The best Canon RF lenses for shooting video

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 C70 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.

"The high-speed communication between the lens and the camera is a big advantage," explains Canon Europe Senior Product Specialist Mike Burnhill. "One of the benefits is that we are able to use electronic focus breathing suppression to prevent the angle of view from changing as you focus.

"A normal cinema lens tends to be relatively large because it incorporates a mechanical mechanism to help overcome focus breathing. But the RF mount and the use of Nano USMs and floating focusing groups means that we can do that electronically, enabling a very compact lens design."

"They share the same image quality characteristics as our full-frame CN-E Primes," says Ram Sarup, Canon Europe Product Marketing Specialist. "This means they have a very sharp and clean optical performance, which makes them perfect for 8K, 4K and HDR productions. The compact, robust build of the CN-R Primes is designed to withstand the rigours of professional video production, and all the lenses in this series benefit from the advanced communication capabilities offered by the RF mount."

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.

• Best Canon RF lenses for cinematic productions
• Best standard full-frame Canon RF lens
• Best Canon RF lens for bokeh
• Best macro Canon RF lens for video
• Best Canon RF lens for hybrid shooters
• Best Canon RF lens for talking head interviews
• Best ultra-wide Canon RF lenses for video
• Best multipurpose Canon RF lens for video
• Best Canon RF lens for travel video
• Best telephoto zoom Canon RF lens for video

Optical quality is exceptional. Each of the CN-R Primes is equipped with an 11-blade iris – a distinctive feature that sets them apart from RF photography lenses. "That adds to the character of the lens," adds Ram. "Especially in terms of the bokeh, the halation and sun stars."

Build quality is equally as impressive. The lenses are constructed to the same high standards as the CN-E Primes and Sumire Primes, but the extended length of the RF mount cinema lenses and the knurled design of the mounting ring provides an extra level of comfort when changing lenses and shooting handheld.

For Canon EOS C70 and EOS R5 C users who have been using EF mount lenses on their RF mount cameras via an EF-EOS R adapter, the ability to have a dedicated video lens is a big advantage, suggests Ram. "One thing that's true for any adapter that you buy from any manufacturer, is that eventually you could start to see some play between the adapter, the lens and the camera body – especially if you're frequently changing lenses, using large and heavy lenses, or working on a production where cameras are mounted on vehicles and constantly being whipped around. The RF mount gives you a more rigid and reliable connection between lens and body."

"With the RF 50mm F1.2L USM lens attached to your camera, you can turn any space into a stunning location," adds Mike. "It also produces flattering skin tones and has a natural perspective on a full-frame camera, making it a great choice for filming people."

The bokeh-enhancing DS effect is really only beneficial at apertures larger than f/2.8, so this is a lens that almost certainly requires ND filters when shooting video. "One thing to bear in mind, though, is that the DS coatings reduce the light transmission value to T2.2 when shooting at f/1.2, so the standard version of the lens might be a better option if you're shooting in low light," Mike suggests.

The RF 100mm F2.8L MACRO IS USM's Dual Nano USM actuators drive this powerful and quiet autofocus, which is ideal for shooting video. The lens design also suppresses focus breathing for smoother transitions when changing the point of focus – whether you're using it for macro subjects or for portraits or weddings and events.

The RF 100mm F2.8L MACRO IS USM also has a variable Spherical Aberration Control to adjust the look of the bokeh both in front of the subject and behind it along with a flattering soft focus effect. This innovative technology makes the lens an exceptionally versatile choice for a wide range of creative needs.

"Before the launch of this lens, users would naturally reach for the Canon RF 24-105mm F4L IS USM if they needed a lens longer than the outstanding RF 24-70mm F2.8L IS USM," John says. "But that would mean losing the greater low-light capabilities and shallower depth of field offered by the latter's f/2.8 aperture. The RF 24-105mm F2.8L IS USM Z fills that gap, offering both the larger aperture and extended reach."

The RF 24-105mm F2.8L IS USM Z is Canon's first lens to offer a dedicated aperture control dial, adds Ram. "This dial can be locked in the Auto position for photography and unlocked for smooth aperture adjustments when shooting video."

Another reason why this lens is perfect for filmmaking is the optional Canon Power Zoom Adapter PZ-E2. This accessory provides users with a servo control unit for professional ENG-style operation and control. The Power Zoom Adapter PZ-E2B, with its 20-pin connector, allows the use of Canon's remote focus and zoom demand accessories similar to broadcast lenses.

"With either of the adapters fitted, power zoom can be activated using the Canon EOS Utility or Canon Camera Connect apps," explains John. "The use of a power zoom makes video zoom transitions much smoother. Unlike previous zoom adapters this is powered by the camera, and you also have the option to add power via the USB port."

