Looking for the best vlogging cameras for YouTube, filmmaking or social media? You’ve come to the right place – this is our full rundown of the best cameras for vlogging that we’ve tested, fully updated for 2024. Whether you need something cheap or have the budget to spend on a high-end model, you’ll find no shortage of choices here. If you want to create video that looks and sounds like it was made by professionals, a dedicated vlogging camera is a crucial investment.
You can vlog on smartphones – many people do, and you can check out our rundown of the to learn more about what they’re using. However, a dedicated camera will offer you so much more in terms of ergonomics, versatility, features and video quality. There are simple physical limitations to a smartphone in terms of sensor size and lens choice that a dedicated camera is always going to ultimately pull ahead.
For more on this, take a read of our guide to , and we also have a handy guide to . This guide consists of the vlogging cameras that have most impressed our reviewing team – and beneath the main entries, our contributing writers have also added some extra suggestions. We’ve included plenty of cheap and user-friendly options as well as the high-end stuff, so no worries if you’re shopping for your first ever vlogging camera – you should be able to find something here, and you may also want to scroll to our explainer section at the bottom of the page where we run through the key technical terms.
So, let’s get to the best cameras for vlogging, best cameras for filmmaking and the best cameras for YouTube. Based on the popular Sony RX100 series of cameras, the original Sony ZV-1 was . The offers a big step up from those currently shooting with a smartphone, while keeping the camera small and light enough to carry everywhere.
The may not have been as wide as some would like for handheld vlogging, though, and that’s one of the key new features in this brand new . The ZV-1 Mark II is clearly aimed at video more than stills photography. There’s no mode dial, meaning it is a little more fiddly to switch between the various video and photography modes.
That said, the simplified operation makes it a good entry point. Modes such as and make it easy for those wanting to shift focus to present a product to the camera or blur a background. Audio-wise, the camera has a and comes with a .
The ZV-1 Mark II offers good stereo sound recording straight out of the box, particularly if you are recording whilst speaking to the camera. There is a on the side with a hot shoe on the top, and with a side-mounted screen mounting, a mic doesn’t get in the way of viewing the image. It is worth noting that there is for monitoring the audio, as there would be on a more advanced camera.
With , , High Frame Rate mode capable of up to an incredible , Time-lapse recording, a built-in ND filter, Wi-Fi/Bluetooth control and vertical video for recording to Instagram and TikTok, there is plenty here to get you started in video. When you get more advanced, the camera also has the S-Log Picture Profiles that will help match footage with more professional Sony video cameras. The 18-50mm equivalent wide-angle zoom on this camera is perhaps its key feature, making it much better than the original for filming yourself handheld at arm’s length while keeping in the background too.
It also has a very useful touchscreen interface, another improvement on the original. The original Fujifilm X-S10 was an interesting design shift for Fujifilm, swapping its trademark exposure dials for a more conventional mode dial and control layout to appeal to a wider market. It’s a compact and powerful camera that’s still on sale and still well worth buying – but its replacement, the Fujifilm X-S20 really raises the bar and, while more expensive, we think it’s easily worth the extra.
For what it does, it’s actually very good value. The Fujifilm X-S20 uses Fujifilm’s existing 26MP X-Trans sensor but hooks it up to a faster processor and a faster UHS-II card slot to bring substantial improvements to the video capabilities – not to mention a huge increase in buffer capacity for burst mode shooting. And while the X-S20 looks practically identical to its predecessor, its slightly larger grip houses a bigger battery with an extremely impressive 750-shot capacity.
That’s practically DSLR territory. There is so much to like about this camera as a video too, including 4K capture up to 60p and advanced ‘open gate’ 6K shooting for more advanced filmmakers. Fujifilm has also improved the in-body stabilisation to offer up to 7 stops of shake compensation.
To get IBIS at all in a camera this compact is pretty remarkable. In fact the X-S20 is a bit of a wolf in sheep’s clothing. It might look like a ‘beginner’ camera – it is one of the cheapest in the current Fujifilm range – but it’s very far from that.
Not only is it a very good stills camera backed up by a good lens range, it’s also a powerful video camera that can go toe-to-toe with many more expensive rivals. At a glance: With Panasonic’s S series range of full frame cameras hogging the limelight in recent years, some predicted the company’s Lumix G series, which uses far smaller Micro Four Thirds sensors, would begin to fade away into irrelevance. The banishes such notions; this G series flagship is a hugely impressive hybrid that offers professional-level cinema camera features and performance at a price no rival (Panasonic or otherwise) can match.
