and solo filmmakers use to get started.

Remember that for most Blackmagic cameras, you’re going to be using either EF or micro thirds lenses, as those are the predominant lens mounts.

But for my own kit, I use a quality zoom because you can use it so many ways. You get way more bang for your buck as a solo filmmaker, video creator, or indie cinematographer when you use premium zoom lenses.

But don’t worry, I’m going to cover everything you need to know about lenses so you can buy the best lens for video no matter what camera you have.

In my opinion, the best lens for video is a standard, high-quality zoom with image stabilization and a fixed max aperture of f/2.8 or wider.

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So decide what you want to be shooting and what you need to achieve those goals, and THEN buy a lens. Or if you just want something fast, buy a standard zoom.

But it’s limiting because you’re stuck with just one field of view. You can’t zoom. A 50mm lens on a full-frame camera gives you a field of view roughly equivalent to what the human eye sees. However, if your lens has a crop factor of 2x, then a 50mm prime lens will be the equivalent of a 24mm lens and isn’t the right purchase for video work. It will be too wide for many general applications.

Canon EF-M 18-150mm f/3.5-6.3 IS STM Lens – Standard zoom + telephoto. This would be my pick if I were just starting out and using a Canon M-series.

If you’re working with a full-frame lens, then the best DSLR lens for video will be either the Sigma 24-70mm f/2.8 DG OS HSM Art Lens for Canon EF, the Tamron SP 24-70mm f/2.8 Di VC USD G2 Lens for Canon EF, or the Canon EF 24-70mm f/2.8L II USM Lens.

The E-mount lenses that are for mirrorless cameras won’t work with a camera that has a mirror because the mirror will hit the lens!

So as long as I use this camera with a decent lens, I can capture footage that’s quite beautiful. Will I get a better lens in the future? Sure! But if you’re a video creator, you also have to invest in sound gear and your editing system. In other words, you can’t blow your entire budget on a lens.

Here’s a list of all the top fast lenses for video organized according to lens mount and camera system. I’ve only included the lenses that have a FIXED maximum aperture because when you need a fast lens, it had better not be variable.

From doing plenty of lens research, I’ve found that the Sony lens system seems the most confusing at first. So let’s clear the cobwebs and ensure that you’re buying the RIGHT lens if you’ve got a Sony camera.

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It’s only image stabilized if you see the letters IS in the lens listing. Image stabilization is useful for handheld shooters and photographers. If you’re a run-and-gun shooter, then you typically need an IS lens unless you always use a monopod or some form of stabilization.

So if you want to film subjects for your videos and get that beautiful out-of-focus background required for most interviews, then you’re going to need a fast lens with a fixed maximum aperture of at least f/2.8 or wider.(+)

I’ll use the 35mm f/2.0 if I need something small and light for running around. Finally, I use the Canon 100mm f/2.8 macro lens for extreme close-ups and more creative random work.

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Lenses are not interchangeable between camera brands. So if you’re using a Canon, you don’t want to buy Nikon or Sony lenses in most cases. There are also 3rd party lens manufacturers that make lenses for various camera brands. For example, Sigma creates lenses for Sony, Nikon, and Canon.

5) Aperture is also partially responsible for giving you a blurry background for your videos, which is referred to as shallow depth of field.

The longer your lens, the more zoomed in your angle of view, the more obvious any shake will be. And while there might be times that you want manic wobbles in your footage, you mostly want there to be a subtle kinetic or dynamic feeling rather than full-on shaky footage.

If you’re exclusively making short narrative films, investing in a kit of cinema lenses is fine. But if you’re not only shooting narrative films, a zoom lens is an absolute must. And it has to be high quality. There’s no sense in buying a low-end zoom. That’s what most kit lenses are, anyways.

Fixed focal length lenses, also called prime lenses, are not the best choice for video creators because they are too limiting.

Panasonic Lumix Vario 14-140mm f/3.5-5.6 – If you’re on a budget, then this lens will do the trick! You can experiment with a wide range of focal lengths without breaking the bank.

The main reason someone would choose Tamron would be to save money. They aren’t the best lenses on the marketplace, but if you need a fast lens and can’t splurge on a Sony lens, you might need to purchase a Tamron lens. They are also available for Canon and other brands, but I’m only providing options for the Sony E-mount because I don’t see the need in the other cases.

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However, they can be used on any EF-S camera body without an adapter. On the other hand, EF-S lenses can only be used on crop-sensor cameras that have an EF-S mount. They don’t work on full-frame Canon cameras because they won’t cover the entire sensor.

Canon EF 24-105mm f/4L IS II USM Lens – If you’re on a budget or need a longer zoom and don’t need to shoot in low light without studio lighting, this will do the trick.

Panasonic Leica 12-35 f/2.8 – Perfect standard zoom for a crop sensor camera with a 2x crop. But also great for a camera with a 1.5x crop. Fast lens. This would be my choice if I were on a budget and wanted to keep my gear simple.

It has an f-stop of f/2.8. It’s image stabilized. The glass is reasonably sharp. The zoom is good. The focus is good. If you’re working with an APS-C camera (i.e. it has a crop factor) then this is a good lens for video.

A 50mm lens, or its equivalent for the crop factor of your camera, is good for video because it can capture a standard frame.

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Of course, I know that “best” is subjective. But when it comes to video, there are actually so few appropriate lenses for the general-interest video maker, that I can confidently share what I think are the best lenses out there.

You might need a tripod, some filters, a gimbal, more batteries, or a good audio recording system. So you can’t sacrifice everything just for the lens.