The RF 24-105mm F2.8L IS USM Z itself has excellent movie capabilities in terms of optical characteristics. It has minimal focus breathing and electronically enabled parfocal performance thanks to the Nano USM focus motor, which means a focus point can be maintained while zooming."

"If you're filming run-and-gun style or simply shooting handheld, then the lens's 5.5-stop Image Stabilizer is a big advantage. If it's paired with a camera that has In-Body Image Stabilisation (IBIS) then up to 8-stops of coordinated image stabilisation is possible.

"There's a Nano USM autofocus motor which enables smooth and virtually silent operation, and the lens supports electronic focus breathing correction and Eye AF when it's used with a camera that offers these functions."

While the EF 135mm f/2 L USM has a reputation for sharpness, the Canon RF 135mm F1.8L IS USM provides enhanced image quality. A nine-blade aperture gives an improved starburst effect with specular highlights too, as well as producing attractive bokeh. "It's a great lens for creating low-light, 'dreamy' looking shots," adds Mark.

The Canon RF 15-35mm F2.8L IS USM lens follows on from the Canon EF 16-35mm f/2.8L III USM, although the extra millimetre at the wide end gives a notable gain in the angle of view. And it's not just filmmakers using full-frame EOS R System cameras that benefit.

"For the Super 35mm Canon EOS C70 user, this lens gives the equivalent angle of view of a standard zoom," explains Mike. "The camera's electronic stabilisation works co-operatively with the lens's Image Stabilizer as well, giving you an enhanced level of stability."

When you need to go wider on the EOS C70, reach for the Canon RF 10-20mm F4L IS STM. This groundbreaking professional ultra-wide zoom is the widest full-frame lens with a fixed aperture. It's also the first zoom of its kind to offer either autofocus or image stabilisation. The RF 10-20mm F4L IS STM opens up new opportunities for shooting video in confined spaces or adding impact to exterior shots, particularly when paired with a full-frame camera such as the EOS R5 C.

"To achieve this extreme focal length in the past, you would have had to use a retrofocus system and place all the optics further from the sensor," says Mike. "But the RF mount allows us to position the optics closer to the sensor, so we don't have to bend the light as much. The basic formula is much simpler in design, and most of the complex optics we've added are there to deal with the aberrations that often happen with such wide-angle lenses.

"There's only a single element focusing group, which means that we've also been able to use an STM [Stepping Motor] for the first time in an L-series lens. STM technology is very good for video because it's so smooth and quiet. The STM unit in the RF 10-20mm F4L IS STM is more advanced than those in our entry-level lenses, so, rather than having to recalibrate, the lens stays at the same focusing distance when you turn the camera off and back on again. It also supports Full-time Manual focusing override.

"Another benefit for filmmakers is the new type of Image Stabilizer that we have developed for this lens," Mike adds. "Peripheral Coordinated Control IS is designed to reduce the wobble that can sometimes be seen in the corners of a wide-angle video shot on a camera with IBIS. That wobble is caused by perspective shift – the same effect that you get if you look up and down at a tall building. We've been able to combine the IS systems in the camera and the lens to fix that."

The lens doesn't have the electronic focus breathing suppression of the Canon RF 70-200mm F2.8L IS USM lens, but it is armed with a 5-stop Image Stabilizer and Nano USM for rapid, quiet autofocus and smooth pull-focus effects.

"One of the core functionalities of the RF mount is the wide diameter and short flange back, which allows us to design lenses with very large image circles. With a large image circle, you can move the camera sensor around more and correct for much larger amounts of vibration.

"The Canon RF 28-70mm F2L USM lens has a large image circle, which means you can actually get 8-stops of stabilisation (in stills terms) with the IBIS of the EOS R5 and EOS R­­­­­­6. This is a big lens with no image stabilisation, but it's now able to outperform many lenses from other systems that have built-in stabilisation. You're able to achieve gimbal-like performance without a gimbal."

The Canon RF 70-200mm F2.8L IS USM lens is the first RF lens to feature dual Nano USMs. As Mike explains, these are integral to the lens's outstanding suppression of focus breathing. "The optical design features a floating lens group that can be controlled independently. You normally have four to five elements in a focusing group, and they move together, but in this case, the floating group can do other things. That's why we have two Nano USMs for this lens, so you can control two different lens groups working independently.

"Another benefit of being able to move the floating focus group is that you can increase the focusing distance internally, so it focuses much closer than the EF version – right down to 70cm.

"The EF version of the RF 70-200mm F2.8L IS USM was such a popular lens for video; it has a versatile zoom range, it's built like a tank and the f/2.8 aperture is ideal for some level of control over the background," Mike says. "But now you've got the 1/8 stop aperture adjustment, even faster focusing and the floating system inside to compensate for the focus breathing."