I believe fixed focal length lenses are the best option for video, as long as the video being produced does not need instant focal length changes, like covering a live sporting event.

The reasons for this are many and many others have looked at this in detail, but basically my reasoning is;

• It makes more sense to the viewer to have the lens/camera move, than for it to zoom. In real life, things move, we do not zoom our eyes in and out. Video as opposed to stills mimics a shared real life experience rather than a captured frozen moment of it, so the process itself becomes obvious.

• Cinema zooms are heavy, generally slower and more expensive as well as limited in options. Simply not gonna happen in my world. If they are not cinema grade, then they do not zoom smoothly and without breathing.

• They are faster, or if nit they are a hell of a lot cheaper for the speed.

• They make things clean and remove unnecessary mental clutter. I shoot better with primes, always have, always will and video has really bought this home to me yet again. The rule of making the most of the focal length you have* is so much more relevant in this space.

Which focal length would I call my go-to?

It seems 50mm (full frame equivalent) is the one, because I keep buying them. In a lot of respects it matters little. You use what you have, it moulds your thinking and becomes comfortable.

• 7Artisans 50mm T2 Spectrum on a full frame. My favourite Spectrum lens.

• Lumix-S 50mm f1.8 on a full frame. A very solid base.

• 7Artisans 35mm T2 Spectrum, 52.5 on APS-C crop.

• Lumix-S 35 f1.8 52.5 on APS-C crop. Near perfect with this crop.

• TTArtisans 35mm f1.4, 52.5 on APS-C crop (needs to be cropped). Imperfect but tons of character.

• Olympus 25mm f1.8 on M43. This one is closer to a 22 = 45mm in reality.

• Legacy 25mm f2.8 on M43. Old and nice to use with character.

• Sirui 24mm Nightwalker on M43. A 48mm and very natural feeling.

I have left the Helios 58 and Pentax 50 f1.4 SMC out of this.

The reality is, I like a slightly wider lens, something around a 40mm, but these are thin on the ground, so I am adapting. The Olympus 25mm comes closest, being closer to a 45mm equivalent, but is probably the least “cinematic” of the bunch.

My full range for video is 16mm (M43, no crop), to 150mm full frame/225mm APS-C or 1000mm (ish) in M43 with crops etc.

This space has been visited before, but I now have matched cameras (G9II and S5), so I can compare apples to relative apples.

Now there are other motivations here also.

Top end cinema lenses are nearly perfect or they are very specifically imperfect as desired by the cinematography world. My “budget” cinema lenses are imperfect, but not character specifically by design, just acceptably imperfect, sort of a “take what you get and justify it as cinematic” thing that is common at the moment.

Inconsistency in colour is the big issue.

What I need to know is, are they actually good at my intended working apertures (F2.8 to 4 full frame, 2 to 2.8 APS-C or 1.8 to 2 M43) or if not are they bad in a good way? Can my stable of 50mm lenses be used for a variety of looks, or are they too far apart to be used this way?

Do any stand out one way or the other?

Consistent testing practices included a tripod, manual focus confirmation, controlled light, timer release and the same default processing. I used the G9.II and S5.1 as their sensors match best. The S5.II is warmer than either.

Inconsistencies included not always using F/T4 for full frame and 2.8 for APC crops and f2.8 was used for two of the M43 lenses instead of f2, one because I had to and for some reason, the Spectrum 35mm is out of focus, which based on previous experience, is down to me not the lens.

I really am crap at this these days, but it does the job.

50mm T2 Spectrum

This one has a cooler, more Magenta look than the 35mm below, with lighter focussing and aperture rings. I like it more overall. Nicer to focus, Bokeh is nicely separated, if a little “interesting” and the centre is sharp. It is a cropped 75mm, an interview lens also. On the S5 Mk1 test camera, it is cooler than on the S5II.

35mm T2 Spectrum as APS-C

Obviously warmer, mechanically tighter and physically slightly shorter than the 50mm, this one is less liked for hand held work, but with a follow focus applied it is much the same. I can normalise these two, but find the 50mm is actually closer to the big IRIX in reality. The big advantage of this one is it is a 35 and a cropped 50mm, so one lens for two focal lengths like above, but possibly more useful.

35 TTArt f1.4 as APS-C

Horrible to use manually with its tiny little focus ring, the results are interesting, even exciting. I like this heavily letter-boxed as a faux anamorphic lens, warts (distortion, obvious vignetting, funky Bokeh, C.A, flare) and all.

