The best lenses for video in 2024

The best lenses for video differ from the best lenses for photography in a number of subtle but crucial ways. If you’re looking to augment your mirrorless or DSLR video setup with a capable lens or two, there are certain features you’ll want to prioritise. We’ve put together this guide to help you find the right video lens for your video shooting, and as such we’ve included options for all the major systems in play right now.

The lenses on this list represent some of the best we’ve tested. Whenever we review a lens we always look at video features as well as photographic ones. This means looking out for things like audible focusing noise – which can compromise a video’s sound – or focus breathing, which is an unwanted change in angle of view when adjusting focus. We also keep an eye out for video-friendly features like a clickless aperture ring which enables smooth exposure transitions, and built-in stabilisation systems for smooth handheld shooting.

As well as options for different mounts, we’ve also made sure to include plenty of budget-friendly lenses, as not all vloggers have the budget for expensive gear. If you’re still building your setup, check out our guide to the best cameras for video and vlogging. We also have a practical guide to how to shoot video for YouTube with your camera, and for making your sound as good as it can be, check out our run-down of the best-value audio accessories for video.

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The best lenses for video: our quick list

Want to cut to the chase? Here’s a quick glance at the best video lenses featured in this article: 

• Canon RF-mount: Canon RF 50mm F1.8 STM – buy now
• Nikon Z-mount: Nikkor Z 17-28mm f/2.8 – buy now
• Sony FE-mount: Sony FE 24-105mm F4 G OSS – buy now
• Nikon Z-mount (DX): Nikkor Z DX 12-28mm f/3.5-5.6 PZ VR – buy now
• Micro Four Thirds: Panasonic 10-25mm f1.7 Leica DG Vario-Summilux ASPH Lens – buy now
• Sony FE-mount: Sony FE 24-50mm F2.8 G – buy now
• Micro Four Thirds: Olympus M.Zuiko Digital ED 12-100mm f/4 IS Pro – buy now
• L-mount: Panasonic Lumix S 18mm F1.8 – buy now
• Sony E-mount: Sony E PZ 10-20mm F4 G – buy now
• Fujifilm X-mount: Fujinon XF 10-24mm F4 R OIS WR – buy now
• Multiple mounts: Samyang 85mm T1.5 VDSLR AS IF UMC II – buy now
• Sony FE, L-mount: Sigma 85mm F1.4 DG DN Art – buy now
• Fujifilm X-mount: Fujinon XF 18-120mm F4 LM PZ WR – buy now

Read on to learn more about the best video lenses to buy, according to our expert reviewers and testers…

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Canon RF 50mm F1.8 STM

At a glance:

• Mount: Canon RF
• Focal length: 50mm
• Lens construction: six elements in five groups
• Max aperture: f/1.8
• Closest focusing distance: 30cm
• Price: $159 / £199

Canon’s ‘nifty fifty’ lenses have been highly acclaimed for years by photographers using the brand’s DSLRs to shoot stills and video, but with Canon’s introducing a full-frame mirrorless range with cameras like the EOS R6 and EOS RP, a new version was needed. The result is the RF 50mm f/1.8 STM – a lens that balances price, size and a fast maximum aperture beautifully to produce a must-own optic for Canon video shooters.

Measuring 69.2×40.5mm and tipping the scales at only 160g, this lens will balance nicely with cameras like the EOS R6 when paired with a gimbal like the Ronin-SC. The 50mm will give a natural perspective close to that of the human eye and the lens features Canon’s STM motor technology for fast autofocus that will be quiet and won’t pick up on your audio track.

The RF 50mm enables videographers to capture frame-filling footage of smaller subjects thanks to a closest focusing distance of 30cm and features Canon’s Super Spectra Coating to enhance quality. The 50mm lens is also great for talking head video.

Read our Canon RF 50mm F1.8 STM Review

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Nikkor Z 17-28mm f/2.8

At a glance: 

• Mount: Nikon Z
• Focal length: 17-28mm
• Lens construction: 13 elements in 11 groups
• Max aperture: f/2.8
• Closest focusing distance: 19-26cm
• Price: $1,196 / £1,079

The Nikon Z system now includes plenty of cameras with impressive video spec, from the mighty Nikon Z9 and its 8K 30p recording capabilities, to the affordable and vlogger-friendly Nikon Z30. There’s no shortage of excellent Z-mount lenses to choose from when it comes to crafting a video setup, but we’ve opted for the well-balanced Nikkor Z 17-28mm f/2.8. More affordable than you’d expect a zoom with a constant f/2.8 aperture to be, the lens is weather-sealed with a robust construction. There aren’t many on-body controls to speak of, though the focus ring can be assigned to control a preferred function when autofocus is engaged.

