These are the best Fujifilm lenses for video, chosen for how they combine quiet linear motors, controlled focus breathing, reliable stabilization, and balanced, weather-ready builds that behave well on gimbals and rigs. Video is about movement and repeatability: internal or short-throw focus groups that don’t shift weight, parfocal or near-parfocal behavior for zooms, OIS that pairs cleanly with IBIS, and clean rendering that grades well in Eterna/F-Log. Start with the hybrid all-star, XF 18–120mm f/4 LM PZ WR: power zoom for smooth focal moves, minimal breathing, near-parfocal behavior, focus/zoom rings mapped for precise pulls, and a constant f/4 that keeps exposure stable—perfect for docs, corporate, and YouTube. For stabilized wides and interiors, the XF 10–24mm f/4 R OIS WR is the rectilinear walk-through hero, while the XF 8–16mm f/2.8 R LM WR adds speed and flagship corner integrity for set-piece sequences. The pro mid-tele pair, XF 16–55mm f/2.8 R LM WR and XF 50–140mm f/2.8 R LM OIS WR, delivers prime-like sharpness, quick quiet AF, consistent color, and (on the 50–140) excellent OIS that blends smoothly with IBIS for handheld interviews and event coverage; the lightweight XF 16–80mm f/4 R OIS WR is the one-lens travel option with reliable stabilization. Long-end flexibility matters: the XF 70–300mm f/4–5.6 R LM OIS WR is a sleeper for b-roll compression and outdoor run-and-gun (near-macro close focus, TC support), the XF 100–400mm f/4.5–5.6 R LM OIS WR tracks well for wildlife and sports inserts, and the internal-zoom XF 150–600mm f/5.6–8 R LM OIS WR keeps balance steady on gimbals/monopods for distant action. If you want true cine mechanics, the FUJINON MKX 18–55mm T2.9 and MKX 50–135mm T2.9 are native X-mount, parfocal, constant T2.9, geared 0.8 mod with long-throw focus, matched color, and minimal breathing—made for follow-focus and matte box workflows. Prime-led shooters should build around LM glass with tidy breathing: XF 18mm, 23mm, 33mm, and 56mm f/1.4 R LM WR form a quiet, consistent quartet for interviews, street docs, and low light; XF 16mm f/1.4 R WR adds close-focus drama for product and food b-roll; XF 90mm f/2 R LM WR compresses backgrounds for cinematic portraits; the XF 80mm f/2.8 R LM OIS WR Macro brings Hybrid OIS and flat-field sharpness for tabletop detail sequences. Third-party additions expand creative options: Viltrox 13mm f/1.4 AF is a bright ultrawide for night streets and gimbal work, Sigma 18–50mm f/2.8 DC DN is a tiny, fast standard zoom for travel rigs, and Tamron 17–70mm f/2.8 VC adds extra range with effective stabilization. Image priorities for the best Fuji video lenses include minimal breathing (for natural pulls), linear motors (quiet, predictable racking), consistent micro-contrast and color, and WR builds that survive rain and dust; internal zooms (18–120 PZ, 150–600) and internally focusing designs keep balance predictable on motorized setups. Workflow tips make the kit sing—run a variable ND (step-up rings to standardize fronts), set “cinema” shutter around 1/50–1/125, use IBIS “boost” for locked-off looks and standard IBIS for movement, map AF speed/response for tasteful transitions, and favor Eterna/F-Log with mild diffusion for flattering roll-off. Practical kit recipe: anchor with XF 18–120 PZ for one-lens versatility, add XF 10–24 OIS for stabilized wides, pair XF 16–55/2.8 and XF 50–140/2.8 for event-to-portrait coverage, keep a fast LM prime (33/1.4 or 56/1.2) for low light, and slot in MKX cine zooms when your project needs geared, parfocal control. Whether you’re filming documentaries, weddings, product reels, travel walk-throughs, or wildlife sequences, the best Fujifilm lenses for video deliver smooth focus, stable frames, and cinematic rendering that make X-mount feel purpose-built for creators.