Best Lenses for Filmmaking for all Budgets in 2025

While some cinema lenses cost a fortune, this guide breaks down the best filmmaking lenses for under US$3,000.

Let’s dive in.

What Is the Difference Between Photo Lenses and Cine Lenses for Filmmaking?

Whether you’re a professional photographer or a hobbyist looking to branch into videography, lenses are vital for achieving the desired results.

While photography lenses are very useful for video content, there are key advantages to switching to cine lenses for filmmaking.

Let’s examine the core features that distinguish cine lenses from their photography counterparts and explain why you should consider adopting them in your workflow.

Why Are Most Cine Lenses Manual Focus?

Cinematography differs from traditional photography in several ways, but perhaps the most notable difference is how focus is used to achieve creative results.

Photographers must ensure sharp focus on their subjects, but filmmakers must factor in shifting focus points throughout each shot.

This is why manual focus lenses are the go-to choice for cinematographers, allowing them to control a shallow depth of field accurately.

If you’re venturing into cinematography and want to master the full process, you should opt for a lens without autofocus.

While you’ll likely find it frustrating in the beginning, the benefits of shooting in this style will become apparent over time.

What Is a Parfocal Cine Lens?

Parfocal cine lenses are designed to maintain consistent focus even when the focal length or magnification changes within a given shot.

This technology allows cinematographers to use zoom lenses to move toward and away from a subject while maintaining the same focus.

They also make it easier to maintain manual focus operations, reducing the amount of focusing error as the composition alters.

Photo Lenses vs Cine Lenses: Which Is Best for a Beginner Filmmaker?

Choosing between photo lenses and cine lenses depends on several factors, like your budget and the filmmaking style you’re aiming for.

Most full-frame camera bodies can use cine lenses directly on the lens mount, allowing you to take advantage of the full-frame sensor.

While cine lenses’ aforementioned flexibility of focus performance gives them an advantage for cinematography, you can still get impressive results with photography lenses.

Full-frame lenses are easier to use and typically more affordable for photography, particularly for creating social media content or casual filmmaking.

That said, if you plan on making documentaries or professional narrative fiction, investing in cine lenses will significantly benefit the production’s aesthetic.

Which Focal Lengths Do Filmmakers Use?

Film directors throughout history are often known for their particular stance on the focal lengths they use in their movies.

Classic filmmakers such as Yasujiro Ozu relied heavily on 50mm prime lenses to accurately capture images that most closely resembled what the human eye perceived.

Contemporary cinematographers, such as award-winning Roger Deakins, have discussed the preference for prime lenses over zoom lenses at length.

Some directors, such as Wong Kar-Wai and Terrence Malick, are renowned for their wide-angle focal-length cinematography.

Others prefer to mix up their use of prime lenses depending on the shot or sequence, so it’s worth exploring a variety of styles.

It pays to spend time researching the lens choices of your favorite directors and see what they use for your own inspiration.

What’s the Best Focal Length for a Beginning Filmmaker?

The 50mm lens is perhaps the best focal length for starting as a filmmaker since it offers a great degree of flexibility.

This represents a good compromise between a wide-angle lens and a zoom lens that can be used for landscapes but is equally adept at medium shots, such as characters engaging in dialogue.

A good lens of this focal length can deliver an impressively shallow depth of field and a clear, high-quality image.

Alternatively, you can invest in a decent zoom lens and enjoy more versatile focal lengths without switching lenses, although this may compromise the image quality.

Prime vs Zoom: Which Is Better for Filmmaking?

We’ve touched on the general trend toward using prime lenses for cinematography, and prime lenses generally deliver better results and low-light performance.

However, there are situations when choosing a zoom lens may be preferable, not only as a money-saving choice but for specific filmmaking scenarios. (Read more about prime vs zoom lenses.)

Run-and-gun filmmaking, such as when shooting documentaries, is much easier with a zoom lens, which allows for more extensive shot coverage.

Social media influencers and content creators often prefer zoom lenses because they allow them to reframe shots on the fly.

If you’ve been digging into the art of cinematography, chances are you’ve come across anamorphic lenses as part of your research.

Here’s an overview of anamorphic lenses and whether investing in one is suitable for your filmmaking objectives.

What Is the Difference Between Anamorphic and Cinema Lenses?

Anamorphic and cinema lenses are both commonly used in filmmaking, but there are different design aspects to be aware of.

The critical difference is the shape of each lens, with anamorphic lenses expanding vertically to allow cinematographers to capture a wider field of view.

This image is then uncompressed in post-production to deliver the widescreen aspect ratio that gives movies a distinct visual style.

