Keep in mind a good lens can last a lifetime. Some of the best lenses on the market, such as the “L” series from Canon, can cost thousands of dollars. That means a flexible lens that works well in a variety of situations (also, I usually don’t have the luxury of being able to change lenses on the go, so I usually need a do-it-all). We are often, if not always, time constrained. On the other hand if you’re shooting a documentary you may not necessarily know where your subject is going to move, so a stabilized telephoto on your shoulder may work best.įor Stark Insider, we shoot food & wine, backstage theater, experimental short films and sit-down interview videos. In this situation, prime lenses (those with fixed focal lengths) are usually the best as they offer the sharpest quality image. Scenes will be carefully constructed, blocked, lit. It depends on how you’re planning to use the camera.įirst establish up front what style of video you’ll be filming.Ī narrative feature will have a script and storyboard. You can use a tripod or some form of rig to correct that issue, but if you’re like me, you’re doing run-n-gun and shooting documentary style… which leads me to this point… “Best” ?ĭeclaring these particular lenses as “best” for DSLR or mirrorless video is a bit of a misnomer. Without lens stabilization you’ll get what’s called “micro-jiggles” when shooting handheld. On Canon lenses that feature is usually denoted with “IS” in the model name. If you’re getting into DSLR video for the first time I highly recommend you look for a lens with image stabilization.
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