These are the best Panasonic lenses for video when you want quiet, reliable autofocus, minimized focus breathing, and stabilized, color-consistent optics that balance perfectly on gimbals—across Micro Four Thirds (Lumix G) and full-frame L-Mount (Lumix S). On MFT, the Leica DG Vario-Summilux 10–25mm f/1.7 and 25–50mm f/1.7 operate like a two-zoom prime set: constant f/1.7 speed, near-parfocal behavior, long, linear-feel throws, and minimal breathing for cinematic pulls from establishing wides to tight interviews; the Leica DG 8–18mm f/2.8–4 is the filter-friendly ultra-wide for interiors and travel reels, while the Lumix G Vario 7–14mm f/4 brings bulbous-front drama for real estate walk-throughs and stage coverage. The workhorse stabilized pair—Lumix G X 12–35mm f/2.8 II/III and 35–100mm f/2.8 II/III—adds Power O.I.S. that teams with Body I.S. (Dual I.S.) for gimbal-like handhelds, close-focus “near-macro” for B-roll, and snappy, quiet AF for live events; add the Leica DG 12–60mm f/2.8–4 for one-lens travel and the Leica DG 50–200mm f/2.8–4 or 100–400mm f/4–6.3 II when you need stabilized reach for wildlife cutaways. Compact power-zoom options—the Lumix G X 14–42mm PZ and 45–175mm PZ—deliver smooth, motorized zooms in tiny rigs, great for corporate and run-and-gun. Prime shooters get clean, fast looks from the Leica DG Summilux 12mm f/1.4, 15mm f/1.7, and 25mm f/1.4 II, plus the Leica DG Nocticron 42.5mm f/1.2 for hero interviews with O.I.S. that plays nicely with Dual I.S.; the tiny Lumix G 9mm f/1.7 adds close-focus foreground drama and handheld night scenes. On full frame, build an A-cam/B-cam backbone with the Lumix S PRO 24–70mm f/2.8 (controlled breathing, sealed, sharp) and Lumix S PRO 70–200mm f/2.8 or f/4 O.I.S. for stage and sports; the Lumix S PRO 16–35mm f/4 or compact Lumix S 14–28mm f/4–5.6 Macro covers ultra-wide interiors and adds surprisingly useful close focus at 28mm, while the sleeper Lumix S 20–60mm f/3.5–5.6 starts at an unusually wide 20mm for vlogs, car interiors, and handheld doc without rebalancing. The Lumix S 24–105mm f/4 Macro O.I.S. is the one-lens doc zoom—0.5× for detail inserts, optical IS that fuses with Body I.S., and neutral color that grades cleanly; for long, stabilized B-roll, the Lumix S 70–300mm f/4.5–5.6 Macro O.I.S. and S 100–400mm f/4.5–6.3 O.I.S. keep horizons steady without a monopod. Matched primes make multi-cam edits seamless: the Lumix S 18/24/35/50mm f/1.8 quartet shares size, weight, ring layout, and 67mm fronts for painless gimbal swaps and consistent color, the Lumix S 85mm f/1.8 flatters faces while staying light, and the Lumix S 50mm f/1.4 PRO brings flagship sharpness and luxurious bokeh for narrative and commercial work; close-up fidelity comes from the Lumix S 100mm f/2.8 Macro with quick linear AF, a focus limiter, and crisp 1:1 detail for product scenes. Across the lineup, Panasonic strengths matter on set: quiet linear motors keep audio clean, selectable linear MF response enables repeatable rack focus, micro-stepped apertures prevent flicker in iris ramps, Nano Surface/Arne coatings preserve contrast under backlight, and stabilization ecosystems—Dual I.S. on G, Body I.S. + O.I.S. on S—deliver glide-like handhelds at slow shutters. Practical picks: run 10–25/1.7 + 25–50/1.7 for an MFT two-zoom cine kit, or 12–35/2.8 + 35–100/2.8 for stabilized event work; add 8–18 for interiors and 50–200 or 100–400 for tele B-roll. On L-Mount, anchor with S PRO 24–70/2.8 + 70–200 (2.8 or 4), add 16–35/4 or 14–28 for wides, 24–105/4 Macro O.I.S. for one-lens docs, 20–60 for ultralight rigs, and the S f/1.8 primes (plus 50/1.4 PRO or 100/2.8 Macro) for interviews and product. Whether you’re filming handheld documentaries, streaming multi-cam events, or crafting commercial sequences on a gimbal, the best Panasonic lenses for video combine stabilized, breathing-controlled optics with fast, quiet drive—so footage looks polished straight off the card and your crew moves faster between setups.