Lenses
Lenses are the second most important piece of equipment you can acquire, as they play a pivotal role in defining the quality and versatility of your footage. A great lens can elevate a $500 camera to produce results comparable to a $3000 setup, often overcoming limitations you might have thought were inherent to your camera. Lenses come in two main types: Micro Four Thirds (MFT) lenses designed for Micro Four Thirds cameras and full-frame lenses built for full-frame cameras.
Which should you get? The lenses we focus on are full-frame lenses. For Micro Four Thirds cameras, refer to the conversion chart in the Micro Four Thirds section to find their equivalents. Keep in mind that a full-frame lens has approximately double the field of view of a Micro Four Thirds lens. For example, a 25mm lens on a Micro Four Thirds camera equals around a 50mm lens on a full-frame camera. The first lens you should acquire is, ironically, the stock lens that comes with your camera. If your camera doesn’t include one, start with a basic zoom lens, whether new or used. Stock lenses are versatile entry-level options that serve as a solid foundation for any beginner. After getting comfortable with your stock lens, the next step is to invest in a high-quality 50mm prime lens. This lens is renowned for its sharpness, natural perspective, and ability to create stunning bokeh. Once you’ve mastered the 50mm, the next additions should be a 35mm prime for wider shots and an 85mm prime for portraits or tight framing. All three are prime lenses, offering superior optical quality and low-light performance compared to zoom lenses. The last lens to consider would be a 24mm. This will be as wide as you should go. It may have a slight fisheye effect on close-up shots, which can be a creative option for unique visuals. Most importantly, it won't show that effect on distant shots, allowing you to capture a much wider view. Aside from that, there are countless in-between lenses, and while many are extremely good, it's important to focus on building your core kit first. Lenses are endless, so before you gear up with a hundred lenses, start with these four primes. They will cover the most general needs for a wide variety of shots. Once you’ve mastered your creative side and feel confident in your skills, you can explore more specialized lenses to expand your creativity.
Prime vs Zoom? Prime lenses have a fixed focal length, like 35mm or 50mm, and are preferred for filmmaking due to their superior optical quality, lower cost, and reliability. They produce sharper images, handle low light better with lower f-stops, and eliminate the unpredictability of moving parts, allowing you to focus on the shot. Zoom lenses, which cover a range of focal lengths, offer versatility and convenience but sacrifice some image quality and consistency unless they are high-end models with fixed apertures. These lenses are best for complex setups or fast-paced shoots where changing lenses and recalibrating equipment isn’t practical. For most filmmakers, primes are the better choice, but premium zooms can be worthwhile when flexibility is essential.
What to look for? When buying a lens, the first consideration is the type: is it Full Frame or Micro Four Thirds? Next is the focal length, such as 25mm, 35mm, or 50mm. If the lens lists two numbers (e.g., 24-70mm), it’s a zoom lens; if it lists only one, it’s a prime lens. The next factor is aperture, indicated by an F-stop (or sometimes a T-stop, which is more reliable as it means “tested”). Lower F-stop numbers allow the lens to open wider, improving performance in low light and creating better bokeh (background blur), which is ideal for isolating subjects. A good benchmark is F1.8, while F1.7 often offers excellent value for both performance and price. Be cautious with extremely low F-stops under F1.0, as they can sometimes sacrifice quality for marketing appeal, particularly in lower-cost lenses. As an example, prioritize a trusted brand’s F1.8 lens over a similarly priced F0.98 lens, as the former is more likely to deliver reliable quality. Lastly, consider whether the lens is electronic or manual. Electronic lenses enable focus control through devices via cables, whereas manual lenses require using the focus ring directly. This feature can make a difference depending on your shooting style and setup.
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Unfortunately, we do not provide specific lens recommendations for full-frame cameras. This is because the market for full-frame lenses is vast, with countless options offering comparable performance across brands. Each lens often has slight advantages depending on the manufacturer, and the variety spans from standard lenses to high-quality optics and even cinema lenses of varying grades. Attempting to recommend specific lenses would risk oversimplifying or providing misinformation, as the best choice often depends heavily on individual needs and preferences. However, we do include recommendations for Micro Four Thirds (MFT) lenses, as the lineup is more straightforward, and clear distinctions can be made between best value and best overall options. Even within MFT, there are specialized cinema lenses that cater to unique advantages depending on the use case. To choose the right lens for your needs, refer to the specific text sections below for guidance on focal lengths, apertures, and features to look for. Additionally, visiting the official websites of trusted lens brands and conducting thorough research on their offerings will help ensure the best choice. While we regret not being able to save you time with specific full-frame lens recommendations, this approach is necessary to avoid influencing such a highly personal and nuanced decision.