Relatively compact, user-friendly and easy to handle, it’s a hugely powerful creative tool for filmmakers, and solid for still photography too. The GH6 isn’t perfect, with the retention of Panasonic’s contrast-based Depth From Defocus autofocus system perhaps the most disappointing thing about it. That said, the company has improved AF to the point where it rarely feels like a barrier to getting the shots you want here, and thoughtful design touches like built-in cooling (for unlimited recording time), a full-size HDMI output and a highly flexible rear touchscreen make the GH6 a joy to us In 2024 June , what they described as their first true ‘cinema camera’ with improved video features.
This new model is awaiting a comprehensive review by our team. The Canon PowerShot V10 immediately catches the eye. Shaped quite differently to a conventional camera, it’s currently something quite unique – and is an interesting innovation from Canon.
Working on the assumption that conventional vlogging cameras are not particularly easy to hold in a front-facing orientation, even with flip-down or flip-around screens, the V10 , with a that makes it easy for the user to film themselves. While it does shoot stills, this is a video camera first and foremost. It sits comfortably in the hand, with the record button falling right under your thumb, and can record in – though as we found in our testing, the latter comes with some pretty brutal time limits due to overheating.
The V10 , and has a front-facing screen for easy monitoring – though anyone who’s used to recording on a modern iPhone or Samsung phone will probably find it jarringly small. Is the Canon PowerShot V10 a successful experiment? In some ways, yes, in others not so much. The form factor undeniably makes a lot more sense for hand-held vlogging than a conventional camera shape, which is awkward to hold in a backwards orientation.
However, the , and while this will do for dealing with normal hand-held camera shake, you’ll quickly discover its limitations if you attempt to use the camera while walking. There are also a few operational oddities (why is it so fiddly to change frame rates?) that will likely be ironed out either in firmware updates or in the next model that comes along – assuming one does. While it’s not perfect, the Canon PowerShot V10 is a noble and interesting experiment, and is well worth investigating if you don’t like the idea of trying to film yourself with a conventionally shaped camera.
Hopefully there’s enough take-up to warrant Canon producing a PowerShot V20, as this is a promising idea that could use some refinement. Read our . DJI’s ‘Pocket’ cameras have carved out quite a specific niche that has earned them enduring popularity in the vlogging community.
The essentially unchanged formula is a small, 4K-capable camera and fixed lens, attached to a for super-smooth stable shooting. For run-and-gun filmmakers and vloggers, this is a than it would be to buy a standalone camera a handheld gimbal – and this remains true even though the DJI Osmo Pocket 3 is a notably more expensive proposition than the previous . This hike does come with improvements, however.
Most significantly perhaps is the larger sensor – whereas previous Pocket cameras used a 1/1.7-inch type sensor, here we get a larger , the type that is generally found in premium compact cameras. This is a great help in terms of video quality, particularly in low-light shooting situations (the Osmo Pocket 3 has a dedicated Low Light Video mode).
The other major improvement is the – whereas the tiny screen on the Pocket 2 was often more an annoyance than anything, here we get a larger and clearer LCD screen that can also be easily . Indeed, shooting in vertical mode is generally a very smooth process on the Osmo Pocket 3, reflecting the fact that more and more people are consuming content this way (much as many people – – wish they weren’t). The resolution and video quality of the Osmo Pocket 3 isn’t quite up to that of many of the interchangeable-lens cameras on our list, however the convenience and shooting versatility it offers put it in a league all of its own.
Read our . By this point, you almost certainly know what a GoPro Hero camera is. This main line of these diminutive action shooters has remained essentially unchanged in its fundamentals across 12 iterations – it’s a small, wearable, waterproof camera that produces great-quality video.
Over the years we’ve seen addition of such useful features as the , and the previous Hero 11 cameras introduced a new that made it easier to capture footage in (including vertical, for TikTok and its clones). These features are of course present and correct on the Hero 12 Black, the newest iteration. So what exactly does this latest GoPro bring to the table? The big addition that GoPro has been touting is the – specifically in its high-intensity modes (i.
e. high resolutions and frame rates). This has mostly been achieved via software, and in our review we did find that the 1720mAh Enduro battery held up pretty well over long bike rides and the like, especially when we left it running in the same mode for long periods.