While the Z 17-28mm doesn’t have Nikon’s premium S-Line designation, we found it to be a very respectable performer nonetheless. Sharpness is consistent throughout the aperture range as well as the whole of the zoom. Focusing is very quick and practically silent. Flare is controlled-for very nicely too, so you shouldn’t have too many problems shooting into the light. It’s a lens that mostly just works, and keeps out of the user’s way.

The only real issue that might give some video shooters pause is the lack of built-in image stabilisation. If you’re using a full-frame Nikon Z camera, this won’t be a problem as you’ll have the camera’s built-in IBIS. The APS-C models, including the vlogger-focused Z30, lack stabilisation, meaning you’ll likely need to invest in a gimbal.

Read our Nikon Nikkor Z 17-28mm f/2.8 review.

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Sony FE 24-105mm F4 G OSS

At a glance: 

• Mount: Sony FE
• Focal length: 24-105mm
• Lens construction: 17 elements in 14 groups
• Max aperture: f/4
• Closest focusing distance: 38cm
• Price: $1,268 / £999

This stalwart, do-everything zoom for full-frame Sony cameras has been around since 2017, and it’s still an excellent choice for Sony shooters looking to capture video. The broad, flexible zoom range running all the way from a wide 24mm to a telephoto 105mm means you’re covered for the vast majority of shooting situations you’re likely to encounter, while the constant f/4 aperture means you’re never forced to stop down when zooming in. It’s also impressively lightweight, at 663g, is much more affordable than professional zooms, and has optical stabilisation.

All very well, but how does it perform? Well, we first published our review of this lens in 2017, and have revisited it a few times since then – and we’ve always come away impressed. Optically, this lens is still an absolute stunner, delivering excellent sharpness all the way through its zoom range, from corner to corner. The kind of compromise you normally have to put up with when picking a 24-105mm instead of, say, a 24-70mm just isn’t evident here, and it’s very hard to imagine a Sony user who wouldn’t be happy with the performance of this lens.

The autofocus is fast, reliable and – crucially – silent, so you won’t have your video’s sound compromised by whirring motors. Switch to manual focus and you’ll also find an excellent experience, with a smoothly rotating focus-by-wire ring. Both this and the zoom ring rotate smoothly and have rubberised coverings that grip well. One thing worth being aware of for video users is that the zoom ring is on the small side, which can make it a bit trickier to pull off smooth zoom transitions while recording. This isn’t a ruinous issue – and practice definitely makes perfect. It’s just something to be aware of.

Proof, if proof were needed, that great design has real staying power, this seven-year-old zoom lens represents fantastic value for Sony FE-mount users. For an all-in-one lens to capture great video content in a range of situations, it’s hard to think of a better option than this.

Read our full Sony FE 24-105mm F4 G OSS review.

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Nikon Nikkor Z DX 12-28mm f/3.5-5.6 PZ VR

At a glance: 

• Mount: Nikon Z (DX)
• Focal length: 18-42mm (equivalent)
• Lens construction: 12 elements in 11 groups
• Max aperture: f/3.5-5.6
• Closest focusing distance: 19cm
• Price: $356 / £329

If you’re using one of Nikon’s APS-C mirrorless cameras for video, like in particular the vlogger-friendly Nikon Z30, then it’s a good idea to get hold of some of the few DX-format lenses the firm has available. This is because they are more affordable than their full-frame counterparts, and designed with the smaller sensor format in mind. The Nikkor Z DX 12-28mm f/3.5-5.6 PZ VR is touted specifically as the vlogging lens for DX-format Z-mount cameras, and as such, should be a priority to pick up if you’re shooting video on a Z30, Z50 or a Z fc.

In testing, we appreciated the lightweight design of this lens, which makes it excellent for run-and-gun vlogging. The power zoom design means it stays balanced when you zoom in and out – useful when the lens is mounted on a gimbal. We found the focusing to be consistently fast, only starting to struggle when light levels got seriously low, and quiet enough that it’s not realistically going to produce any noise that will be caught on video. The focus transitions while recording video are pleasingly smooth, and the built-in stabilisation is effective. This is a lens that’s clearly been designed to try and make vlogging as easy as possible, and it succeeds pretty well.