Due to their unique optical design, anamorphic lenses create an oval-shaped bokeh, unlike the circular bokeh produced by other lens types.

Image stabilization is another helpful tool for shooting video content and delivering smooth shots.

It’s especially important to use image stabilization when shooting on a lens with a long zoom range to prevent unwanted shaking.

Most high-quality modern lenses come with image stabilization as a core feature, so it’s worth checking before investing in equipment.

Image stabilization is perhaps most important if you’re planning on shooting handheld and won’t have the stability offered through Steadicams and tripods.

What Are the Best Photo Lenses for Filmmaking on Hybrid Cameras in 2025?

Many excellent photo lenses can be used with hybrid cameras to get stunning results for your video projects.

Here are our top lenses to consider when venturing into filmmaking and videography.

50mm f/1.4 (Top Pick)

Sigma 50mm f/1.4

We’ve touched on the value of a 50mm prime lens for filmmaking, and the Sigma 50mm f/1.4 is a quality introductory lens that’s ideal for filmmaking.

Incorporating the brand’s signature approach to quality and performance, it’s also available in an f/1.8 aperture version for those on a tighter budget.

Considered a better choice than many Canon RF native lenses, the Sigma 50mm f/1.4 is a viable alternative to Canon’s selection, which is also available in f/1.2 and f/1.8.

For our top picks from other brands, see below.

Nikon FX [Amazon | B&H] | Canon EF [Amazon | B&H] | Canon RF [Amazon | B&H] | Sony E [Amazon | B&H] | Fujifilm [Amazon | B&H] | Micro Four-Thirds [Amazon | B&H]

24-70mm f/2.8 (Best Standard Zoom for Filmmaking)

Sigma 24-70mm f/2.8

Continuing with Sigma’s lenses, the 24-70mm f/2.8 zoom lens is another affordable option that delivers an aesthetic characteristic of vintage prime lenses.

If you’re not aiming to become a professional director of photography, this lens delivers plenty of compositional scope at an affordable price.

It presents a less clinical image than its closest rivals, such as Tamron, with a pleasing color rendition and attractive bokeh.

If you’re after an APS-C equivalent, check out the cheaper Sigma 24-70mm f/2.8, which many filmmakers love, which you can find in the links below.

Nikon FX [Amazon | B&H] | Nikon DX [Amazon | Canon EF [Amazon | B&H] | Canon APS-C [Amazon | B&H] | Canon RF [Amazon | B&H] | Sony FE [Amazon | Sony E [Amazon | B&H] | Fujifilm [Amazon | B&H] | Micro Four-Thirds [Amazon | B&H]

35mm f/2 (Best Budget Prime for Filmmaking)

Canon 35mm f/2

Canon’s 35mm f/2.0 is a compelling and affordable option for a great 35mm photo lens that can also be used for impressive videography.

Compatible with EF Mount Canon cameras in the full-frame format, it offers impressive low-light performance and creamy bokeh for filmmaking.

Those with extra money to spare who want a faster lens can consider upgrading to the f/1.4 version for an extra shallow depth of field.

Nikon FX [Amazon | B&H]  | Nikon DX [Amazon | Canon EF [Amazon | B&H] | Canon APS-C [Amazon | Canon RF [Amazon | B&H] | Sony FE [Amazon | B&H] | Sony APS-C [Amazon | B&H] | Fujifilm [Amazon | B&H] | Micro Four-Thirds [Amazon | B&H]

14-24mm f/2.8 (Best Wide-Angle Zoom for Filmmaking)

Sigma 14-24mm f/2.8

Filmmakers who want to emulate the wide-angle cinematography of directors like Sergio Leone can experience those compositional techniques with Sigma’s 14-24mm f/2.8 wide-angle lens.

It’s an impressive and versatile filmmaking lens with a constant aperture of f/2.8 for consistent lighting and focus throughout the zoom range.

A part of Sigma’s Art range of lenses, it continues the series’s reputation for robust and reliable performance with minimal distortion across the focal lengths.

Nikon FX [Amazon | B&H] | Nikon DX [Amazon] | Canon EF [Amazon | B&H] | Canon APS-C [Amazon | B&H] | Canon RF [Amazon | B&H] | Sony FE [Amazon | B&H] | Sony APS-C [Amazon | B&H] | Fujifilm [Amazon | B&H] | Micro Four-Thirds [Amazon | B&H]

Sigma 18-35mm f/1.8 (Best APS-C Zoom for Filmmaking)

Sigma 18-35mm f/1.8

One lens that has earned a reputation among filmmakers equal to its perception from photographers is the Sigma 18-35mm f/1.8.

