10 Best Lens for Music Videos Buying Guide 2023

As a photographer, you are well aware of the importance of choosing the appropriate lens. Shooting music videos can make it difficult to find just one lens that works for everything.

Take a look at these five great options to learn more! There is a growing interest in filming music videos among photographers. 

Video quality is greatly influenced by the type of lens you use. My experience as a photographer and videographer has taught me how important it is to have the appropriate equipment. 

It is one of my favorite types of projects to create music videos because they are challenging and require the use of special lenses.

The right lens is essential whether you are recording live performances on stage or filming against a green screen. The purpose of this blog post is to examine which music video lenses are most appropriate for different situations.

Related: Best Travel Lens for Sony A7iii

List of the 10 best Lens for Music videos:

1. Canon 24-70 mm 2.8
2. Sony 10-18 mm F4
3. Sigma 16 mm f/1.4
4. Canon 70-200 mm f/2.8
5. Sigma 18-35 mm f/1.8
6. Nikon 24-70 mm f/2.8
7. Panasonic 12-35 mm f/2.8
8. Tokina 11-16 mm f/2.8
9. Tokina 11-20 mm f/2.8
10. Sony 24-70 mm f/2.8

Features of the 10 Best Lens for Music Videos:

Since you have been informed of the names of the 10 best lenses that are used for recording music videos. It is now time to learn all about their features and functions in detail.

1: Canon 24-70 mm 2.8

1. Focal Length: 24-70 mm.
2. Focus: 0.38 m.
3. Focal scale: 120 degrees.

Canon’s EF 24-70 mm f/2.8 lens is among the best lenses that Canon has ever produced. Since the introduction of the Canon 24-70/2.8 in 2002, it has been in just about every professional photographer’s bag. It has excellent optical, ergonomic, and mechanical characteristics. 

It is only because these lenses are large, heavy, and expensive that they are not used more often. The camera is a joy to use once you have purchased one and have carried it wherever you need it. The photos are beautiful.

Photographers who specialize in weddings and events highly recommend this 24-70mm lens. In general, amateurs prefer the Canon 24-105 mm f/4 IS due to its lower cost and lighter weight, but full-time pros prefer this 24-70 mm because it stops faster (f/2.8), has less distortion, is built a little tougher, and feels better, especially because it doesn’t have the same zoom range as the 24-105 mm.

There is no sound or vibration associated with the AF process. In order to override the automatic focus, you can grab the large manual focus ring.

I never have to move back to get something in focus with this lens, which focuses to within 8 inches (20 cm) or closer in front of the lens at all focal length settings.

Zooming is effortless, with the appropriate amount of distance between focal lengths to allow precise and fast selection of any focal length. This lens exhibits minimal distortion and is always sharp.

Advantages and disadvantages of this Product:

Pros:

• Versatile lens.
• Great for portraits.
• Fast aperture.

Cons:

• Big and heavy.

2: Sony 10-18 mm F4

1. Camera size: 18 mm.
2. Lens size: 2.5 inches.
3. Lens weight: 8 ounces.

Although the optics are strong, we would have preferred a bit more robust construction given its asking price. 

However, unless you are interested in experimenting with adapted lenses or manual focus alternatives, there are not many compelling alternatives.

It is compatible with Sony’s APS-C mirrorless camera system. Sony’s cameras tend to be smaller overall than SLRs, so it is good that this zoom maintains a compact size. 

With a dimension of 2.5 by 2.8 inches (HD) and a weight of only 7.9 ounces, this device is extremely portable. Black is the finish on the lens.

Advantages and disadvantages of this product:

Pros:

• Light and strong.
• High-quality image.
• Ultra-wide view angle.

Cons:

• Some Distortion.

3: Sigma 16 mm f/1.4

1. Weight of the lens: 256 g.
2. Size of the lens: 30 mm.
3. Focus: Automatic.

You might think it is quite large if you are familiar with the 30 mm DN lens; you might think it is quite small if you are familiar with the 35/50 mm lens. By far, this is the largest lens in the DN series, but it is still relatively compact by normal standards. 

However, it is also fair to note that this is the most extreme lens in the series, as all previous lenses have been very “safe” focal ranges (28 mm – 90 mm full frame equivalent). 

Having a focal range of 45 mm on a Sony 1.5x crop factor, the 30 mm lens has a relatively simple optical formula of nine elements in seven groups.