When we chopped and changed between different modes, the battery dropped more quickly. We also noticed that the camera had a tendency to get quite warm, even with GoPro claiming to have made improvements on overheating. Ultimately though, the Hero 12 Black does everything the adventurous vlogger needs it to.
It creates brilliant-looking footage that’s bright and punchy, and the addition of expert features like Timecode Sync and the Log colour profile make it more attractive to the serious video content creator. Starting 2023 with a bang, Panasonic unveiled an updated full-frame mirrorless camera we’d long been waiting for – a Lumix model with . That’s right, the trusted but dated contrast-detect Depth from Defocus system was finally being cast away into the annals of history, and the Lumix S5 II is all the better for it.
It’s so much faster than previous Lumix S cameras, in both video and stills. While full-frame cameras from the likes of Sony are climbing vertiginously in price, Panasonic is being canny in . It makes for a hugely compelling option for vloggers and videographers with a budget, but not the high prices commanded by the likes of the or the .
As we noted in our review, the level of video flexibility and versatility offered by the Lumix S5 II is simply staggering, and thanks to a clever , it can effectively without overheating (which feels like a response to the much-publicised heating travails of the ). You’re really only limited by card space or battery power, which is great for a hard day of intense recording. The aforementioned autofocus system also benefits from the must-have feature in all new cameras – that can recognise humans and animals and lock onto them.
The in-body stabilisation is rated up to five stops of compensation, and the Lumix S5 II can output in addition to its suite of 4K options. Without a doubt, this is a highly capable vloggers’ and videographers’ camera, ideal for shooting in pristine 4K. If you are an aspiring filmmaker, then the Blackmagic Pocket Cinema 4K may be a great camera to start shooting.
It is a very affordable camera for filmmakers, with many advanced features prioritising image quality above everything else. It features a Four Thirds size sensor that has an impressive so that you can capture lots of highlight and shadow detail. It can also save footage in ProRes or Blackmagic Raw 2.
0 formats, meaning a considerable amount of colour detail is captured to enable image editing in post-production. The Pocket Cinema 4K can record footage in or the even wider . The camera can also shoot .
Those that want slow-motion footage can shoot at 120fps in Full HD resolution. The Micro Four Thirds lens mount means that there is a vast amount of quality lenses, new and used, lenses at affordable prices. It is worth noting though that there is no sensor or digital stabilisation.
The Pocket Cinema 4K relies on any optical lens stabilisation, so it is better suited to being on a tripod or gimbal than being used handheld. Autofocus isn’t the fastest, so it suits a more static environment where you can manually focus a lens on a subject. The Pocket Cinema 4K features a substantial 5-inch touchscreen perfect for navigating menus, focusing precisely, composing your shot and reviewing your footage.
As a fully-fledged cinema camera for filmmakers, the Pocket Cinema 4K has all of the inputs and outputs you would expect and some you might not. There are slots for CFast or SD cards to be used for storage, and you can even record directly to an SSD via the USB 3.1 port.
For audio, there’s a 3.5mm mic input and a Mini XLR input for professional microphones that require phantom power. It also allows you to monitor the audio via a 3.
5mm headphone jack. Although it may seem overkill to have such a powerful camera for shooting YouTube, for its price, it offers the best image quality for those recording reviews or demonstrations. It is also The Nikon Z30 is .
Designed and , it has a great basic set of features. It does lack a few headline features – for instance, there is no sensor-based stabilisation, although Nikon does have optically stabilised lenses. A good one is the NIKKOR Z DX 16-50mm f/3.
5-6.3 VR, which is available in a kit with the Z30 for around $840 / £830. There is also eVR, or Electronic Vibration Reduction, which is Nikon’s form of digital stabilisation for video.
For more, check out our picks of the . All the features you expect for getting started with vlogging are present, including a vari-angle screen for recording yourself, and a microphone socket. There is no headphone socket for monitoring audio.
Still, there are other great features, including a . The camera uses the entire width of the 20.99-million pixel sensor to shoot Although it may lack some of the more advanced features and recording options of other cameras in this line-up, its price makes it a significant step up for those shooting with a smartphone or compact camera.
