I felt that 95% of the weddings I film every year by myself, and most time, people ask me which is the best lens for wedding videography?
I film roughly 30 to 35 weddings a year; I do commercial work and various other projects in between that.
To do that, I try and keep the most simplistic minimalist setup possible when filming a wedding.
Obviously, to film a wedding, you kind of need quite a bit of gear. By reducing that down as much as possible to use exactly what I need in the way that I need to use it.
And over time, over the 4 years, I’ve been doing it, I’ve gotten pretty good at finding something that works for me.
Occasionally, I bring in someone else to help me, especially when you need to be in two places at once, which obviously, as a single shooter, you can’t be. Still, I’m filming these weddings by myself for the majority, and I love it fun.
I’m going to run through each lens, one by one
Which is the best lens for wedding videography?
What lens do you use for wedding videography?
Here are my recommended top 6 best lens for wedding videography:-
|Image||Product||Best lens for||View on Amazon|
|Canon 70-200 F2.8||(Best lens for wedding videography Canon)||View on Amazon|
|Sigma 35mm F1.4||(Best focal length for wedding videography)||View on Amazon|
|Sony 85mm 1.8||(Best lens for wedding videography Sony)||View on Amazon|
|Sony 16-35mm F4||(Best wide-angle lens for wedding videography)||View on Amazon|
|Sigma 24mm 1.4||(Best Nikon lens for wedding videography)||View on Amazon|
|Canon 17-55mm f2.8||(Best DSLR lens for wedding videography)||View on Amazon|
Best zoom lens for wedding videography
So I was able to use the RF 70-200 on a couple of jobs and weddings, and I want to share with you guys some experience on actually using this lens.
The other day, I went out on a personal trip into the city using the RF 7200, two weddings, and two projects.
So, under those circumstances, I’m able to kind of put the lens to the test and see if it’s a lens that might be worthwhile for you guys to purchase or upgrade to if you currently own the EF system.
I love the size of this lens. There are positives and negatives for a lens this size, especially from the 70-200 range.
This camera lens is beautiful. It is small, and its compact is something totally new from the 70 range.
Let’s be honest; the 70-200 from any manufacturer has fantastic image quality, ranging from 70 to 200 2.8.
It’s been a gold standard for so many professionals for years and has five stops of image stabilization.
The motors themselves are, I wouldn’t say it’s completely silent; you do hear the motors work.
Now I must say autofocus on this lens is actually what I feel quite a bit faster version.
It’s the fast-focusing lens, but RF 70-200, I feel like it’s just that fast.
And I really enjoyed using it, shooting a wedding with a buddy of mine.
For both photo and video, it’s just nice to have a lens this small that can go far.
That’s a pretty big deal, so if you guys are wedding photographers, portrait photographers, or even doing a video when you are in a tight space, that’s nice to kind of get that is focusing get that nice to be able to really pack this into your bag.
It is so light that you have a focal length; this range 70 200 2.8 used to be brick in your bag.
It’s a really small nice compact; I was able to take it everywhere with me. It was such a pleasure to use.
So yeah, guys, are this lens right for you? If you are a wedding photographer or travel a lot if you guys are working remotely, you’re into the AR series of cameras for Canon if you guys use the 70-200 very often.
This definitely might be worthwhile. I think it’s for me it was worth it; having something like this in your bag is a big plus.
It is an unbelievably fantastic lens that is so sharp, and the colors are so beautiful out there; they really make images stand out, and I absolutely love using it.
I use it for preparation shots.
This is the perfect focal length to try and get in close and get nice shots of makeup and details.
And it’s also perfect for getting a few wines and things of bridesmaids when they might be gifts or just shots of people huddling together into a group.
It’s also nice for shorts of buildings and is wide enough to get nice shots of rooms and details.
The great thing about Sony’s is you can jump in on the APSC crop because I sometimes change from a full-frame to the APSC to get that crop.
To get in a little bit tighter if I need to use the 35 millimeters.
What Sony lens is best for Video?
This lens I bought about 2 years ago.
This lens is excellent for bridal breath because you don’t want to get into the close, which is for me.
When I step into a room first thing in the morning, I don’t want to do the first thing I do is not want to come in and create clothes, and so everybody suddenly realizes I’m filming.
So actually, in the morning, the first thing I do is put on the 85, hold myself back a little bit, start filming from a little bit further away this lens, obviously helps to do and then throughout drinks reception particularly.
I always use the 85 millimeters as an excellent way to get guests having fun, having some drinks, and get some clear faces.
While not getting close and not making it too obvious to people you’re filming and making people uncomfortable.
