7 Best Sony Lens for Wedding Videography: (2024 Guide & Reviews)

Last Updated on January 22, 2024 by Sharon Advik

Let’s face it: filming a wedding can be stressful.

You have to worry about so many things, and many things are going on in your brain.

You must worry about camera gear and give the bride and groom a great experience.

You will have beautiful cinematic shots that enhance your portfolio, audio, and lighting.

What if I told you that you could film a wedding alone?

In today’s article, I will share the 4 best Sony lenses for Wedding Videography to film any wedding all by yourself effectively.

Let’s drive in:

Which are the best Sony lens for wedding videography?

Here are my recommended top 7 best Sony lens for wedding videography:-

Sony 16-35mm F4: (Best Focal length for wedding videography Sony)

Sony 16-35mm F4: (Best Focal length for wedding videography Sony)

So this is my gimbal lens; if my camera is on my gimbal, this lens is on there 100% of the time.

I don’t use it much for prep or anything like that, but I like to follow the wedding party down the aisle at the ceremony.

I like to use it to get in front of the bride, a father behind the bride, and her father walking down the aisle and then again at the end of the ceremony.

Once the bride and groom couple come down, the hall is married for the first time, but it’s time for photos or a photo session.

Again, This lens is on my gimbal as we follow the bride and groom around when kissing, holding hands, and walking into situations.

They’re under a tree, spin around and pull that kind of cinematic stuff 16-35 on my gimbal; I love my wide shots, and with 16, I can get those very easily.

I can do that if I also want to go into 35.

Then, when it comes to the evening at the party, that dancing begins at 16-35 on the gimbal again.

You can be on the dance floor spinning around people moving in and out people, holding the gimbal up high, looking down, getting lovely big white dances or shots.

That’s all that 16-35; a little tip for you when using this lens if you balance it at 16, where the barrel is extended.

And then you go and use it 35, and it will be a little bit of balance.

So balance it where the barrel is extended about halfway up 24.

I got this lens about a month and a half ago, and I’ve been using it for various shoots, weddings, in particular, and many videos for my corporate clients.

So, my first Pro is sharpness. The sharpness of this lens, considering it’s a nonprime lens, is believably sharp, and I’m saying that because of the detail you get in the shots.

I was amazed at how much bokeh you get with this lens, considering it’s an f4. Was I a little worried about that?

Even at 16 millimeters, the bokeh gets a pretty decent amount of bokeh when you’re vlogging or doing anything in close range like that.

The second Pro is quality. This lens feels like it weighs about two pounds. I know it doesn’t, but it might be kind of close.

The heaviest lens in my bag is the heaviest; even though it’s the heaviest, I still use it on my Zion Crane v2.

Now, the focal length is 16 to 35.

The 16-millimeter on a full-frame camera is wide.

I don’t see many situations where I need a 12-millimeter or a 10-millimeter.

Like with the 16, It’s so good for real estate virtual tours for doing any landscape work or even those wedding shots where you’re just trying to capture the entire moment.

I found this lens to be good at 16 millimeters.

Now it goes to 35, like a semi-portrait focal length, and the bokeh you get at 35 is excellent.

The cons about this lens are a bit heavy, so it is a little more challenging to use on the crane all day.

But the heavy bone quality is also noted as having better build quality and a better image.

So it’s a pro, but I’m considering it a con, and it’s a little bit heavy, but not a deal-breaker for me.

I’m using it mainly outdoors to get the super-wide parallax shots, but considering it’s like an f4, it’s not a big deal because I mainly use this lens outside.

If you’re thinking about buying this lens, I would highly consider it for that set price.

  • Excellent build quality.
  • It’s fast; it’s silent.
  • Autofocus works great.
  • Ultra wide-angle lens.
  • Quite sharp.
  • Great focal length.
  • Versatile lens.
  • Great for the price.
  • Absence of buttons.
  • Some vignetting & distortion.

Sony 55mm F1.8: (Best Sharpest lens for wedding videography Sony)

Sony 55mm F1.8: (Best Sharpest lens for wedding videography Sony)

I used to use the 85, but it became a little bit too tight in some situations; often, you will find bride and groom and couples getting married in dimly lit small environments.

So, I find 55 perfect for this; 85 is a bit too tight.

55 is a great focal length for shooting in these environments; plus, because it’s F 1.8, you can deal with the low light if it’s pretty dim.