The is essentially a refresh of the Olympus OM-D E-M5 Mark III, but it’s none the worse for that as its predecessor was an excellent camera already. It’s a Micro Four Thirds camera that uses a somewhat smaller sensor size than APS-C cameras but with is very popular in the video community and also used by Panasonic’s highly regarded Lumix G cameras, like the . The OM-5 is not designed specifically for video, and you can pretty much match its video features with cheaper alternatives.
The difference is that it has an electronic viewfinder as well as the fully articulating rear screen and some very powerful stills photography features that make it perfect for ‘hybrid’ shooters – content creators who need to produce both still photographs and video with the same kit and often swapping from one minute to the next. The in-body image stabilization is about as good as it gets, and while the video capture tops out at 4K 30p, you can shoot at up to 120p in full HD resolution. The E-M5 also comes with a built-in log profile for those who need to carry out some more advanced color grading later on.
Perhaps the key characteristics of the OM-5 for vlogging are its small size, its robust weather-proof construction and the wide choice of both zoom and prime lenses available, which are typically smaller and lighter than those for APS-C or full frame cameras. If you’re making your first step up to mirrorless from a smartphone, the is one of the smartest choices you can make. As we found out when we subjected the camera to a full test and review, the EOS R10 is impressively feature-packed for a sub-$1000 camera.
It’s lightweight, it’s easy to use, and there are a fair few smart features that should ensure it appeals to vloggers. A small but welcome thing – the video record button is prominently situated in just the right place on the top plate where it’s easy to press while pointing the camera back towards yourself at arm’s length. The 3in, 1.
04m-dot fully articulated touchscreen has a side-hinged design that means you can easily flip it forward to face yourself. There have been some cutbacks to make the camera as small and affordable as it is (compared to the rest of the EOS R series, at least). Probably the one that’s going to affect vloggers most is the lack of in-body image stabilisation, which means you’re reliant on lens-based IS (which can’t correct for roll around the lens axis) or Digital IS (which incurs a 1.
1x or 1.4x crop on your footage). Neither solution is ideal.
Other than this small niggle though, the EOS R10 is a well-priced and well-balanced vlogging option. The original was the first mirrorless member of Sony’s vlogger-focused ZV line-up, allowing for the use of E-mount lenses. Well, time has marched on and Sony has decided that a successor is warranted – the ZV-E10 II.
The good news is that it borrows its APS-C sensor from the cine specialist the , a move that allows the ZV-E10 to bring in a slew of filmmaker-focused features. The bad news? You probably guessed it – the ZV-E10 II comes at a significant price hike from the original ZV-E10 – that camera will currently set you back around £599; this new one is retailing for £950. So, is it worth it? We’ve only completed our initial tests so far, but all signs are pointing to yes.
If your budget stretches to the ZV-E10 II, you’ll be rewarded with the ability to capture 4K 4:2:2 10-bit All-Intra footage at 60fps, oversampled from 5.6K (or drop to 30fps to oversample from 6K). The footage looks brilliant, with 10-bit colour depth, and you can zhuzh it up as you like with Sony Picture Profile settings like S-Cinetone.
More significantly though, the ZV-E10 II now has a LUT import feature, allowing you to import colour profiles as you see fit and apply them to your footage. As we said in our first-look review, this is a brilliant feature in particular for up-and-coming filmmakers who want to experiment with different looks and emulate the styles of their heroes. Video autofocus is as excellent as we’ve come to expect from Sony – make sure to pair the camera with one of (it can be bought with an upgraded version of the serviceable PZ 16-50mm f/3.
5-5.6 kit lens) to take full advantage of it. The improved battery also means better recording times than the original ZV-E10, while also necessitating a larger handgrip that adds a bit to the bulk, but makes the camera much more comfortable to hold.
An acceptable trade-off, in our view. While we’re still completing our full tests of the Sony ZV-E10 II , early signs are very positive. If your budget reaches this far, you’ll find this to be an excellent mid-range vlogging camera.
If not, the original represents excellent value for money. The team at AP test and review loads of vlogging cameras – more than we could comfortably fit into this guide! If you’re on a budget, or a beginner, here are a few extra wallet-friendly and beginner friendly options that our review team think are particularly worth your consideration. Panasonic designed the with vlogging specifically in mind.
Consequently, it has a 3inch 1.8M-dot vari-angle touchscreen that can be flipped around to face forwards and OZO Audio tracking by Nokia. The latter can work in tandem with the camera’s face-detection system to track a subject around the frame and decide which of the three internal microphones to use.