Read our Nikon Nikkor Z DX 12-28mm f/3.5-5.6 PZ VR lens review.

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Panasonic Leica DG Vario-Summilux 10-25mm F1.7 ASPH.

At a glance: 

• Mount: Micro Four Thirds
• Focal length: 20-50mm (equivalent)
• Lens construction: 17 elements in 12 groups
• Max aperture: f/1.7
• Closest focusing distance: 15cm (AF), 12cm (MF)
• Price: $1,497 / £1,699

An enduringly popular Micro Four Thirds lens, the Panasonic Leica DG Vario-Summilux 10-25mm F1.7 ASPH covers a useful equivalent focal range of 20-50mm equivalent. With a constant aperture of f/1.7, it’s a highly capable lens in low light, and Panasonic has also stuffed it with plenty of features to appeal specifically to video shooters.

These include a mechanism to minimise focus breathing – changes in focal length that occur when an object is brought sharply into focus. It also has stepless aperture control, and a micro-step drive system in the aperture control that keeps exposure adjustments smooth when the brightness of a scene changes. Focusing is silent, too, thanks to the inner focus drive system.

Even though it’s on the pricey side, this has proved a favourite lens among Micro Four Thirds vloggers. So much so that Panasonic later introduced something of a spiritual successor, the Panasonic Leica DG Vario-Summilux 25-50mm f/1.7, for those who want a tighter focal length.

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Sony FE 24-50mm F2.8 G

At a glance:

• Mount: Sony FE
• Focal length: 24-50mm
• Lens construction: 16 elements in 13 groups
• Max aperture: f/2.8
• Closest focusing distance: 19-30cm
• Price: $ / £

One of the major advantages of Sony’s E-mount lens ranges, compared to other full-frame systems, is that it’s simply been going a lot longer. This means that the basics of the kinds of lenses most users are looking for have long been covered, and more niche options have started to appear. Case in point, this standard zoom lens for full-frame and APS-C cameras, which covers a fairly narrow zoom range of 24-50mm (or 36-70mm on APS-C). Photographers might not be too impressed by such a limited range, but for video shooters, it’s pretty perfect.

As such, the lens has been well-optimised for video. Its aperture ring offers a clickless mode that enables smooth exposure transitions; the barrel has an AF/MF switch for fast swapping between focusing modes; and the autofocusing system performs brilliantly for video, as we discovered in our testing. Switch on Sony’s famous Face Detection mode and the system will keep track of faces in the frame uncannily well – useful for keeping track of your key subjects. The Focus Breathing Correction prevents zoom creep when changing the focal distance; it incurs a minimal crop, but nothing anyone’s going to be bothered by

Optical performance is predictably excellent. The lens is somewhat reliant on corrections for curvilinear distortion and barrel distortion, but these corrections work well and you’re never realistically going to have any reason to turn them off. The constant f/2.8 aperture also allows you to open up wide to create shallow depth of field. Overall, this travel-friendly lens is an ideal companion for Sony-using video shooters.

Read our review of the Sony FE 24-50mm F2.8 G

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Olympus M.Zuiko Digital ED 12-100mm f/4 IS Pro

At a glance:

• Mount: Micro Four Thirds
• Focal length: 24-200mm (equivalent)
• Lens construction: 17 elements in 11 groups
• Max aperture: f/4
• Closest focusing distance: 15cm
• Price: $1000 / £900

This superzoom for Micro Four Thirds cameras has a claim to being one of the best lenses of its type ever made. Over the generous equivalent focal range of 24-200mm, it maintains sharpness impressively well, making it genuinely useful right the way through that range. If you’re a run-and-gun vlogger or filmmaker who wants to be able to shoot at different perspectives without constantly swapping lenses, the Olympus M.Zuiko Digital ED 12-100mm f/4 IS Pro is something of a godsend. Plus, at a little over 500g, it’s not so prohibitively heavy that you won’t be able to carry around for a day-long shoot (one of the benefits of Micro Four Thirds).

The optical stabilisation on this lens also merits particular praise – it’s amazingly effective, especially when paired with Olympus or OM System cameras that allow for Sync IS to further boost the system up to 7.5 stops of compensation. It makes the far end of the telephoto zoom much more useable hand-held than it would be otherwise, further strengthening this lens as a proposition for vloggers.

We gave this lens the full five stars in our review. It’s undeniably an expensive proposition for a superzoom, but it stands head and shoulders above similar lenses for other systems.

Read our Olympus M.Zuiko Digital ED 12-100mm f/4 IS Pro review.