Beloved by APS-C videographers, it blends responsive focusing with a versatile zoom range, producing crisp, vibrant footage with deep colors.

There’s a more expensive cine version of this lens for broader compatibility, while Sony and Fuji filmmakers can opt for Sigma’s 18-50mm f/2.8 [Amazon | B&H] as an alternative.

Nikon DX [Amazon | B&H] | Canon APS-C  [Amazon | B&H]

70-200mm f/2.8 (Best Telephoto Lens for Filmmaking)

Sigma 70-200mm f/2.8

If you’d prefer to shoot on a telephoto lens for your videography and capture the 1970s crime thriller visual style, the Sigma 70-200mm f/2.8 is a great choice.

It produces sharp, detailed images throughout the zoom range that lack distortion or vignetting for a consistent look.

There’s minimal focus breathing with responsive AF for fast-paced action, and it offers a great deal of features for its price range.

There are also some compelling alternatives from other brands—see the links below.

Nikon FX [Amazon | B&H] | Nikon DX [Amazon | B&H] | Canon EF [Amazon | B&H] | Canon APS-C [Amazon | Canon RF [Amazon | B&H] | Sony FE [Amazon | B&H] | Sony APS-C [Use the Canon APS-C with a converter] | Fujifilm [Amazon | B&H] | Micro Four-Thirds [Amazon]

What Are the Best Cine Lenses for Filmmaking on Hybrid Cameras in 2025?

If you’d prefer to invest in cinema lenses, there are several options to investigate, depending on your camera and budget.

Here are our picks for the best cine lenses for filmmaking on a hybrid camera that beginners can use.

Rokinon T1.5 4-Piece Cine Prime Set (Best Beginner’s Prime Set)

Rokinon Cine DS T1.5 4-Piece Cinema Lens Kit

Investing in a set of prime cine lenses is the perfect way to jump straight into the cinematography workflow and cover all types of shots.

The Rokinon T1.5 four-piece cine prime set represents this category’s best value for money, with lenses spanning ultra-wide angles to 85mm for close-ups.

You can purchase each lens individually, and each delivers the same image quality and color characteristics to streamline post-processing color grading.

It’s an outstanding first lens kit for those new to cine lenses, capable of eye-catching shallow depth of field.

Canon EF [Amazon | B&H] | Sony FE [B&H] | Micro Four-Thirds [B&H]

Sirui Night Walker T1.2 S35 Cine 3-Lens Set (Best Budget APS-C Cine Prime Set)

SIRUI Night Walker T1.2 S35 Cine Lens Set

Sirui offers an even more budget-friendly set of cine lenses, a pared-down collection covering 24mm, 35mm, and 52mm focal lengths.

While some users report excessive flaring issues, they all deliver cinematic image quality with a decent list of compatible camera manufacturers, including the Red Komodo.

If you’re looking for an alternative that includes autofocus, you can check out the Sirui Sniper primes [Amazon | B&H], available in a three-lens set covering 23mm, 33mm, and 56mm.

Canon RF [Amazon | B&H] | Sony E [Amazon | B&H] | Fujifilm [B&H] | Micro Four-Thirds [B&H]

Tokina Cine ATX 11-20mm T2.9 Lens (Best Wide-Angle Zoom Lens)

Tokina Cinema ATX 11-20mm T2.9 Lens

Tokina has been manufacturing cine lenses for some time, and the Cine ATX 11-20mm T2.9 lens is one of their most popular products.

The 11mm focal length is available for various mounts, including EF, LPL, PL, MFT, and Nikon F lens mounts. It makes shooting in tight spaces a dream.

It produces a warm color tone while managing lens flares well, and unlike some other rectilinear wide-angle lenses, straight lines are well maintained.

Sony FE PZ 28-135mm f/4 G OSS (Best Sony Servo Zoom Lens)

Sony 28-135mm FE PZ F4 G OSS

For those with more money to invest in a cinema lens and want professional-level features, there’s the exceptional Sony FE PZ 28-135mm f/4 G OSS lens.

This model has a servo zoom lens that allows for smooth and stable zooms, significantly expanding the potential for creative shots.

Compatible with Sony’s full-frame cameras, the FE PZ 28-135mm f/4 G OSS lens also features a constant aperture for a video-first approach.

There’s also built-in image stabilization to help with shooting footage handheld, while the f/4 aperture is plenty to achieve pleasing bokeh images.

HIGHLY RECOMMENDED

Sigma 50mm f 1.4

Fast f/1.4 aperture, smooth autofocus, and sharp detail—ideal for cinematic depth and low-light scenes.