The microphones can also be set to Auto, Surround, Front or Back depending upon where the most important sounds are coming from. It works well provided that there’s no wind around but there’s also a 3.5mm mic port.
Other nice features include a Rec Frame Marker, that shows the framing for different aspect ratios to help you to compose footage for a variety of platforms including Instagram stories; in-body stabilisation; and V-Log L that produces low-contrast, low-saturation footage. As well as making the footage more gradable, it’s easier to match it to video from other cameras. There’s a slight crop applied to 4K footage on top of the 2x focal length magnification factor caused by the G100’s Four Thirds type sensor.
That means that the 12-32mm lens actually looks a little longer than the 24-64mm effective length that it is for stills photography. However, it’s just about okay for handheld vlogging, especially if you mount the camera on Panasonic’s optional DMW-SHGR1 Shooting Grip. The Canon PowerShot G7 X Mark II was a surprise success amongst Youtubers, so for the Mark III version, Canon made vlogging a key focus.
Consequently, the G7 X Mark III can shoot 4K (3840 x 2160) video at 29.97/25fps without cropping. That means when you get the full width of the 24-100mm (equivalent) stabilised lens, which is important if you’re holding the camera at arm’s length and pointing it towards yourself.
Further good news is that the maximum aperture range is f/1.8-2.8, which enables some blurring of the background when you shoot wide open.
Handily, there’s also a 3-stop ND filter built-in that helps you to use the widest apertures in bright conditions. A collection of autofocus modes enable you to get the subject sharp. Significantly, these include Face Select and Track which works well in video mode, putting a box around your face when spotting you.
You can see this as the 3in 1,040,000-dot touchscreen tilts up through 180° making it visible from in front of the camera. There’s no viewfinder though. As usual, there’s Wi-Fi and Bluetooth connectivity onboard, but uniquely, the G7 X Mark III can live-stream direct to your YouTube channel.
To do this, you need to create a free image.canon account, then input the relevant information and tap the connection details into your camera. Then, provided that you have a decent Wi-Fi signal (or a hotspot from your network-connected smartphone), you’re free to stream.
All of this would count for nothing if the PowerShot G7 X Mark III didn’t produce high-quality results but thanks to its 20.1MP 1in type stacked CMOS sensor, it delivers excellent stills and video. It has a sensitivity range of ISO 125-25,600, but ideally, keep to ISO 3200 or lower.
Even though Fujifilm has now released the X-S20 featured above in our round-up, the mirrorless is still widely available, and makes for a great choice for anyone looking for a slightly more budget-friendly route into vlogging on the Fujifilm X system. The X-S10 can be bought in certain territories as part of a ‘vlogger kit’, bundled with an XC 15-45mm lens, an SD card, a GorillaPod flexible tripod and a RØDE shotgun mic – all of which will set you up nicely to get started with vlogging. The X-S10 is one of the more affordable Fujifilm cameras, but it still packs in plenty of vlogger-friendly features like a fully articulating rear screen, a pretty respectable IBIS system that provides up to 5.
5 stops of compensation, a 3.5mm mic slot and the ability to plug in monitoring headphones via the USB-C connection. It shoots 4K 30p video that looks excellent straight out of camera, benefiting from Fujifilm’s excellent colour science.
The sequel camera, the X-S20, is unquestionably the better option for video. It offers 6.2K 30p for a starter, as well as longer recording times and AI-powered subject-detection autofocus.
However, all this inevitably comes at a cost, and the X-S20 accordingly has a price hike of around $200/£200 if you’re buying new – and you could probably save even more cash getting a second-hand X-S10. Either way, you’re getting a mirrorless camera that’ll produce punchy and vibrant footage, and the X-S10 is definitely worth considering as an introduction to vlogging on the X system. Here are the key specs to think about when selecting your camera for vlogging, videography, and YouTube.
One of the first things to look for is . Nearly every camera on the market should be shooting at resolution. 4K televisions and screens are commonplace, and we are starting to see cameras that will shoot in 8K or higher.
If you are beginning to vlog or shoot for YouTube, however, there is currently no real need for you to be shooting in 8K; it is complete overkill. Probably not, since a lot of social video is shared at full HD 1920 x 1080 resolution. However, shooting in 4K does allow you to crop for any social media platform and will give you editing flexibility later.