As a wide-angle lens, the 16 mm lens provides a classic 24 mm view, and it also provides an extremely large maximum aperture. In addition to the engineering challenge, the optical formula contains 16 elements in 13 groups (almost twice as complex).

A 16 mm DN has a length of 3.63 inches (92.3 millimeters) and a diameter of 2.84 inches (72.2 millimeters). As a result, it measures approximately 34″ (19 mm) longer than 30 mm, but it is only 7 mm larger in circumference. 67 mm is a very common filter size. 

Advantages and disadvantages of this product:

Pros:

• Quality build with some weather sealing
• Quick, quiet, and accurate autofocus
• Supports all Sony focus technologies, including Eye AF

Cons: 

• Some axial CA at f/1.4 reduces contrast

4: Canon 70-200 mm f/2.8

1. Weight of the lens: 1470 g.
2. Zooming ability: 70-200 m.
3. Manufacturer: for Professionals.

In addition to its popular and very useful focal length range, the 70-200 IS offers excellent image quality, professional build quality, excellent autofocus performance, fast aperture, and my favorite feature, 3-stop Image Stabilization, making it one of Canon’s most popular lenses. 

When every shot counts, the 70-200 IS is one of the first lenses I reach for. Among the most widely used lenses by professionals, it also finds a place in the kits of many serious amateurs.

With a weight of 3.24 lbs (1470g) and a size of 3.4″ x 7.8″, the 70-200 IS is far from a lightweight or small lens. 

In spite of this, I am able to carry this lens for long periods of time without feeling burdened. The lens is weather-sealed and ready for professional use (or should I say abuse).

Great build quality and excellent image quality go hand in hand with the Canon EF 70-200 mm f/2.8L IS USM Lens. It is possible to capture sharp images wide open (f/2.8) – even with a Full Frame body, corner performance is outstanding. 

Even sharper and more contrasty results are achieved at f/4.

There is good contrast and color. Several CA’s are present (especially in the upper focal lengths). 

In general, vignetting is well controlled, generally only appearing at f/2.8 in the corners and encroaching the most at 200 mm. When using the 70-200’s widest focal lengths on a full-frame camera, I observe slight barrel distortion.

A FOVCF body with 1.3x or 1.6x FOVCF does not exhibit distortion.

With an aperture of eight blades, the Canon EF 70-200 mm f/2.8L IS USM Lens offers a renowned foreground/background blur. 

This is as good as it gets. In addition to creating a diffuse background blur, the longer focal lengths will also contribute to the effect.

Advantages and disadvantages of this product:

Pros:

• Weather sealed.
• Dust & moisture resistance.
• The focus aperture ring is smooth.

Cons:

• Some distortion.

5: Sigma 18-35 mm f/1.8

1. Focal length: 18-35 mm
2. Maximum aperture: f/1.8
3. Minimum aperture: f/16

As the first zoom lens in history with a wide/fast aperture, the Sigma 18-35 mm f/1.8 DC HCM is a technological marvel. 

Secondly, the lens has a very complex optical formula that consists of 17 elements in 12 groups, with 4 aspherical and 5 low-dispersion elements. In addition. 

It contains a metal mount and a thermally stable composite barrel, which provides greater elasticity than polycarbonate and minimal thermal shrinkage with exceptional hardness, something that Sigma has only recently begun to offer with their new generation lenses.

Furthermore, since it belongs to Sigma’s “Art” series, it can be micro-adjusted via Sigma’s USB dock. The Sigma 18-35 mm lens is one of the many new-generation lenses that Sigma has put a lot of effort into making attractive in terms of design and function. 

Compared to previous generations of Sigma lenses, this lens gives a distinct sense of quality. There is no doubt that the craftsmanship of the lens is excellent. 

Advantages and disadvantages of this product:

Pros:

• Sharpness
• Excellent wide aperture.
• Very affordable in price.

Cons:

• Heavy & Big.

6: Nikon 24-70 mm f/2.8

1. Focal Length Range: 24-70 mm
2. Zoom Ratio: 2.9x
3. Maximum Aperture: 2.8

This lens is intended for enthusiasts and professionals who work in a variety of conditions and need exceptional sharpness, color, and contrast in their images – something the Nikon 24-70 mm f/2.8G is designed to deliver.

