I recently picked up a Panasonic S1H for video work and am looking to build out my lens kit. As a budding videographer, I'm looking for sharp, fast L-mount glass with silent autofocus and stabilization for shoots. What are your top recommendations?
Re: "Like someone mentioned, the f/2.8 zooms are the..." - honestly, same here. I had issues with those massive zooms being way too front-heavy. Its frustrating when you spend that much and the setup feels unbalanced... definitely not as good as I expected for the price. If you're building a kit on a budget, look at the f/1.8 primes instead. They're way more practical for real-world video and won't break the bank:
- Panasonic Lumix S 24mm f/1.8
- Panasonic Lumix S 35mm f/1.8
- Panasonic Lumix S 50mm f/1.8
- Panasonic Lumix S 85mm f/1.8 The weight is basically identical across the set, so you arent fighting your gimbal all day. Plus, they're much easier on the wallet. Ngl, I wish I'd just started with these rather than chasing the expensive Pro glass first...
Look, i tried the standard stuff and honestly the focus breathing on those Sigma zooms was just not as good as expected for pro video. It totally ruins your rack focuses. If you want actual performance, native Lumix glass with linear motors is basically the only way to go on the S1H. I was really disappointed with the Sigma 85mm f/1.4 DG DN Art for video because the stepping motor feels jerky compared to the native stuff. For real work, Panasonic Lumix S 70-200mm f/2.8 O.I.S. is the winner. The Dual IS 2 is miles better than standard lens stabilization. I also use the Panasonic Lumix S 24-105mm f/4 Macro O.I.S. a lot. Its only f/4 which is annoying in low light, but the lack of focus breathing is way better than the 24-70s everyone else is talking about. Even the expensive Leica APO-Summicron-SL 35mm f/2 ASPH had some issues with AF noise that I didnt expect for that price point. Stick to the S Pro line if you want the best motor control.
There are several great L mount lens options well-suited for video work:
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Panasonic Lumix S Pro 24-70mm f/2.8
- Versatile focal range ideal for many video applications
- Constant f/2.8 aperture provides shallow depth of field and low light performance
- Fast, silent autofocus optimized for video
- Rugged, weather-sealed design
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Sigma 24-70mm f/2.8 DG DN II Art
- High quality optics deliver sharp footage
- Bright f/2.8 constant aperture
- Fast, accurate autofocus motor
- Durable construction with brass bayonet mount
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- Ultra-wide angle zoom for establishing shots and unique perspectives
- Bright f/2.8 maximum aperture throughout zoom range
- Minimal focus breathing
- Weather-sealed, rugged build quality
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Leica Summilux-SL 50mm f/1.4 ASPH
- Fast f/1.4 prime lens for shallow depth of field and low light
- Exceptional sharpness and contrast
- Apochromatic design minimizes color fringing
- Manual aperture ring and focus for precision control
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Panasonic Lumix S Pro 70-200mm f/2.8 O.I.S.
- Versatile telephoto zoom range
- Built-in optical image stabilization for handheld shooting
- Constant f/2.8 maximum aperture
- Weather-sealed design for harsh conditions
The best lens choice depends on your specific video needs and budget. The 24-70mm zooms provide great versatility as all-around video lenses. The Sigma 14-24mm is ideal for wide-angle establishing shots. The Leica 50mm excels for shallow DoF interview/portrait shots. And the 70-200mm is perfect when you need some telephoto reach.
The new released Sigma 24-70mm f/2.8 DG DN II Art is a great video lens for L-mount cameras.
Like someone mentioned, the f/2.8 zooms are the standard pick, but honestly I've been pretty disappointed with them for solo video work. I remember a shoot last year where the weight shift on my Sigma 24-70mm f/2.8 DG DN Art kept throwing my gimbal into vibrate mode every time I changed focal lengths... it was a total mess. Not as good as I expected for pro gear. I eventually gave up on the zooms and built a kit around the f/1.8 primes. The Panasonic Lumix S 24mm f/1.8 and Panasonic Lumix S 50mm f/1.8 are absolute lifesavers because they're the exact same size. You can swap them in seconds without re-rigging your whole follow focus or gimbal. They usually go for about $450 to $500. Sadly, most people ignore them because they want the f/1.4 look, but the workflow speed is way more important when you're doing DIY setups... just my experience tho.
Caught this a bit late but you might want to be careful about how the lens communicates with the S1H sensor. The DFD system is super picky and third party glass can sometimes hunt if the profiles arent perfect.
- I would suggest looking at the Panasonic Lumix S 50mm f/1.8 specifically because the focus breathing is basically non-existent compared to some of the bigger zooms mentioned earlier. It is way easier on a gimbal too.
- If you do grab something like the Sigma 35mm f/1.4 DG DN Art, make sure to check the firmware version immediately. I have seen some weird micro-jitters in the stabilization when the lens software is out of date. Honestly, holding the S1H reminds me so much of my first real gig with an old Panasonic AG-HVX200 DVCPRO HD camcorder. I used to spend hours just trying to get those P2 cards to offload correctly at the end of a long day in some cramped hotel room. I actually ran into an old producer friend last night who still swears by those old CCD sensors for a specific documentary look... totally crazy how far we have come with these full frame setups. Anyway, just watch out for those firmware mismatches.
Here are my top two recommendations for L-mount video shooting:
1. Sigma 24-70mm f/2.8 DG DN Art
- Versatile standard zoom range perfect for most shooting scenarios
- Constant f/2.8 aperture for consistent exposure and shallow depth of field
- Excellent optical performance with minimal focus breathing
- Fast, quiet autofocus suitable for video
- Weather-sealed construction at a competitive price point
2. Panasonic Lumix S Pro 50mm f/1.4
- Beautiful shallow depth of field with f/1.4 aperture
- Superior low-light performance
- Minimal focus breathing for professional-looking focus transitions
- Exceptional sharpness even wide open
- Silent focus motor ideal for recording audio
Both lenses offer excellent image quality while serving different purposes - the Sigma for versatility and the Panasonic for that premium cinematic look in a standard focal length.
Facts.