Panasonic S-prime 35mm f1.8 as APSC

Interestingly, the Pana 35 and 50mm lenses also have colour consistency issues, just not as bad as the Spectrums. I have felt this before and this test bares this out. The 35mm on the warmer S5.II and the 50mm on the S5.1 would maybe even things out much like the Spectrums, but closer and reversed. Maybe the Spectrum 35 above is close to right as the Bokeh looks similar.

Panasonic S-prime 50mm f1.8

This is a solid and handy lens, one that can be cheap enough to get multiples for consistency. I feel it is close to the most neutral in every way, the “bar” to be set.

Sirui 24mm T1.2 on M43.

This is a full frame 48mm equivalent, so slightly wider and closer to my ideal. Like the 50mm Spectrum, it is light and pleasant to use hand held. Bokeh is nice, sharpness also. Colour is warm, like the Spectrum 35 and Pana 50mm.

Olympus 25mm f1.8 on M43

A modern lens in every way, I use it too little, especially for video. It has a nice balance of contrast and clarity for a modern lens, but focus by wire is an issue.

Legacy 25mm Oly F series Half Frame on M43

Straight from the half-frame range of the 60’s via the throw out box at the shop I used to work at.

Some thoughts.

The M43 lenses are close in colour, even though they are split by type, brand and in one case over 50 years! I actually had to check I had not exported the same shot three times.

I like the slightly wider coverage and the Sirui is capable of matching the clear cut-out of F4 on the full frame lenses with two extra stops of light.

Colour consistency is disappointing and something testing helps sort out. I have colour matched sets, just not in the same sets, nor on the sensors in the cameras. If I treat each lens as it’s own creature, then I guess no problem, but quick switches of “matching” sets, is not a thing.

Colour groups (roughly).

Cool Blue-Magenta: Panasonic 35, Spectrum 50, Artisan 35.

Neutral: Panasonic 50.

Warm Yellow-Green: Spectrum 35, all the M43 lenses.

My preferences, on these cameras, are:

The 35mm Spectrum for its warmth, versatility, close focus and overall rendering, but on the S5II the warmth is maybe a little too much and the 50mm handles better. I will make this the S5.1’s standard lens, the S5.II and 50mm the “B” cam.

The 50mm Panasonic for its neutrality and overall stability. This is the safe go-to for commercial interviews etc with the added benefit of being a cropped 75mm portrait lens. This and the Sirui below share similar Bokeh rendering.

The Sirui 24mm is probably the best cine lens overall except for heft, which can help. The G9II has the best stabiliser, but the lens is lighter. It all equals out I guess. The rendering, Bokeh, extra speed (my fastest lens), handling and slightly wider coverage, 67mm filters, all add up to a compelling choice. If the 16mm matches it’s colour, I may get that to. The Sirui and Spectrum 35 are close in rendering, so I can match the G9.II to the S5.1.

I bought the Spectrums on special and they make the S5.I more relevant, but the Sirui is probably a better “one lens” solution and the new 16mm makes it even more compelling.

The Olympus legacy 25mm is a sleeper. Nice to use, unique look, added character and nice focus throw.

The new Oly is also under used.

An odd thought comes to mind.

It seems most of my 50mm lenses are under used for stills, the last lenses to take usually, the opposite is true for video, where I find them the “one lens that does all”, even if a slightly contradictory “normal” focal length**. Handy and natural to use.

Other considerations are of course zooms. The Olympus 12-40 and Leica 12-60 are work horse lenses with added benefits, but that’s another story. The limit of f2.8 is also actually ideal for video.

My ideal set is a matched set of 35/50, 50/75 full frame/crop, but it seems getting true matching lenses is tough short of the sort of money I am not spending. The reality that some sensors also do not match (S5 vs S5II) may help ironically, but still, consistency across the range would be good.

• S5 (cool) likes the Spectrum 35 and the 50 Lumix (warm)

• S5II (warm) likes the Spectrum 50 and Lumix 35 (cool)

• G9II (cool) seems to treat all of it’s tested lenses equally (neutral/warm).

Now all I have to do is find matching LUT’s!

Ed. This of course does not cover flare, contrast, etc, but it is a start.

*Probably the opposite rule of “don’t make everything look the same by zooming” is closer.

**Not long, not wide, but not as neutral as the 40mm “true” standard.