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Panasonic Lumix S 18mm F1.8

At a glance:

• Mount: L-mount
• Focal length: 18mm
• Lens construction: 13 elements in 12 groups
• Max aperture: f/1.8
• Closest focusing distance: 18cm
• Price: $897 / £749

Another wide-angle, fast-aperture prime, but this time it’s for the L-mount, and is engineered to work well with Panasonic’s Lumix S full-frame mirrorless cameras. The Panasonic Lumix S 18mm F1.8 is something of a unique prospect in the L-mount family. Similar alternatives exist, particularly from Sigma, but they tend to be much more expensive and considerably heavier, like the superb but weighty Sigma 20mm f/1.4 DG HSM | A.

With a focal length of 18mm and an aperture of f/1.8, the Lumix S lens is well-suited for general day-to-day vlogging. It delivers plenty of sharpness where you want it, and silky bokeh in the defocused areas of an image. It has also been designed with videographers in mind and there are plenty of clever, useful features to this effect. For instance, the lens includes a mechanism that suppresses focus breathing, meaning it can automatically rack focus smoothly, without appearing to zoom in or out.

It feels like a natural companion for the lighter members of the Lumix S family: the Lumix S5 or Lumix S5 II. But it’ll pair well with any member of the range, and deliver a fast and silent video-shooting experience.

Read our Panasonic Lumix S 18mm F1.8 review.

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Sony E PZ 10-20mm F4 G

At a glance:

• Mount: Sony E (APS-C)
• Focal length: 10-20mm
• Lens construction: 11 elements in 8 groups
• Max aperture: f/4
• Closest focusing distance: 13-17cm
• Price: $648 / £699

Sony’s ‘PZ’ designation means lenses that have a powered zoom design, rather than a mechanical one. This makes any lens with this feature extra well-suited to video as it enables a raft of features that are useful for videographers. The Sony E PZ 10-20mm F4 G can therefore hold focus on a subject when zooming, with the composition remaining appropriately centred. The zooming and focusing action is all entirely internal, meaning the lens stays balanced, making it handy for shooting on a gimbal.

Focus breathing is also minimal, which means that there will be little to no change in angle of view from the minimum focus distance up to the infinity focus setting. The minimum focus distance also stays pretty much the same, from 13cm at the wide end to 17cm at the tele end. A zoom lever on the side of the lens enables proportional action, which allows zoom speed and intensity during video to be fine-tuned very precisely.

In our testing, we found this lens to optically perform very well throughout its zoom and aperture ranges. It’s hugely intuitive to use, thanks to extra features like the Linear Response MF, a manual focus control that makes it easy to make precise adjustments to the focusing. The only real strike against the lens is its lack of built-in stabilisation – it’ll pair best with Sony bodies that have stabilisation built in, like the Alpha 6500 and Alpha 6600.

Read our full Sony E PZ 10-20mm F4 G review

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Fujinon XF 10-24mm F4 R OIS WR

At a glance:

• Mounts: Fujifilm X
• Focal length: 10-24mm
• Lens construction: 14 elements in 10 groups
• Max aperture: f/4
• Closest focusing distance: 24cm
• Price: $999 / £949

Fujifilm users who want to shoot video have a narrower lens selection than those who use other brands. However, the XF 10-24mm F4 R OIS WR is a lens that comes recommended by Fujifilm as one of the best X-mount lenses for video, and it considerably impressed us in our review. It’s durable and weather-resistant, which is useful for on-location shoots, and its sharpness impresses throughout the zoom range.

The manual focusing experience – an important consideration for video – is first-rate on the XF 10-24mm F4 R OIS WR. The ring is finely grooved, with a fluid feel, and you can take precise manual focus control by rolling your thumb over it at any time.

A lightweight lens, the XF 10-24mm F4 R OIS WR provides an equivalent focal length of 15-36mm when mounted to one of the X-series APS-C mirrorless cameras. It’s a highly credible all-purpose lens for video, and any Fujifilm user with an inclination towards video should think about giving it some space in their kit bag.