You want to get natural-looking shots, and the more natural you can get, the better, and the 85 millimeters for me really help get those natural shots during a drinks reception.
I will also use this for a set for the ceremony on my second camera. I might use it if the dance floor is not too packed; I might use it to get tighter shots on the dance floor of a few people dancing.
One of my favorite purchases that I ever made is this 85-millimeter lens.
I use this lens for a huge portion of the day.
Every time I’m on my gimbal, I will use the 16 to 35 to get some nice wide shots of venues or details of anything outside.
I’ve had this lens probably for 3 or 4 years, and I absolutely love it is. My lenses absolutely battered because I’ve used it so much, but it works perfectly.
It looks crisp; it looks brilliant.
I’ve only got the f4. I didn’t step up to go to the 16 to 35 2.8 because I’ve always enjoyed the f4 as it is, and if I need anything more of a shallow depth of field and brighter, I use my 35 millimeters.
So this lens has worked really well for me for the majority of the time.
I’ve been filming weddings, generally for the evening, sometimes for the first dance, and things like that. I will generally use 16-35 millimeters.
For many of the first dances, I have been using the 35 because it’s really not, as getting the shallow depth of field by 16-35 is a great option.
Sometimes, when there’s a big group of people huddling around dancing, it is really nice to go crazy wide and make sure you get everyone in whilst hanging out on top of them with a camera.
I do want to talk about the newest lens, and I absolutely love it.
So this is what it looks like at 24 millimeters with the sigma, 24 1.4, and honestly, it’s beautiful.
Reason number one I love this lens. It has a super shallow depth of field, like, I mean, like razor-thin, and I absolutely love that.
Especially for isolating your subject really making a blurry foreground and background.
To add depth to your videos, and that’s very visually pleasing for me; being also a prime lens, you get that crisp, sharp detail in your image, and it looks beautiful.
Reason number two is its low light capabilities; I took this thing out the other night in Chicago; I was out experimenting with some hyper lapses, I couldn’t believe it.
I was shooting an ISO 640, and I was like.
I can see everything, and there’s no brain when you desire to film like evenings or after sunset or even when it’s fully dark outside with just like some city lights, it just makes for a pleasant experience.
The last reason I got this lens is that it’s a fantastic storytelling lens.
What I mean by that is just like its ability for you to keep it on your camera at all times and like capture every moment.
Whether you’re shooting people dancing on the floor, whether you’re shooting the groom and bride’s first kiss, whether you’re capturing speeches, it really does everything.
It’s just all-around a fantastic lens, and I can’t say enough good things about it.
There are a few negative things about it; it is a bit heavy.
It’s a prime lens that is sharper, but typically, you’re not able to zoom like if you want to zoom in, you have to move your body physically.
And if you want to zoom out, you have to step away from your subject a little bit, but that’s really the only two things I can think of.
Overall I’m super pleased with this; I’m so happy I got this lens. It’s just another tool and my filmmaking bag.
Canon’s professional series lens is perfect for capturing a cinematic and emotional video during wedding ceremonies.
This lens is ideal for videographers, especially if they’re shooting in low-light environments like weddings.
This lens was designed to be used with DSLRs by offering fast and responsive autofocus performance (and) a constant aperture of 2.8 throughout the zoom range so you can seamlessly go from macro shots to wide scenes without having to adjust your settings on the fly.
Perfect for when moments are fleeting at a wedding!
The 55mm range makes you feel like you’re on the inside of everything that’s happening without having to mount up close or be by your guests’ faces.
It’s compact and lightweight while still producing stunning images with a wide-angle perspective up to 27mm, giving you the power to capture large group shots or in tight spaces too.
This highly versatile lens also incorporates Image Stabilizers, allowing videographers to shoot at slower shutter speeds without compromising sharpness or brightness.
The large circular aperture produces a beautiful shallow depth of field effects that can even be dropped down one step further thanks to the ring-type ultra sonic monitor (USM).
This is the ideal lens for wedding videographers in need of a quality wide-angle zoom lens with plenty of speed and features to play around with.
The aspherical elements allow you to capture fantastic images through the entire focal range.
Even when shooting during dim lighting conditions, thanks to an Image Stabilizer that uses four lens groups, which shift to compensate for any camera movement or image shake.
Its smallest focusing distance is 1.15 feet, making it perfect for shooting close-up wide shots in dim lighting without sacrificing detail or depth-of-field.
Whether you’re shooting a wedding, headshots, or evening social events, the Canon 17-55mm f2.8 lens is an excellent option for videographers of all levels.
So what are you waiting for? This product will take your wedding videos to an entirely new level.