People are getting ready, and it’s pretty chaotic; there are people everywhere; sometimes, there’s food, drink, bottles, beer, cans, all that stuff around.

And if you’re using something like a 35, it might be too wide.

You might get some of that; you’re short and don’t want that.

So, 55 is ideal for getting precisely what you need and cutting out everything else.

For details ring shots, flowers, the opening of gifts, and even for reading letters, the 55 F 1.8 is my choice for prep shots.

I wanted something a bit wider, but it gave me a similar feel, and I could pull more of the environment to tell that story.

This lens is super small and compact, the lightweight balance is lovely on the camera, and it’s an absolute pleasure to carry around all day.

If you are shooting wedding events or maybe doing some street photography, it’s a convenient size.

This lens is a metal body barrel lens, and its charming feel is sleek and pleasant; the autofocus on this lens is super fast.

I’d say it’s probably one of the fastest Sony lenses for autofocus or reviews; it snaps onto your subject and is pretty tack-sharp every time.

Also, the autofocus motor on this lens is so quiet I can’t even hear it focusing, so using a microphone on top of my camera is perfect for that.

I also like the image quality that it gives me in the video; it looks adorable.

That 55 focal length is so unique.

I thought it would be similar to having a 50 mil focal; slightly different, you get a little more compression and a little more cinematic feel to the images.

It is excellent just because you don’t think it creates a bit of field depth.

It’s nice on video.

It just gives me some nice-looking shots.

The focus ring is metal and not rubberized, so it’s slightly slippery and can be somewhat awkward.

If you use a manual, focus on saying that you haven’t had many problems.

I’ve gotten used to it, so it’s not the end.

The other thing is this it says that it is a weather seal; I can’t see a rubber with a sealing gasket on it.

So, I questioned that it would have been nice to have an autofocus or manual focus switch on the side and maybe a programmable button.

But then again, this lens is so tiny I’m unsure where it might have fitted into it.

So, if you are looking for a 50 mil kind of range lens and I can highly recommend checking out the 55 mils, I think you’ll be more than pleased, and I love it.

That is a high-end premium lens.

I think this is an excellent lens to have, and it’s a nice size if you are after something lightweight and compact.

  • Solid build quality
  • Super-sharp lens.
  • Less distortion.
  • Excellent wide f/1.8 aperture.
  • Produce stunning results.
  • Best in low light conditions.
  • Not optically stabilized.

Sony 85mm F1.8: (Best Low light lens for wedding videography Sony)

During the ceremony, two cameras, one on one side facing the bride, one on the other side facing the groom, a couple, and the 85, are those that I use.

Now, with the 85, you must stand slightly closer than using the 70 to 200.

But usually, you’re around the level with the first or second row of the seats, off to the side, so you’re not in anyone’s view.

This is an F 1.8, so great in low light.

If you’re shooting weddings outside, which many of the weddings I shoot are intuitive, you don’t need to use F 1.8, so go up a little bit; you’ll be fine.

This also means the part of your image that’s in focus is a little bit bigger, so you don’t have a hard time if you’re specifically trying things like that.

The 85 is also a tremendous focal length, for if you’re shooting the bride or groom, you can flip to the family and water guests and get some nice reaction shots.

This is a great lens to stand out when we shoot with the bride and groom for the photo session.

And just letting them do their thing gets a nice video of them interacting, kissing, walking down the road, spinning around.

With a static angle, this is an excellent lens for that.

With the bokeh on this, the separation in the background there if you are using a one F 1.8, even F2, F4 it is still perfect depending on how close you are. It’s just a nice cinematic image with the 85.

The 85 is good as well.

When it comes to speeches in the evenings, some environments for receptions are often quite dark; sometimes, you’ll have an excellent DJ with a perfect lighting setup, or the venue has an ideal lighting setup.

You don’t have any issues with low light; for the most part, in most situations, you don’t have that, and receptions can be quite dimly lit.

F1.8 will help you out there; put it on manual mode, focus on them directly, use focus peaking if you need to, and then you’re good, you’re good to go.

You can get the speeches, the background disappears, and you’re good.

My favorite lens: I will tell you why you might want to consider this as your next lens if you don’t already own it.

I want to share why I like it, why I think you should give it a go, and maybe you’ll like it too.

First, his focal length, 85, perfect for filming weddings, portraits, and anything involving people, is lovely for 85.