Read our Fujinon XF 10-24mm F4 R OIS WR review

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Samyang 85mm T1.5 VDSLR AS IF UMC II

At a glance:

• Mounts: Nikon F, Canon EF, Pentax K, Sony E, Sony A, Fujifilm X, Micro Four Thirds
• Focal length: 85mm
• Lens construction: 9 elements in 7 groups
• Max aperture: T/1.5
• Closest focusing distance: 110cm
• Price: $269 / £279

A purpose-built cine lens from less than £300? You’d better believe it and if you are starting to take video seriously, it could well be worth taking a good look at this Samyang optic. Available for Nikon F, Canon EF, Pentax K, Sony E, Sony A, Fujifilm X and Micro Four Thirds mounts, the Samyang 85mm is a manual focus optic that features 9 elements in 7 groups including an aspherical element.

The lens features an aperture (A) ring, although on a cine lens the aperture is prefixed with T instead (for example T/1.5) and there’s also a wide geared focusing ring, that will allow videographers to pair this up with a follow focus system, enabling precise adjustments to the focus setting.

Sporting a dust-proof design, the lens also offers Samyang’s Ultra Multi Coating (UMC) technology for better image quality and to provide protection from flare. Other features include an 8-bladed aperture to make the most of the bokeh created from that fast T/1.5 maximum aperture and a 72mm filter thread.

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Sigma 85mm F1.4 DG DN Art

At a glance:

• Mounts: L-mount, Sony FE
• Focal length: 85mm
• Lens construction: 15 elements in 11 groups
• Max aperture: f/1.4
• Closest focusing distance: 85cm
• Price: $1,199 / £999

The exceptional optical performance of Sigma’s Art series has been well-known for a while now, but what you may not be aware of is that the Art series shares a lot in common with the construction of Sigma’s Cine lenses, making them perfect for filming video without the additional price-tag.

The 85mm F1.4 DG DN Art gives videographers a lens that can capture tighter scenes and the maximum f/1.4 aperture will create an incredibly shallow depth-of-field that’ll bring a cinematic feel and a higher production value to your movies.

The 85mm f/1.4 Art lens packs in no less than five Special Low Dispersion (SLD) elements to deliver that optical quality but there’s far more to this lens than the glass because the lens also features a de-clicked aperture ring, enabling users to change aperture and balance exposure levels during a live take.

The AF system employs a stepping motor, which is optimised for both phase and contrast detection. Despite these pro features, the 85mm isn’t a lump and weighs in at 630g while offering a familiar filter thread of 77mm, which allows users to add ND filters to further control exposure levels.

Boasting dust and splash resistance, the 85mm f/1.4 Art also features an oil-repellent coating and the build features a mix of aluminium and TSC (Thermally Stable Composite) to keep the construction strong, yet light.

Read our Sigma 85mm F1.4 DG DN Art Review

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Fujinon XF 18-120mm F4 LM PZ WR

At a glance:

• Mounts: Fujifilm X
• Focal length: 27-183mm (equivalent)
• Lens construction: 15 elements in 12 groups
• Max aperture: f/4
• Closest focusing distance: 60cm
• Price: $899 / £899

An impressively wide-ranging all-in-one zoom, the Fujinon XF 18-120mm F4 LM PZ WR is a great idea on paper, a one-size-fits-all lens to take everywhere. How does it measure up in the real world? Well, in our review we were overall quite impressed. The lens is not without its problems, but it does deliver something unique in the X-mount range and will suit vloggers and video shooters who want to be prepared for all eventualities.

Weighing under 500g, the XF 18-120mm lens slots into a kit bag without causing much fuss. The aforementioned zoom range is hugely useful; some video users might wish for a little more width at the short end, but it’s still a commendable achievement. One unfortunate thing to note for video use is that the zoom mechanism is quite noisy, as is the autofocus. In most cases, it won’t be an issue, but if you’re shooting somewhere with very little ambient noise, odds are it’ll be picked up.

This power zoom lens isn’t the sharpest, but it does a good job in the optimal settings – zoom in a little and stop down to around f/5.6.

Read our full Fujinon XF 18-120mm F4 LM PZ WR review

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What makes a good lens for video?

A big, wide-focus ring

There’ll be times when you’re filling scenes with a shallow depth-of-field when you’ll want to take more control over the focusing system and switch to manual focus (MF).

In these scenarios, you want to have as much physical control over the lens as possible.

Thus the lenses to avoid are ones that have impossibly thin focus rings that are very unergonomic and hard to get precise control over.

Instead, look out for optics with a big, wide focus ring that you can get a good grip of.

Better still, focus rings with a pronounced rubberised texture will further aid your hold and prevent your digits from slipping off the focus ring.

A de-clicked aperture ring

An aperture control ring enables users to change the aperture setting via the ring on the lens, rather than needing to fiddle about with the camera body’s dials or menus.

