These are the best Rokinon lenses with image stabilization—well, sort of. Rokinon/Samyang almost never builds optical stabilization (OIS) into their lenses, so the winning strategy is pairing their fast, affordable glass with bodies that have in-body image stabilization (IBIS) and using smart rigging; here’s what to look for as you buy: prioritize IBIS-equipped cameras (so the lens benefits from 3–5+ stops), lighter lenses for easier handheld damping, wider focal lengths (easier to steady), internal focus or minimal length change for gimbals, quiet AF (for hybrid video), linear/manual focus response with a long throw if you pull focus, minimal breathing, and consistent front diameters for one ND; for video, plan on electronic/digital IS as a supplement, a good variable ND to keep shutter at 1/50–1/100s, and support options (gimbal/monopod/shoulder rig). On Sony full frame with IBIS, the Samyang/Rokinon AF 24–70mm f/2.8 FE is the stabilized-workflow workhorse—fast, weather-sealed, close-focusing, and nicely balanced for gimbals; add the AF 35–150mm f/2–2.8 FE when one lens must cover interviews, portraits, and stage from the same stabilized rig. For ultra-light handheld and travel with IBIS, the AF 18mm f/2.8 FE and AF 24mm f/1.8 FE (with astro-focus mode) are featherweight wides that smooth easily, while the AF 35mm f/1.8 FE and AF 45mm f/1.8 give discreet, quick AF for street and doc on body IS; the AF 50mm f/1.4 II and AF 85mm f/1.4 (FE) bring fast glass for low-light with IBIS doing the heavy lifting, and the AF 135mm f/1.8 FE pairs surprisingly well with IBIS for stabilized tele portraits and stage. If you want matched sizes that keep gimbal balance locked, the V-AF prime series (20/24/35/45/75mm T1.9, Sony E) shares identical barrels, tally lamps, and accessory ecosystem—perfect with IBIS + electronic/digital IS for run-and-gun crews. For manual precision on stabilized bodies, classic Rokinon primes—14mm f/2.8, 20mm f/1.8, 24/35/50/85mm f/1.4, 100mm f/2.8 Macro 1:1, and the beloved 135mm f/2—offer long, damped throws that play nicely with IBIS and post-stabilization; grab their Cine DS/DSX counterparts (24/35/50/85 T1.5, 135 T2.2) for declicked iris and 0.8-mod gears when you’re on shoulder rigs or gimbals. If you need true cinema housings for steadicams, XEEN/XEEN CF primes (14 T3.1/16 T2.6/24/35/50/85 T1.5/135 T2.2) add longer throws, 95mm fronts for clamp-on matte boxes, and restrained breathing; pair with IBIS bodies and you get very smooth, “stabilized-feeling” footage without optical IS. APS-C/MFT shooters with IBIS can lean on the 12mm f/2 (tiny, threaded, great for handheld astro/interiors), 16mm f/2 (APS-C fast wide), or 8–10–12mm class wides for gimbal fly-throughs; wider angles + IBIS = steadier horizons. Practical buyer tips: if stabilization is your priority, choose an IBIS body first; pick lighter lenses and wider focal lengths for the smoothest handheld look; standardize filter sizes for one high-quality VND; for gimbals, favor internal-focus designs (AF 24–70/2.8, V-AF primes) or identical-barrel sets to avoid rebalancing; test your camera’s digital IS crop and rolling-shutter behavior at your delivery frame rate; and for tele work, combine IBIS with a monopod and keep shutter ≈1/(2×focal length) for stills. Shooting tips: let IBIS handle micro-wobble while you add a contact point (top handle/strap tension), keep shutter at 180° for natural motion blur and smoother digital IS, walk heel-to-toe and bend the elbows, pre-focus to reduce AF hunting, and use post-stabilization sparingly on wider footage for a gimbal-like finish. Whether you’re filming handheld interviews, gliding through interiors, or shooting low-light stills with creamy bokeh, the best “Rokinon lenses with image stabilization” are the ones that pair clean optics and smart mechanics with IBIS bodies and solid technique—so your footage looks steady and your stills stay sharp without paying OIS premiums.