The best Canon RF lenses for video

With leading technologies, from smooth and powerful AF motors to electronic focus breathing correction, Canon RF lenses have much to offer today's filmmakers. But which are the best RF lenses for video?
Eight Canon hybrid RF lenses pictured against a black background.

Some lenses are best for stills and others are best for video, but Canon's hybrid RF lenses provide the best of both worlds. From cinematic capabilities to a dedicated Iris Ring1, these features give the hybrid lenses a competitive edge and make them a must-have for videography and photography.

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Canon's mirrorless EOS R System has been designed with the needs of videographers and filmmakers in mind right from the start. From the groundbreaking Canon EOS C80, EOS C50 and EOS R5 C Cinema EOS cameras to revolutionary RF lenses such as the Canon RF 5.2mm F2.8L DUAL FISHEYE for 180° VR productions, the advanced RF lens mount at the heart of the design unlocks new opportunities for innovative video cameras and lenses.

A normal cinema lens tends to be relatively large because it incorporates a mechanical mechanism to help overcome focus breathing. But the high-speed communication of the RF mount and the use of VCMs2 and Nano USMs to control the focusing and floating lens groups means that they can suppress focus breathing optically without the need to use large mechanisms, enabling a very compact lens design.

Why is an RF lens ideal for shooting video?

Another aspect of RF lenses that's been specifically developed for video is the aperture mechanism. All RF lenses enable the aperture to be adjusted in 1/8 stop increments, which is much more precise than the 1/3 stops used for stills photography. "Changing the aperture in 1/3 stop increments while you're filming creates noticeable step changes in brightness," says Tibor Szövetes, Canon Europe Product Marketing Specialist. "But with 1/8 stop adjustments, that change is extremely smooth and imperceptible.”

Canon hybrid RF lenses for video and stills offer even more refined control of the aperture. Hybrid lenses such as the RF 85mm F1.4L VCM, RF 35mm F1.4L VCM and RF 24-105mm F2.8L IS USM Z are equipped with an Iris Ring1 that supports manual 1/32-stop adjustments while filming movies. A switch on the lens can be used to mechanically lock the Iris Ring in the ‘A’ position, enabling electronic adjustments of the aperture to be made via the camera when shooting stills. Some cameras, including the EOS R1 and EOS R5 Mark II support the Iris Ring for both video and stills.

Canon hybrid RF lenses have a similar colour balance to the range of Canon CN-R Prime lenses, which are known for their refined optical performance, accurate colour reproduction and fast T-stops. This means that during grading there will be less need to align the colour of the footage recorded with different lenses, enabling hybrid RF lenses and RF Cine Primes to be used interchangeably on a production.

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The expanding hybrid RF lens range

The Canon hybrid RF lens range includes primes and zooms, with each type of lens sharing a consistent lightweight design that makes for an efficient workflow, whether you’re shooting video, stills or a blend of both. Hybrid RF lenses such as the ultra-wide RF 20mm F1.4L VCM and telephoto RF 85mm F1.4L VCM are identical in size and have the same fast f/1.4 maximum aperture and 67mm filter diameter, for example – with all the control rings and custom buttons positioned in the same place. This makes it easy to switch between the lenses and operate them in the same way, Tibor explains. “Even the weight difference is minimal, which is useful when you’re shooting video on a gimbal, as you’ll only have to make minor adjustments to keep everything in balance if you change the lens.”

The hybrid RF zoom lenses also share a common design, including an Iris Ring, a constant f/2.8 maximum aperture across the zoom range and an 82mm filter thread size. Where the hybrid prime lenses provide the faster aperture values and cinematic look that some filmmakers crave, the hybrid zooms provide flexibility and reach, and enable dynamic reframing of scenes without the need to switch lenses.

These are just a few of the features that make RF lenses great for video, but which of the growing range of RF zooms and primes offers the most creative features for filmmakers? Here is a selection of the best Canon RF lenses for video to consider, to pair with the RF mount models among the best Canon cameras for video.

A spooky tree lit dramatically from behind at night, shot on a Canon EOS R5 Mark II with a Canon RF 14mm F1.4L VCM lens.

Combining the widest field of view in Canon’s hybrid RF lens range with a bright f/1.4 aperture, the Canon RF 14mm F1.4L VCM gives videographers the freedom to capture dramatic low-light scenes.