This is important because when you are capturing footage, you’ll be using a set shutter speed, such as 1/100sec.

So, in order to balance an exposure level, you’ll want to adjust the aperture instead (although you can also use ISO and ND filters to balance exposure too).

Some aperture rings are ‘clicked’, which means you feel a physical click or step as you turn the ring.

It’s more advantageous for a video-friendly lens to have a de-clicked aperture ring, that will turn freely without resistance, allowing you to balance the exposure more easily.

Stabilisation

Shaky footage is no good to anybody and while there are other options to stabilise footage – namely in-body image stabilisation (IBIS) within a camera body or the use of a gimbal so the videographer can move around while keeping the camera steady – using a lens with Image Stabilisation technology adds to your ability to keep things steady.

Most IS-enabled lenses offer the user the ability to switch the stabilisation off and on, giving the user even more control.

For the ultimate in stabilisation, pairing an IS lens with a camera body with IBIS will extend the compensation limits.

Lightweight dimensions

Big, heavy lenses are OK for video as long as you are happy to lock off the camera on a tripod, but this usually delivers static and uneventful, uninspiring footage.

If you are going to capture motion by using the camera on a gimbal, or other device, then you want to reduce the load on the gimbal motors… this means using a lightweight and compact lens.

Pancake optics are ideal – for example, Sony’s 16mm f/2.8 not only measures just 62×22.5mm but also tips the scales at a mere 67g, making it a gimbal-friendly choice for videographers on a budget.

Advanced coating

When shooting video, you’ll more than likely want to shoot a lot of ‘contre-jour’ (literally shooting ‘against the day’) shots when you shoot into the light to capture backlit subjects.

These high-contrast lighting situations can flummox inferior lenses and produce huge amounts of flare and specular highlights.

When looking for a lens that you can use for stills and video, make sure it has a decent level of coating to protect against these issues.

A fast maximum aperture

For those beautiful, shallow-depth-of-field shots that add a heavy layer of cinematic style to your footage, you’ll need a lens that offers a fast maximum aperture.

Regular kit lenses often have a variable aperture so at best, you may be able to use f/3.5, but if you zoom in, you’re more likely to have a maximum aperture of f/5.6, which won’t give you the shallow depth-of-field you’re looking for.

Instead, look for lenses that have a maximum aperture of f/2.8 or faster.

A standard to mid-telephoto focal length

One common mistake many photographers make when moving into video for the first time is to select a lens that’s too wide.

Of course, there will be times when a wider angle view will suit the scene, but going too wide all the time can leave subjects in the frame looking too small and lost.

A standard or mid-telephoto focal length, such as 50mm, is a great place to start as this focal length is similar to the natural perspective of the human eye.

A fast motor

Picking a lens with the right motor system is crucial when selecting a video-friendly optic.

Sluggish motor systems will not only struggle to keep up with a moving subject in the frame, but they will also create ‘lens hum’, which can be picked up on your microphone and ruin your audio.

By contrast, a lens with a fast, modern motor system will be quiet, fast and accurate… thus leading to more usable footage.

Familiar filter thread size

ND filters can prove useful when shooting videos as well as stills.

With your shutter speed locked in at 1/50sec or 1/100sec, it can be easy to overexpose a frame, particularly if you wish to employ a fast aperture like f/1.4 to create a shallow depth-of-field.

A video-friendly lens with a familiar filter thread size (such as 67mm, 72mm or 77mm) will mean you probably already have a ND filter (whether it be a screw-on or via a filter holder) that you can use to balance your exposure level.

Is 50mm a good lens for video?

Yes, it certainly can be! As you can see in this guide, we have included 50mm lenses. Providing a fairly naturalistic perspective, 50mm lenses offer a field of view roughly equivalent to that of the human eye. They also have the major advantage of being cheap to buy. Most of the major camera systems offer an affordable 50mm lens (or rough equivalent) in their stable, with a maximum aperture of around f/1.8 to help you produce shallow depth of field and make the most of available light.

A 50mm lens provides a narrower field of view than some vloggers prefer, with 35mm and 24mm lenses being commonly used to get plenty in the frame. Some also like using a zoom for the versatility it offers. However, if you just need an affordable, capable lens that works, a 50mm is definitely a good choice.

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Text by Matty Graham, with contributions from Jon Stapley.

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Further reading:

• How to record great quality videos with your camera
• Find the best cameras for video, vlogging and YouTube
• Best video editing software, including free tools
• Best external camera screens

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