These are the best Rokinon lenses for video when you want quiet, dependable focus, controlled breathing, and cine-friendly mechanics at a sane price—across full-frame, APS-C, and Micro Four Thirds—and here’s what to look for as you buy: decide AF vs manual/cine (AF for run-and-gun and gimbals; manual/cine for long, repeatable pulls), check breathing and focus throw length, favor constant T/ƒ for exposure consistency, unify front diameters for one ND/matte box, confirm close-focus for product B-roll, choose internal focus/compact barrels for balance, and, if you’ll build a set, match color/contrast across focal lengths; for cine rigs, prioritize declicked apertures, 0.8-mod gears with consistent positions, clear witness marks, and sturdy housings (95mm fronts make clamp-on life easy). On Sony full frame, the Samyang/Rokinon AF 24–70mm ƒ2.8 FE is the workhorse mid-range—quiet AF, good close-focus, weather-sealed—and the AF 35–150mm ƒ2–2.8 FE covers portraits, ceremonies, and stage with prime-like speed in one lens; go ultra-wide with the AF 12–24mm ƒ4 FE for interiors and gimbal moves, or the featherweight AF 10–18mm ƒ3.5–4.5 FE for travel rigs. Prime-driven hybrid shooters should look at the AF 24mm ƒ1.8 FE (astro focus aid + tiny build), AF 35mm ƒ1.8/ƒ1.4 II (interviews, narrative), AF 50mm ƒ1.4 II (low-light A-cam), AF 75mm ƒ1.8 (compact tele), AF 85mm ƒ1.4 (portrait staple), and AF 135mm ƒ1.8 (compressed stage/speeches)—all play nicely with IBIS and a single high-quality VND. If you want identical barrels and a unified rig, the V-AF prime series (20/24/35/45/75mm T1.9, Sony E) shares size, balance, tally lamps, and accessory ecosystem, so gimbal tune stays locked between focal lengths. For manual precision and matched color on a budget, the Cine DS/DSX primes—14mm T3.1, 20mm T1.9, 24/35/50/85mm T1.5, 135mm T2.2—bring long, smooth throws, declicked iris, and consistent gear positions; they’re a staple for narrative, interviews, and educational content. Stepping up to true cinema housings, XEEN and XEEN CF primes (14 T3.1, 16 T2.6, 24/35/50/85 T1.5, 135 T2.2 in PL/EF/E) add longer throws, 95mm fronts, restrained breathing, big markings, and lighter CF shells for handheld/gimbal days. Need cine zooms? XEEN 16–35mm T3.1 and 24–70mm T2.9 bring constant T-stops, 95mm fronts, and proper witness marks for commercial and doc sets. Keep close-up versatility with the Rokinon/Samyang 100mm T3.1 Cine Macro (1:1 optics, buttery ring) for food/product/beauty inserts. Practical buyer tips: build a two-zoom spine (24–70/2.8 + 12–24/4, or 24–70/2.8 + 35–150/2–2.8) and add one fast prime you love for look consistency; if you live on gimbals, choose V-AF primes or lighter AF lenses with internal focus so you don’t rebalance; for narrative, standardize on 95mm fronts (XEEN/CF) and carry one clamp-on VND; test breathing on your camera before committing; and keep a true macro in the kit so you’re not faking detail shots. Shooting tips: run manual exposure and a quality VND to hold 180° shutter, use peaking + magnification for manual racks, set IBIS to mild or off on gimbals, pre-mark distances on cine barrels, add a top handle/strap tension for steadier handheld, and keep minimum focus in mind to create layered foregrounds in tight spaces. Whether you’re filming documentary in drizzle, crafting interview A-cams with creamy roll-off, or shooting product reels with crisp macro cuts, the best Rokinon video lenses combine quiet drives or cine-true mechanics, controlled breathing, and matched color—so your footage looks consistent from wide master to tele reaction without breaking your budget or your rig.