This lens replaced the older Nikon 28-70 mm f/2.8D lens, and its optics were completely redesigned to provide superior performance and extra coverage on the wide end. 

The lens has 15 elements in 11 groups, including 3 ED (Extra-low Dispersion) glass elements that reduce chromatic aberration and increase sharpness. It weighs a whopping 31.7 ounces. 

There are many Nikon DSLRs that are lighter than this one (900 grams). Furthermore, the Nikon 24-70 mm f/2.8G features Nano Crystal Coating technology that reduces ghosting and flares in addition to the Silent Wave Motor (SWM/AF-S) that provides fast, accurate, and quiet autofocus. 

Nikon 24-70 mm f/2.8G was designed specifically to fit Nikon D700/D3/D3s/D3x DSLR cameras but also works well with most modern high-resolution DSLR cameras such as the Nikon D750 and D810. Until it was replaced by the image-stabilized Nikon 24-70 mm f/2.8E VR, it represented Nikon’s “Trinity” of lenses, along with the Nikon 14-24 mm f/2.8G and the Nikon 70-200 mm f/2.8G VR II. With a crop factor of 1.5x (which makes it equivalent to 36-105 mm in field of view), the 24-70 mm lens works well with DX cameras.

Advantages and disadvantages of this product:

Pros:

• Very wide aperture.
• Good focal length.
• The lens is sharp.
• Good contrast.

Cons:

• Heavyweight.

7: Panasonic 12-35 mm f/2.8

1. Resolution: 12-13 mm.
2. Price: Expensive.
3. Weight: 300 g.

The lens combines 14 elements in 9 groups, including four aspherical lenses. The aperture is rounded and bright throughout the zoom range, with seven blades. For £999 / $999, Panasonic offers the LUMIX G X VARIO 12-35mm F2.8 ASPH lens.

This fast zoom lens covers a 35mm equivalent focal range of 24-70mm and is relatively compact and light for a fast zoom lens. 

It measures approximately 10cms in length when zoomed out to the 70mm setting. Approximately 3 cm of extra space is taken up by the supplied lens hood, which prevents lens flare and protects the protruding front element from scratches.

As zooming is external, the front extends by 8cm at 24mm and by 10cm at 70mm. In spite of the high-quality construction, which gives it a premium look and feel, it is quite light at 305 grams. 

There are few features associated with the lens (apart from its fast aperture, of course). The camera does not have a distance scale or focus limiter, although the Power O.I.S system has an image stabilization switch that can be used to reduce the effects of the camera shake. 

As the best-constructed Panasonic lens to date, the LUMIX G VARIO 12-35mm F2.8 ASPH lens is primarily made of metal parts, including the barrel and mount. There is a rubber seal around the lens mount, which suggests some degree of weather resistance (splash/dustproof).

Advantages and disadvantages of this product:

Pros:

• Lightweight & Compact.
• Optical image stabilization.
• Less distortion.

Cons:

• Some edge and corner softness.

8: Tokina 11-16 mm f/2.8

• Resolution: 11-16 mm.
• Range: 1.45x 11-16 mm.
• Corners: 2.8 mm.

This lens’ Nikon mount version has the most significant changes in version II. The version II lens utilizes an internal silent focusing motor and does not require a Nikon DSLR with an AF drive gear and motor for autofocusing.

Despite the improved multi-layer coatings on the Nikon and Canon mount versions of the Tokina 11-16 II, there have been no other changes to the Canon mount version.

As there have been so few changes, much of the Tokina 11-16mm f/2.8 AT-X Pro DX II Lens review will be similar to the version Lens review. 

An overall assessment of the 11-16 II can be summarized as follows: this is a well-built, ultra-wide angle lens with very good overall image quality and, more importantly, the widest maximum aperture available for a zoom lens wider than 14mm.

When selecting a lens, it is essential to select the correct focal length or range of focal lengths. It is the ultra-wide focal length range of any ultra-wide zoom lens that is the first attraction. 

Due to its DX (Digital Format) designation, the Tokina 11-16mm f/2.8 AT-X Pro DX II Lens only works with APS-C/1.6x/1.5x FOVCF DSLRs with smaller image circles than full-frame lenses. 

With a focal length of 11-16mm, the Tokina provides an angle of view similar to that of a 17.6-25.6mm lens mounted on a full-frame digital camera.

Although these angles of view are extremely useful, they are too wide for this lens to be considered a general-purpose lens. Here are some examples of focal lengths within this range.