Frame rate is how many images, or frames of video, the camera can record in a second. The more frames, the smoother the footage, and it also allows you to slow the footage down without it looking jerky. Hollywood movies are typically shot at a frame rate of , whilst PAL TV is 25fps with the US NTSC format at 30fps.
Higher frame rates are a multiplier of these, so you will commonly find 50fps and 60fps and 100 and 120fps. By recording at 120fps and then creating a video that is shown at 30fps, you will have a 4x slow-motion effect. So, if you are interested in shooting slow-motion footage, the higher the frame rate, the greater the slow-motion effect.
For an excellent slow-motion effect, look for at least 120fps. If you are shooting cooking or craft tutorials, you can use a . For more on how to choose the best tripod for you, check out our as well as our picks for the .
However, if you are using the camera handheld for vlogging or filmmaking on a family holiday, un-stabilised video can look shaky and almost unwatchable. will help keep the footage looking steady. Some cameras will also use .
Digital stabilisation crops into the frame and shifts the recorded area to smooth camera movements. A combination of all three types of stabilisation can keep handheld footage free of all but the most dramatic of movements. For cameras that don’t have stabilisation, a motorised three-axis stabiliser, also known as a , is a great way to create smooth footage.
People often say that poor footage can be forgivable, but poor audio can make a video unwatchable. For the most part, this is true. While you’ll be hard-pushed to find a camera that doesn’t have built-in microphones for recording audio, these will only be fine in ideal conditions, such as in a quiet environment.
For the best possible audio, . Make sure your camera has a microphone input socket, which will usually be a 3.5mm socket on the side of the camera.
This socket will allow you to add a microphone, which will usually be held on an accessory shoe on top of the camera. However, be aware that this may block or hinder the use of a front-facing screen. If you are planning on filming yourself, you will need to look for a camera that has a screen that can be turned so that it faces you whilst you are recording.
Generally, these come in two types – . Both have their advantages. Top-facing screens look more natural if you look at the screen rather than the front of the lens.
However, if you want to mount a light or microphone to a hot-shoe, it may prevent you from using the screen. Side-facing screens will leave the camera’s top free for mounting microphones and accessories. Still, if you find yourself presenting to the screen, it can look unnatural as your eye-line will always look off to the side.
In summary, remember to talk to the lens, not the screen! For those who aren’t filming themselves, a simple tilting articulation helps shoot at different angles, making your videos look more dynamic. If you find the screen on the camera too small, then you can look at or alternatively some phones like the Sony Xperia Pro can be used as external monitor. Shooting a video can drain a battery very quickly.
While battery life shouldn’t be a deciding factor when buying a camera, it is worth noting so that you can plan to purchase an additional battery, or two or three, if you are out shooting video all day. Something else is to look for charging. Most cameras will charge through a microUSB or USB-C connection, with many of these also able to be powered by USB whilst still recording.
A simple USB power bank could give you hours more recording by either keeping the battery charging when not in use or by being able to power your camera, though be aware that some cameras need newer USB Type C PD (power delivery) which is found only on newer/better power banks. As in photography, the sensor is probably the defining feature of a video camera. As a (very) general rule, the larger the sensor, the better the image quality will be.
A full-frame sensor will have a greater dynamic range, lower noise levels and better image quality at higher ISO sensitivities than a smaller sensor of the exact resolution. So, shooting with a camera with a full-frame sensor will produce better results than shooting with the smaller sensor of a smartphone. The downside is a larger sensor will mean a bigger camera and larger lenses, which may not be ideal if you want something small for vlogging.
See our guide to for more on the differences between the two, or take a look at: Depending on your vlogging and video needs and of course your budget, you either look for a zoom lens that will cover everything, or a variety of fast primes and zoom lenses that you can swap between. If you are shooting solely video content you might consider swapping for cine lenses. however if you really need a , is another question.
Probably it goes without saying that a fast aperture lens will allow you to capture beautiful shallow depth of field shots and a cinematic style. Some important points to keep in mind are: the size focus ring for better grip and more nuanced focus control, a de-clicked aperture ring to balance exposure more easily, IS-lenses with built in stabilisation, advanced coating to deal with high contrast scenes, and a fast and quiet motor to be able to keep up with movement. Read our detailed tips on what makes a good lens for video in our guide to the .
Finished with our guide to the best cameras for video? Don’t miss our in-depth guides to shooting video, including , as well as our no-nonsense guide to ..
