If you’re trying to capture cinematic footage for your short film or YouTube video, you will want a lens with a wide aperture that can let a lot of light and detail in. To calculate the crop factor relative to 35 mm film, you just multiply the camera’s crop factor with the focal length of the lens. Think of the following lenses not as rigid rules for cinematic motion picture-making, but a guide to begin exploring the wondrous world of lenses. I would only buy a Delft if the price was under $75. Unlike other types of camera lenses, there is no flattening of foreground and background. Important for video, the maximum aperture of f1.8 is constant throughout the zoom range. The reason people shoot anamorphic is because of the lens properties: The flares, the bokeh, and the stretched aspect ratio is why people spend hundreds of dollars on anamorphic projector lenses. Choosing your optics is very important because the characteristics of your lenses will be very apparent in your... Anamorphic Lenses. When used to capture an interior or specific exterior location, it will really make the visuals have some pop. DSLRs with video capabilities has really democratized filmmaking, putting cinematic quality video within financial reach of amateur and independent filmmakers. The build quality is okay and the prices are very enticing. If you want beautiful bokeh, get the Canon 135mm f2. But, first, we should introduce the notion of focal length, as it’s integral for understanding prime and zoom lenses. I want to ask you something, Can you compare Sankor lens with Elmo lens? The technology behind the glass is incredibly impressive, and a high-quality 50mm lens won’t kill your budget. In fact, this ENTIRE VIDEO is made up of shots created with this lens- with the exception of a few. Not to fixate on Canon, but the company also offers a 55-250mm telephoto lens with a low f-stop with a range of f4 to f5.6. Here are some nice primes: Note: I don’t care about auto focus because for video we shoot manual. All of the written work on Film Brute has been written by and belongs to George Derugin. Full frame is a buzzword these days in digital cinematography, as the 36 x 24mm sensor size comes closest to motion picture 35mm film. These are very large lenses, that will require a lot of additional money to get a working rig. One art form that has quickly come into the spotlight is Vlogging. If you want a more practical aspect ratio, shoot for something that is around 2.35:1 or 2.39:1, I wouldn’t go much wider than 2.55:1. Basically I can’t walk while using my 50mm on a Canon DSLR (1.6x crop) because it’s too shaky. —used the 75mm long lens (and apparently the 50mm lens for certain shots) for cinematic shots. The Samyang lenses are manual, so they are perfect for video work. An In Depth Look at the Panasonic GH4 Features, Everything I Know About The 4K Video Panasonic GH4, Academy Awards: Who Should Have Won Best Picture. Great framing of a scene, the right positioning of the human body, the movements of the camera and an overall sense of what makes a great composition, which can include colors, textures, patterns, etc. *21-25mm lenses are also great for closeups. Save my name, email, and website in this browser for the next time I comment. Of all the lens choices out there, which are the best fit for your RED camera? More to come! And because it’s light, the 50mm lens becomes a great option for handheld cinematography. If all you have is $100, get the Canon 50mm 1.8. Spherical lenses don’t affect the aspect ratios. Bright sunlight destroys the little contrast the lens has, making the image flat; perfect for color grading. But it won’t be very sharp, and it will only be a 1.33x stretch, and it will cost $$$. If you use a long lens, make sure the scene you’re shooting has a lot of detail. Directors like Quentin Tarantino and Wes Anderson are fond of using an anamorphic lens, but they can get quite expensive, and may not be the right choice for most filmmakers. Samyang make lenses with the name Rokinon, Bower, Pro Optic, and Bell + Howell. Less common is the telephoto or “long” lens in filmmaking. If you need to, rent some of the lenses mentioned above. DJ Pangburn is a New York-based journalist, videographer, and fiction writer, with bylines at Vice, Fast Company, Dazed and Confused, and other publications. Capturing cinematic footage requires many things. Can you suggest an anamorphic lens which will go on a vintage old camera lens to give me the footage show in this video with a Panasonic GH4? This means it includes the same coveted look of the Art lenses, as well as all the features of modern cinema lenses. If you plan on moving around with 85mm on a GH2 or something, you will need stabilization gear. If you use a long lens, make sure the scene you’re shooting has a lot of detail.