Regular vs Cinelens? While there is no formal term like "regular lens," the term cinema lens refers to a specific category of lenses designed for professional filmmaking. However, it is important to understand that a cinema lens does not inherently make your footage cinematic, just as a non-cinema lens does not prevent cinematic results. The true value of a cinema lens lies in its design and usability for professional productions. The primary difference between cinema lenses and traditional lenses is in their build quality. Cinema lenses are typically constructed with durable, all-metal bodies and offer superior weather sealing, making them well-suited for prolonged outdoor shoots under unpredictable conditions. By contrast, traditional lenses are often weather-resistant rather than fully sealed, though some high-end traditional lenses can rival cinema lenses in durability. Cinema lenses also feature specialized focus rings that are geared and have a larger diameter, allowing for smooth and precise adjustments. These geared rings are compatible with follow-focus systems without the need for additional adapters, making them ideal for controlled and precise focus pulls. Many cinema lenses also include a de-clicked aperture ring for seamless, mid-shoot adjustments. Additionally, most cinema lenses forego electronic features to reduce reliance on potentially unreliable components, favoring fully manual operation for greater control and reliability. Another hallmark of cinema lenses is their use of T-stops rather than F-stops. T-stops represent the actual amount of light transmitted through the lens, providing a more accurate measurement. Moreover, cinema lenses often have better control over chromatic aberration and retain sharpness even at their widest apertures, outperforming many traditional lenses in these aspects. Despite these advantages, cinema lenses may only marginally enhance the cinematic quality of your footage—by about 5% or less—when compared to a high-quality traditional lens. Elements such as shot composition, lighting, location, set design, and ambiance contribute far more to the cinematic feel of your work. Traditional lenses remain an excellent choice for most filmmakers, especially those working with smaller crews or tighter budgets. Their versatility, lower cost, and electronic features make them more practical for solo operators or small teams. Cinema lenses, on the other hand, are ideal for professionals with dedicated crews ready to invest in fully manual setups. It's important to note that cinema lenses often require additional rigging and support due to their size and weight, which can make them less convenient for fast-paced or solo shoots. In conclusion, unless you have a professional crew and specific needs that justify the investment, high-quality traditional lenses are more than sufficient for creating cinematic results. Save cinema lenses for when you're ready to scale up your production and can take full advantage of their unique benefits.
Are non weather sealed bad? Traditional lenses without weather sealing can still perform reliably in less-than-ideal weather conditions if proper care is taken. We have conducted numerous shoots using affordable, non-sealed lenses, even in harsh environments like snow and heavy rain. These lenses, often made of plastic and priced around $200, held up remarkably well when paired with basic precautions. For instance, during heavy rain, an umbrella served as cover, and periodic drying between takes ensured continued functionality. Similarly, non-waterproofed phones can withstand light rain if exposed briefly, demonstrating that non-weather-sealed equipment is not inherently fragile. Manufacturers label lenses as non-weather-sealed to disclaim liability for potential damage under extreme conditions, such as prolonged exposure to direct rain or dusty environments. However, this does not mean these lenses are poorly built. They are designed to endure typical handling and occasional exposure to mild moisture. Weather-resistant lenses add an extra layer of protection, sealing critical areas to minimize risk during moderate weather, but they are not fully waterproof. True weather-sealed lenses offer comprehensive protection, providing peace of mind during extended outdoor shoots, though even with these, using protective gear is advised in case of manufacturing defects or particularly extreme conditions. While weather-sealed lenses are ideal, especially for outdoor or high-stakes projects, starting with a regular lens is perfectly reasonable. Just be cautious, use protective measures like lens hoods or covers, and avoid direct, prolonged exposure to harsh weather. For most beginners or budget-conscious filmmakers, regular lenses are a practical and capable choice, allowing you to build your skills and gear inventory without overspending.
What brand fits with which? First and foremost, always ensure the lens is compatible with your camera by checking the specifications or researching online. Avoid using adapters whenever possible; while they may seem like a cost-effective option, their added expense can sometimes equal the price of a lens designed specifically for your camera. Additionally, adapters can introduce potential issues or limitations, which may only become apparent during post-production, creating unnecessary headaches. Secondly, it is preferable to choose lenses from the same brand as your camera. This ensures full compatibility, seamless integration with camera features, and access to firmware updates. Most major brands offer a full range of lenses, from entry-level to high-end options, including both traditional and cinema lenses. If you opt for third-party lenses, make sure they are well-reputed, reliable, and specifically designed for your camera model. To maintain consistency and minimize potential issues, it’s a good idea to stick to one trusted third-party brand if you decide to go that route. Micro Four Thirds (MFT) systems operate a bit differently. While you still need to verify compatibility with your specific camera, most MFT lenses are interchangeable across all MFT cameras. This shared ecosystem allows lenses from brands like Olympus (Zuiko), Lumix, Leica, and even third-party manufacturers like Artisan to be used interchangeably without major issues. For this reason, MFT users can enjoy greater flexibility. However, it’s still advisable to prioritize lenses from reputable brands such as Lumix, Leica, and Olympus for optimal quality and support. Cinema lenses for MFT systems are less common due to their limited use in large-scale professional productions. However, as MFT systems continue to gain traction, particularly among independent filmmakers and smaller studios, the availability of MFT-compatible cinema lenses is likely to expand in the future. For now, the focus for most MFT users should be on high-quality traditional lenses, which offer a strong balance of affordability and performance.
