These are the best Sony lenses for video when you want quiet, confident AF, minimal focus breathing, clean color, and ergonomic control for narratives, docs, weddings, YouTube, and travel—and here’s what to look for as you buy: prioritize lenses with linear/XD motors (silent, precise AF), low breathing with camera breathing compensation support, de-clickable aperture rings for smooth exposure ramps, linear-response MF for predictable pulls, OSS to pair with IBIS/Active for handheld, internal zoom/focus for gimbals, and consistent front diameters so one slim VND (and a mild 1/8 diffusion if you like halation) covers the kit; favor power-zoom options for repeatable framing, good close-focus for product B-roll, weather sealing for run-and-gun, and hoods that don’t shadow onboard mics. Full-frame prime heroes: FE 35mm ƒ1.4 GM (storytelling “normal” with dimensional pop and smooth, quiet AF), FE 50mm ƒ1.4 GM (interviews and A-roll with natural perspective), FE 24mm ƒ1.4 GM (tight rooms, walk-and-talks, night streets), FE 20mm ƒ1.8 G (ultra-light gimbal favorite with tidy edges), and FE 85mm ƒ1.4 GM (portraits and B-cam punch-ins with creamy background); specialty looks: FE 100mm ƒ2.8 STF GM OSS for velvety bokeh (exposure behaves like ~T5.6—use where light allows) and FE 90mm ƒ2.8 Macro G OSS for detail/product inserts with optical stability. Power-zoom and cine-leaning workhorses: FE PZ 16–35mm ƒ4 G (buttery servo zoom, minimal breathing, internal zoom—gold for gimbals/vlog builds), FE PZ 28–135mm ƒ4 G OSS (broadcast-style servo with parfocal behavior and hard controls, great for FX-series rigs), FE 20–70mm ƒ4 G (wider start, compact, modern AF), and FE 24–105mm ƒ4 G (do-it-all with reliable OSS and useful MFD for B-roll); fast zoom anchors: FE 16–35mm ƒ2.8 GM II and FE 24–70mm ƒ2.8 GM II (prime-like sharpness, strong close-focus, excellent AF; stop a touch if you want tighter point-light rendering), plus FE 70–200mm ƒ2.8 GM OSS II (tele interviews, events, sports B-roll—elite AF/OSS, TC-ready) or FE 70–200mm ƒ4 Macro G II (lighter, internal zoom, 0.5× for detail). Value third-party E-mount picks that cut weight and cost: Tamron 28–75mm ƒ2.8 G2 (small, quick AF, good close-focus), Tamron 35–150mm ƒ2–2.8 (run-and-gun range king—heavier), and Sigma 24–70mm ƒ2.8 DG DN Art (budget workhorse). APS-C creators get pro-friendly kits with E PZ 10–20mm ƒ4 G (tiny, internal power zoom—gimbal dream), E 11mm ƒ1.8 (bright UWA for rooms and night), E 15mm ƒ1.4 G (22.5-eq environmental A-roll), E 16–55mm ƒ2.8 G (sharp mid-range), and E 70–350mm ƒ4.5–6.3 G OSS for reach; FE PZ 28–135/4 and FE 90 Macro also shine on Super35/APS-C bodies. Practical buyer tips: build a two-lens spine (PZ 16–35/4 + 24–70/2.8 or 20–70/4 + 70–200/4) and add a favorite prime (35/1.4 or 24/1.4) for low light and interviews; standardize thread sizes for one high-quality VND (plus a fixed ND kit if you shoot log in bright sun) and consider a mild diffusion filter for skin; test breathing and AF transitions on your body (FX3/FX6/A7 series) before committing; internal zoom/focus lenses make balancing painless when you add cages, mics, or matte boxes. Video shooting tips: lock a 180° shutter (e.g., 1/50–1/60s at 24/30p) and ride ND for exposure, use AF-C with subject/eye detection and set transition speed/sensitivity to match your style, favor linear-response MF for controlled pulls and add focus peaking/magnification for critical work, enable breathing compensation, and combine OSS with IBIS/Active for steadier handhelds (but disable on a tripod); watch LED flicker/banding and set anti-flicker or fine-tune shutter, lens-hood stray light causes veiling—flag it with your hand, and keep firmware current for AF and compensation updates; whether you’re filming handheld docs, client brand pieces, weddings, or travel films, the best Sony lenses for video combine quiet linear AF, low breathing, and smart ergonomics—so motion feels smooth, focus transitions are intentional, and your footage looks polished straight off the card.