The Sony 0.8x wide conversion lens attaches to the front of a Sony EX3, EX1, PMW-200, or PMW-300 lens, providing a wider angle of view. It is a zoom-through adapter, meaning it works at all focal lengths.
The lens adapter is a bayonet mount, replacing the Sony lens shade. It’s an excellent option when shooting with most of Sony’s ENG/EFP cameras, especially indoors or in cramped spaces.
The Tokina 16-28mm f/2.8 zoom lens for Canon is a full frame wide zoom. That means it works on any Canon EF or EF-S mount camera. Most shooters with crop cameras will probably prefer Tokina’s more portable 11-16mm f/2.8 II lens, though. This lens is very popular with photographers, but docu-style video shooters will appreciate the full-time manual focus option and useful zoom range.
This lens performs exceptionally well, outperforming most wide zooms from Canon, even wide open. Autofocus is fast and not too loud. Distortion is minimal, making this a great lens for architecture and interiors. The lens hood is built in, and does not accept filters. It close focuses to about ten inches, giving you some creative options for extreme perspective.
The Sigma 18-35mm f/1.8 zoom lens for Canon is the fastest zoom lens available for DSLR and mirrorless cameras. Part of Sigma’s Art line, the lens is one of the best-reviewed zoom lenses for photo and video, ever. It is designed specifically for crop (APS-C) sized sensors, and will not work with larger, full frame cameras.
This ultrafast zoom is perfect for shooting indoors and at night. The wide-angle to medium focal length is well-suited for architecture and landscape shots. An HSM motor provides fast, silent autofocus for photo and video. Like all Sigma Art lenses, it is compatible with the Sigma USB Dock.
The lens has 72mm filter threads and close focuses to 11″.
Canon’s 17-55mm f/2.8 IS zoom lens is a versatile option for anyone shooting on an EF-S mount on a crop factor camera or S35 video camera like a C100. The image stabilization, zoom range, and fast optics make it our first choice for a video zoom on any Canon Rebel. It also works well on a GH4 or other MFT camera, especially with a speedbooster.
The lens is a massive upgrade from Canon’s 18-55mm kit lens, with a speed advantage of 2/3 to 2 full stops. This makes it much more useful indoors. This lens works only with crop factor cameras with EF-S mounts. For a full-frame camera, we suggest the Tamron 24-70mm f/2.8 VC lens instead.
The Canon 300mm f/4L IS telephoto lens is an incredible lens for sports, wildlife, and outdoor portraiture. The extremely long telephoto is an EF mount, and will work with both full frame and crop factor cameras.
The lens, while not pocket-sized, is a pretty manageable size and weight when compared to other professional lenses in this focal range. It close focuses better than any 300mm lens in Canon’s lineup. This makes it possibly the best lens ever made for faux-macro work like dragonflies, small mammals, and other tiny, skittish things.
The built-in image stabilization makes a huge difference for photo and video on a lens this long. A retractable hood is built-in.The lens is exceptionally sharp even wide open, and backgrounds fall off to a beautiful bokeh. It can be fitted with our 1.4x teleconverter to function as a 420mm f/5.6 lens. Like many L-series Canon lenses, it accepts 77mm front filters.
The Rokinon (or Samyang) 35mm T1.5 cine lens is identical optically to the Rokinon 35mm photo lens.Rokinon has de-clicked the aperture and added gears for focus and iris, making it better suited to shooting video.
This lens has an EF mount and 77mm front filter threads.
The Rokinon (or Samyang) 24mm T1.5 is a fast prime lens with cinema gears for Canon EF and EF-S mounts. The lens is fully manual, with focus and declicked aperture controls on the barrel. The lens is wide without being extreme, covering a field of view of approximately 74 degrees horizontally on full-frame cameras.
This lens matches well with the other prime Rokinon cine lens rentals we offer. It accepts 77mm front filters.
The Canon 35mm f/2.0 IS USM EF prime photo lens is the updated version of Canon’s 35mm f/2.0 lens, with improved resolution and image stabilization added. This lens works with both full-frame and crop-factor cameras, which includes every DSLR Canon has ever made.
35mm is a useful, slightly wide lens on a full-frame camera like a Canon 5D, and a “normal” lens on an APS-C sized crop factor camera. The image stabilization and high speed make it very useful indoors, for shooting photo as well as video.
The Rokinon 14mm f/2.8 lens fits all Canon digital cameras and anything else with an EF or EF-S mount. 14mm is a great length for dramatic wide angles. This is the widest fullframe lens Rokinon offers. It’s also a very useful wide on smaller sensors like APS-C, as well as smaller sensors like on Blackmagic and Panasonic cameras.
It’s not particularly fisheyed, but there is some mustache distortion, which can be addressed in post processing. The lens is manual focus only, but focusing on the fly isn’t much of an issue with a lens this wide.
This is the photo version of the lens, with a clicking aperture ring and no focus gears. We also have the cinema version, for video shooters. The lens hood is fixed, so round filters aren’t an option.
This lens is our most popular ultrawide lens rental for photographers.
Rokinon adapted their prime full-frame photo lenses for video shooters and created a revolution in affordable cinema optics. Optically, this EF 85mm T/1.5 is the same lens at their 85mm f/1.4, but with a de-clicked aperture and teeth on the focus ring to accept any standard follow focus. This is the best-reviewed of all their cine primes, and the fastest long lens in our inventory. Wide open, we think it holds its own against the Canon CN-E 85mm, which is incredible at this price point.
This is our new go-to lens for interviews, and indispensable for events in low light. Even photo shooters can get some great images out of it, although if you prefer an autofocus prime, look at the Canon EF 85mm f/1.8.