You don’t have to get in close. You stand back and get an excellent field of view.

And remember 85 with clear image zoom on a Sony that comes like a 174; if you’re using a crop lens, it’s like 250 miles, that’s zoomed in.

That is a ton of versatility for an 85 mil lens, perfect for all kinds of events.

Anything involving people has an F1.8 aperture as well, which means it is suitable for shooting in low-light environments.

Weddings can be pretty dark at night and then efficiently words or something like that.

When they use or follow, F1.8 is beautiful.

This lens, the bokeh, is buttery smooth, so lovely.

The manual focus ring on this is nearly perfect for all the Sony lenses.

The autofocus is crazy quick, and the Sony native lens, so the autofocus will always be good on this.

If you decide on the quality, this lens is beautiful.

It’s a black metal lens mounted and a ban on the side can be one of the focus and manual focus switching.

The big thing that’s very nice to have on the lens is a quick swap between autofocus and manual focus without actually going into the camera. It is a nice feature to have an excellent way to it.

It has a perfect weight; It feels like you spent good money on this lens, and looks nice.

Of course, I continue to use this mainly because I liked the video.

With this lens, you will not regret the money spent on quality videos.

  • Light, small and compact
  • High-speed autofocus.
  • Fast, bright f/1.8 aperture.
  • Extreme sharp.
  • Dust and moisture resistance.
  • Good value for money.
  • No image stabilization.
  • Some vignette.

Sony 70-200mm F4: (Best Telephoto lens for wedding videography Sony)

Sony 70-200mm F4: (Best Telephoto lens for wedding videography Sony)

I constantly refer to this as the sniper lens, and it’s because you can basically stand back and still get the shot that you need to get.

This is one of those lenses that does cost a fair amount of money, and you don’t want to buy it because you don’t see yourself using it.

But then you get it and end up using it for a lot more than you figured you would.

This lens is one of the cameras; you can sit right at the back, off to the side, you’re getting the bride or the groom.

You can get some nice candid shots, nice and close.

You can go in when the rings get put on the fingers for the first time; you do all that stuff with the 70 at 200 and in anyone’s way.

Also, the separation for this at 200 is incredible; it consistently blows me away; it is perfect.

If you want to use it, an excellent alternate angle is straight down the middle of the aisle, facing the bride and groom.

Your photographer, you’re not in the way of the guests at the back; you can sit at the back of the aisle, and you’re good to go.

Sometimes, the configurations of weddings can be strange and challenging.

And you might be standing right in front of a ton of people, and the speeches are suitable for you, and that’s the only way you can stand, and people don’t like that.

So with the 70-200, you can stand right at the back to zoom right in and get all the speeches without annoying anyone without getting in the way, and you get, for the most part.

F4 is enough in some venues that you might also have to use lighting.

Little light can go a long way, or if pushing the ISO a bit further, it’s better to get a shot, even if it’s a little bit grainy than not good at all.

The 70-200 millimeter f4 is my favorite choice for a telephoto lens for Sony because it’s compact, has an excellent focal range, and is just an all-around perfect lens.

This one comes in at 1.8 pounds, nearly half the weight of the 2.8 version.

We’ve chosen to go with this one because we often hike and climb with our equipment, so having something lightweight is essential if you’re shooting within low-light environments.

We typically shoot outdoors with plenty of light, so this is adequate.

The other thing that stands out to me about this lens is how sharp it is.

I would say it’s on par with most prime lenses, as far as sharpness, which is an excellent quality, and the zoom lens gets slightly more complicated.

I love having to tack sharp images, and this lens delivers one characteristic that surprised me: the unique lens flare that this lens creates when you shoot.

The other advantage of shooting with a 70 to 200 as opposed to a prime is it gives you that full range.

So, at 70 millimeters or closer to 70 and 85, you can get an excellent portrait lens close to your subject.

Or, if you want to zoom out to 200 millimeters, you can get fantastic compression and bring that subject close to the background in that field of view.

I also appreciated that this lens is full-featured; it comes with optical stabilization and all the functions you might expect on a professional grade 70-200 at a great price point.

And that’s probably one of the most significant factors for people in choosing this lens because it’s less expensive than the F 2.8 version.

Our main advantage was the weight, but I think many people will appreciate the less expensive option.

In summary, if you want a lightweight, high-quality, and affordable lens.

The 70 to 200 is the best option for a telephoto zoom lens for a Sony full-frame email.

