> Since this camera is full-frame, I really want something that captures that shallow depth of field but stays wide enough for handheld shots. I’m particularly concerned about the crop factor when using Dynamic Active Stabilization

I totally get the struggle—Dynamic Active Stabilization on the ZV-E1 is a game changer for smoothness, but that 1.4x crop is brutal on focal length! If you're looking for a budget-friendly way to get that wide look without breaking the bank on G-Master glass, I would suggest looking at the Samyang AF 18mm f/2.8 FE.

It's incredibly light (only 145g!) which is perfect for small gimbals, and you can usually find it for around $300-$350. At 18mm, even with the crop, you're still getting roughly a 25mm equivalent field of view. Another solid value pick is the Tamron 17-28mm f/2.8 Di III RXD. It’s bit pricier at ~$700, but the f/2.8 constant aperture gives you that bokeh you're after while being wider than the 20mm G lens. Just be careful with weight distribution if you're using a tiny gimbal like the Crane M3!

TL;DR from this thread: Most folks agree that while the Sony FE 20mm f/1.8 G is a low-light beast, it's just not wide enough once the Sony ZV-E1's Dynamic Active Stabilization applies that heavy crop.

In my experience, if you're worried about safety and keeping your gear stable on a gimbal, you really need to go wider than 20mm. Here's a quick comparison of the best bets:

1. Sony FE PZ 16-35mm f/4 G: This is the winner for versatility. The Power Zoom is super smooth, and at 16mm, you actually have breathing room after the crop.
2. Sony FE 14mm f/1.8 GM: If you're a low-light junkie and want that shallow depth of field, this is the safest prime. It's crazy wide, so even with the crop, you won't just be a giant floating head!

Honestly, I'd lean toward the 16-35mm for daily vlogging—having that extra width is a lifesaver for handheld work. Hope this helps!

Honestly, I've been there. I tried the Sony FE 20mm f/1.8 G first, but unfortunately, it felt WAY too tight once Dynamic Active Stabilization kicked in. It's disappointing because the bokeh is gorgeous, but my face was just huge! I eventually switched to the Sony FE PZ 16-35mm f/4 G and it's much better for travel. Even with the crop, 16mm gives you plenty of breathing room on a gimbal. Definitely go wide!

Honestly its ridiculous how much we pay for a camera like the Sony ZV-E1 just to have the sensor cropped into oblivion. I spent hours trying to build a custom handle extension out of random hardware store parts once just to fix this because I was so mad about the framing! It makes you feel like the manufacturers arent even testing these things in the real world for actual people. Its like they give us amazing tech with one hand and then snatch away the wide angle with the other...

• The 1.4x crop is basically a tax on our field of view.
• Paying thousands for lenses just to use half the glass is a total scam.
• Feeling like you need an 8-foot arm just to get your shoulders in the shot. It drives me absolutely insane because you see how fantastic the image is, but then you are stuck fighting the software crop the whole time! Total headache honestly.

Respectfully, I'd consider another option because those G lenses are super expensive! I'm pretty new to this, but honestly, the Samyang AF 12mm f/2.0 E for APS-C (running in crop mode) or the Tamron 11-20mm f/2.8 Di III-A RXD are amazing budget picks. I know they're not full-frame, but the 12mm is so wide that even with Dynamic Active Stabilization, you still get a fantastic view for way less money! FWIW, saving that cash for travel is a total win-win! lol

Nice, didn't know that

@Reply #1 - good point! That 16-35mm range is basically mandatory once you see how much the ZV-E1 eats into your field of view with the stabilization on. Ive had this camera since it dropped and honestly, the crop factor is something you just gotta live with if you want that gimbal-like smoothness without the actual gimbal bulk. Reading this really reminds me of when my buddy and I went to Iceland last year. It turned into a total mess because he insisted on bringing this ancient heavy cinema rig:

• We spent half the trip just trying to balance his setup on a rocky beach.
• He accidentally dropped a screw into the black sand and we spent an hour using magnets to find it.
• Every time the wind picked up, his entire rig would just vibrate like crazy while I was just standing there laughing. It was such a nightmare that we ended up missing the puffins entirely because we were stuck in the parking lot fixing his mount. Honestly, gear struggles are just part of the experience sometimes... definitely makes for a good story later even if you dont get the shot!