You will find that a lens with the 1.45x 11-16mm range is a very valuable addition to your kit if your current lens kit goes no wider than 17 or 18mm. 

A well-composed scene produces very impressive results when shot at these ultra-wide angles of view.

This wide-angle zoom lens is shorter than or equivalent to any other wide-angle zoom lens in its class. The width is smaller, and the length is no longer. 

Advantages and disadvantages of this product:

Pros:

• Solid build quality
• Popular ultra-wide-angle
• Excellent optical quality

Cons: 

• No image stabilization

9: Tokina 11-20 mm f/2.8

1. Resolution: 11.20 mm.
2. Internal quality: Plastic.
3. View: 120 degrees.

All of these lenses are good, and this latest one features a wider zoom range and is priced similarly to its predecessors.

Tokina’s 11-20mm offers the same optical quality as Nikon and Canon’s lenses, but is much faster (f/2.8) and much more durable.

I’d go for the excellent Canon 10-18mm EF-s which is at least as good optically for half the price, though it is a very lightweight plastic lens.

From 16mm to 20mm, this lens works well on full-frame and 35mm film.

All the cameras I tried worked great with it. 

Off-brand lenses might not be compatible with new Nikon or Canons ten years from now, since Nikon and Canon do not guarantee backward compatibility as they do with their own lenses.

You can get this lens from any of the sources I’ve personally approved, and they’ll refund your money if you don’t like it in any way.

Nikon DX cameras offer angles of view similar to those of a 17x30mm lens on a 35mm or full-frame camera. A 16 x 25mm lens on a 35mm or full-frame camera will produce angles of view similar to those of a 1.3x Canon. If you zoom beyond 16mm, your corners will be cut off. 

Advantages and disadvantages of this product:

Pros:

• Pleasingly sharp lens
• Great contrast levels
• Fast bright f/2.8 aperture.
• Best for video work.

Cons:

• Quite heavy.
• Some distortion.

10: Sony 24-70 mm f/2.8

This lens offers a lot more than a refined optical formula. In addition to a smaller size and some new on-barrel controls, it’s also noticeably lighter than its predecessor. 

Our Editors’ Choice award goes to the new version of the FE 24-70mm F2.8 GM, which remains on sale for around $2,000. In comparison to the original 24-70mm F2.8 GM, the GM II’s size is sure to impress. 

It’s evident how much work Sony has put into making the lens easier to carry. With a size of 4.7 by 3.5 inches (HD) and a weight of 1.5 pounds, the GM II is noticeably smaller and lighter than its predecessor (5.4 by 3.4 inches and 1.9 pounds).

I noticed how well everything balanced with the Sony a1 paired with the lens-the system is much less front-heavy than with the older lens. 

The GM II should be a good companion for outdoor photographers and videographers using powered gimbals.

In the construction of Sony’s pro lenses, polycarbonate is used (space-age polymers are now the standard). Despite being lighter than metal, polycarbonate is just as durable as metal. 

On a drizzly morning, the FE 24-70mm II had no problems with dust and moisture–I didn’t get a chance to test it in heavier precipitation. 

Advantages and disadvantages of this product:

Pros:

• Amazing build quality.
• Autofocus speed is just incredible.
• Wide dynamic range.

Cons:

• A bit heavy.
• Some distortion.

Buying guide for the 10 best Lens for Music videos:

Since you have all about the features and functions of these fantastic lenses. It is time for our buying guide to lead you to the main point where you can buy these products for yourself.

1: Price

All of these products have different price limits. Prices vary depending on the features and functions they can perform. This price ranges between $125-$800. You can buy any of the following lenses a quite an affordable price.

2: Image quality

One thing that every person wants from his camera lens is to provide high-quality and vibrant pictures. The better the resolution and pixels, the better will be the results for your output images. Therefore, these products can be your best choice for imaging purposes.

3: Focus:

The focal length and focus points installed in these lenses are quite easy to move. Therefore, you can easily use them to zoom and focus on all the products for proper and accurate images.

FAQs:

Conclusion:

The following article tells you about the 10 best lenses that are used for recording music videos. All of their features including their resolution, fine quality, vibrant colors, and sharpness have made them the highest-selling products in the local markets.

We hope that you would like our article and the information we provided you through it. So, you can buy these products for yourself and your business.