  • Lightweight & compact.
  • High quality.
  • Awesome focal range
  • Extremely sharp.
  • Image stabilization.
  • Full-frame coverage.
  • It is an all-around excellent lens.
  • Affordable lens.
  • Some distortion.

Sony 35mm F1.4: (Best video lens for Sony A6000)

Sony 35mm F1.4: (Best video lens for Sony A6000)

It is the best 35-millimeter lens that I have ever used.

It is just as incredible as the 24 millimeters, with the only difference being that it gives you 11 More millimeters of focal link.

I use that lens to film a wedding, and my goodness, the image quality is phenomenal, and that bokeh is so buttery at F 1.4.

I also enjoyed that focal length because I could back up a bit from my subject and get a similar feeling from shooting with my 24 millimeters or walking a little closer and still having the lens tight enough.

It’s well built, weather-sealed, and includes features like a dedicated autofocus or manual focus switch on the side, making it super quick to switch between those settings.

It also has my favorite feature of all.

You get full aperture control on the lens, including a clickless aperture switch so you can smoothly adjust your aperture.

This lens has excellent optical performance, is sharp to the corners, and looks creamy at F 1.4; the autofocus performance 35 is just as good.

It’s fast; it’s responsive. I detect autofocus with my A7siii locks on, which holds very well.

Also, I was handheld and shooting at 120 frames per second.

There’s some camera shake, but the autofocus held on like a champ.

I have more good news for filmmakers because this lens is nearly silent when auto-focusing; I have to put my ear next to it to hear the motors working.

This is fantastic news if you’re filming a talking head interview in a quiet room or any other audio-critical scenario where you want to ensure you’re not picking up any lens noise.

Now, talking manual focus for a second, this lens is focused by wire like all of Sony’s other lenses, unlike past lenses.

I feel like with the GM line.

Sony has finally made their lenses fast enough that there’s no discernible lag between you rotating the focus ring.

You should have no problems switching this lens to manual focus if necessary, and it should perform very well.

  • Excellent resolution
  • Image quality is phenomenal
  • Fast, accurate autofocus
  • Bokeh is so buttery at F 1.4.
  • Weather-sealed
  • Excellent optical performance
  • Shows some focus breathing

Sony 24mm F1.4: (Best lens for Sony A7iii video)

Sony 24mm F1.4: (Best lens for Sony A7iii video)

This is a pretty incredible lens. Sony did a great job with creating this particular lens.

We’re going to go over some of the things you know the See, if this is a right fit for you, image quality, basically build, so let’s get right into it.

I think one of the most incredible features of this lens is its compact and lightweight mobility; it’s a great lens to have in your arsenal.

Yeah, so one thing that makes it kind of that compact will be two XA elements inside this.

The big one is on the front; the first is the x element, which keeps that design small.

We still do have weather sealing on this, which we would expect from any high-end lenses.

We also have a customizable button on the lens to trigger anything you want in the camera.

I had no issue shooting it this way.

Even pumping it up in like F2 barely made a difference on that.

It does get a bit softer in the corners, but not a lot.

At F 1.4, it was just a little bit soft, and then by the time I got to F2.8, That thing was dead tack sharp.

Sony did put the new XC team motor that is found in their 400 millimeters, and you know it’s very fast, very accurate, and it does impact video.

Yeah, that XC motor will mean you have no focus on breathing when using this.

If you want to use manual focus, it is much more linear in this lens, and really, this is an excellent lens for video because it’s so small and light.

I had it on a gimbal, which is excellent for that one because we can also D-click the aperture on this one.

You can get some smooth transitions when changing your aperture; overall, it’s just a fantastic lens for video.

Now, when you think of 24 millimeters, I don’t think your mind automatically goes to shooting portraits with it.

But I have to say it was an incredible lens for portraits.

And I find that many of the images coming out of my camera are at 24 millimeters.

It is excellent with this prime lens that you get at 1.4.

So you get that beautiful background blur with a prime lens, and I loved it.

Now, the bokeh was terrific on this lens.

Yeah, it looked pretty good.

It’s a little strong, which we usually get from very sharp lenses, but it was pleasing overall, and I had no issues with it.

Now, the value of this lens is okay; I have to say, as a wedding photographer, what I purchase and invest in a 24-millimeter f 1.4.