5) Sigma 24-70mm f/2.8 DG OS HSM Art Lens with Canon RF-Mount Adapter Kit – Best 3rd party lens with adaptor so you can use it on the Canon R-series cameras.

That was a lot of lens information! Here’s a quick review of the main things you need to remember when buying a lens for video.

If you’re interested in learning filmmaking, check out the Solo Filmmaking Mentorship Program I created for aspiring filmmakers and video creators. It usually goes live once per year. So I recommend getting the Story Envelope Filmmaking letter which comes out a couple of times per month. That way, you can get filmmaking tips for free and find out when the filmmaking course is going live again.

It depends entirely on your camera’s lens mount, which I’ll discuss later in this article. But before you dig into the dark and stormy depths of how to pick the best lens for your DSLR, mirrorless, or cinema camera, I’ve got some basic easy answers for you.

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And remember that the angle of view of a 50mm lens on a full-frame camera vs a crop sensor camera is not the same. All focal lengths will appear to be longer i.e. more zoomed in when they are combined with a crop sensor camera.

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If you’re researching lenses for video, I’m going to assume you’ve got a camera body and a kit lens, and now you just need to buy the lens.

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You can put an EF lens on a camera with an EF-S mount. But an EF-S lens won’t work on a camera with an EF mount. EF-S mounts are for crop sensor cameras, while EF mounts are for full-frame cameras.

Great! But there’s one problem, the answer to this question is nuanced. Now, before I answer what the best lens for video is, I have a story for you. Stick with me. It’ll make sense in a minute.

So from f/1.4 to f/2.0, you’re doubling the light that enters the lens by going down a FULL STOP. Thus, the wider your aperture (lower the f-number) more light you let in, and the more costly your lens will be.

So while these may be the best lenses for this focal length, you need to ensure you buy the lens with the right mount for your camera.

From there, figure out how fast your lens needs to be i.e. what’s the minimum aperture you want. Then figure out what frame sizes you’ll need to shoot and the corresponding focal lengths you’ll need.

With Canon lenses, you’re looking for the IS symbol, which indicates image stabilization. But for other brands, image stabilization is called something different. Now, if you just want some easy answers, I’ve got those for you too!

This is just my opinion…but I don’t think buying a cine lenses makes sense unless you’re going to use them ALL the time. They’re inconvenient for solo shooters and video creators.

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The good news is that if you accidentally buy the wrong lens, unlike camera bodies, your glass will retain much of its value if you keep it in pristine condition. You can easily resell a good lens if you don’t end up using it.

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No, really, once you’ve figured out your actual needs, set a max budget and spend all of it. Your lens makes up such a big part of your image quality that it doesn’t make sense to cheap out. You will never EVER regret buying an outstanding lens.

These lenses are all solid lenses, so you should base your purchase on budget and whether you have a crop factor or not.

For example, the BMPCC 6k will work wonderfully with the Canon 17-55mm f/2.8 because the BMPCC6k is a crop sensor camera with an EF lens mount. But you can’t use this lens if you’ve got a Canon full-frame camera.

The lens mount is the metal element at the front of the camera body where you attach your lens. There’s a letter-based code for every lens mount.

Plus, I LOVE to help aspiring filmmakers pursue their dreams and start making films. This blog is designed to help you gain the knowledge you need to become a filmmaker.

Side note: there will be links to ALL my top lens picks for all the top camera brands later in this article, so keep reading and scrolling for that.

So refer to the list above with the EF and EF-S lenses or below for the MFT lenses. If you have the BMPCC4k, you have a MFT lens mount. If you have the BMPCC6k, yo have a Canon EF lens mount.

For video, it’s all about the zoom. You want to be able to quickly change up your framing by zooming in your lens. For video, many people prefer prime lenses (single focal length, no zooming) because the quality is higher. But for video, the zoom is where it’s at.

If you own a starter Canon camera, then you have a crop sensor camera. This means you can buy EF-S lenses or EF lenses. Meanwhile, the RF lens mount is for Canon’s mirrorless cameras.

First, a low-quality lens cannot give you the sharpness and color saturation that you may be hoping to get. Your lens is one of the most important factors in determining the quality of your image. So much so that I’d rather have a cheap camera and a great lens than vice versa.

So if your camera’s crop factor is 2x, your zoom should be at least 12-35mm. If your crop factor is 1.6x, your zoom should be at least 18-55mm.

Look for f/2.8 or a LOWER number in the specs. And make sure it’s fixed not variable. A variable aperture would be written like this: f/2.8-5.0

Sigma 24-70mm f/2.8 DG DN Art Lens for Sony E – For full-frame cameras this is the ideal standard zoom. Art lenses are made to last (but can be heavy). If you’re going pro, get this lens.

7) Many lower-cost zoom lenses do not have a fixed maximum aperture—they have a variable aperture. This means that at certain focal lengths, you cannot open the aperture to its full diameter and let all the light you need into the camera. That’s not good if you’re shooting in low light.

So while you can use an A-mount lens on an E-mount camera WITH an adapter, you CANNOT put an E-mount lens on an A-Mount camera body with an adapter. ( + ) I don’t go into A-mount lenses in this article as they are not the ideal lens to buy for your Sony mirrorless camera. If you have one already, get an adaptor. If not, buy an E or FE lens.

The angle of view of a 50mm lens, when used with a full-frame camera, is very close to that of the human eye. In other words, how you see the world and how a 50mm lens sees the world is similar.

Sigma 28-70mm f/2.8 DG DN Contemporary Lens for Sony E – This is a lower cost option that is also nearly half the weight of the Art lens.