As I said, I often shoot at 24 millimeters when shooting the bride or groom getting ready, and that F 1.4.

Those two stops do make a difference to me.

Yeah, I mean, if you’re shooting in low light, you’re talking about lowering your ISO potentially from like 6400 down to 1600, and that can make a significant impact on your image quality.

  • Low light beast.
  • Super lightweight & compact.
  • Versatile lens.
  • Fast Bright, f/1.4 aperture.
  • Dust, splash, and fluorine protection.
  • Slight color fringing (easily mitigated in post-processing)

Sony 70-200 F2.8: (Best lens for Sony A7sii video)

Sony 70-200 F2.8: (Best lens for Sony A7sii video)

I used it for a commercial shoot and a wedding, so I’ve got a pretty good idea of how it works and its performance.

So, let’s jump into it, and hopefully, by the end, you’ll have a pretty good idea of what you’ll want to buy.

It’s a big lens; it’s a super heavy lens.

You must be prepared to carry a heavy lens and get used to it. But the quality is solid; it’s nice.

What surprised me, which I learned at the end of a wedding I was using, is that it’s a cheap mechanical. It’s not fly-by-wire focus.

So, for a video, that would be amazing.

The lovely smooth focus ring is mechanical, so the fly-by-wire lens can be a bit funny to focus manually, whereas this one’s fine.

I noticed that sometimes I had my finger and thumb over the grip, so when I was focusing on one thing as it overrides it, it wouldn’t autofocus, so I had to remember to move my hand backward more.

I thought it was slanted, playing out, but it was actually to me just holding the focus ring with my thumb by mistake.

Weight-wise and size-wise, it is a huge no-go for me, and I already knew that before I bought it, so that’s not surprising.

And chances are, if you’re looking at 70 to 200, you already know that fact.

So, moving on to speed and reliability, focusing speed on this thing is insane.

It’s the fastest tracking lens that I think I’ve ever used.

IT WAS FAST when I shot the girls walking down the aisle; I never missed a shot; I focused on work flawlessly.

So again, it’s not very scientific, but as far as speed goes, it’s faster than any other lens I have.

It’s crazy fast and reliable autofocus.

So, moving on to optical quality, I must say, surprises me.

I shot it in 2.8 all day and never stopped it down, and it’s just insanely good.

When you’re focused on it, I, it’s just, it’s crazy sharp.

It’s a fantastic optical lens, and I couldn’t see any chromatic aberration in the images I looked at.

And yeah, sharpness, everything, like handles highlights well, really contrasty, and the colors, are stunning image quality, no complaints.

I’d give it a solid 9 out of 10; you can quickly shoot this at 2.8 and not worry about focusing or not being soft wide open; it’s just crazy sharp.

So yeah, optical quality, big thumbs up.

The excellent lens surprises me.

I knew it’d be good, but I didn’t think it would be that good.

I’ll tell you about the stabilization; this thing is better than any other lens I’ve seen video panning.

I tried a couple of clips just panning along with the video, and the stabilization was just crazy; it looked like it was on a tripod.

It has a fantastic lens, high quality, flawless optical quality, and build quality.

I can’t think of anything to complain about specific to the lens.

Another thing to note was I used it in a couple of low-light situations.

And the difference between 1.4 and 2.8 and low light is massive.

When you jump to the 2.8, it goes from 1600 to 6400 relatively fast; you know, you can’t drop it below 6400 Right now, whereas it’s 1600 with the other one.

That’s a big deal when you’re doing speeches, low light, etc.

So it’s something to keep in mind if you shoot in low light a lot; you’re going to be a real high ISO with this one instead of an 85 mil or a 135 mil F2 even.

So, overall thoughts, crazy image quality. Excellent build quality.   

  • Solid build quality.
  • Fast, bright f/2.8 design.
  • Excellent sharpness.
  • High-quality lens.
  • Weather-sealed.
  • Image stabilization.
  • Optically stabilize.
  • Teleconverter compatibility.
  • No chromatic aberration.
  • Fast & reliable autofocus.
  • Heavy lens.
  • Some distortion.


Alright, guys, that concludes all the lenses we will discuss today in this article.

Do you guys have any experience with these lenses? What are your thoughts on them?

Which is your best Sony Lens for Wedding Videography?

Is there a lens I didn’t mention in this article that you love using for wedding videography?

Would you please leave your thoughts and comments below?

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Best Lens for Wedding Videography:

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