These are the best tilt-shift lenses for video when you want in-camera perspective control, subtle plane-of-focus shaping, and parallax-clean reframes for architecture, commercials, tabletop, music videos, fashion, and narrative inserts—without leaning only on post—and here’s what to look for as you buy: large image circles for generous rise/fall (clean verticals during pushes), independent tilt/shift axis rotation so you can tilt along floors or tabletops while shifting vertically, low distortion and lateral CA for ad-safe geometry, firm locks that won’t drift mid-take, smooth long-throw manual focus with hard stops, and coatings/fluorine fronts to tame flare and fingerprints; remember most TS lenses are manual focus at ƒ3.5–ƒ4 (some macros ƒ2.8), so plan lighting, a follow-focus, and bodies with focus peaking, IBIS, and breathing compensation. Full-frame heroes for motion work: Canon TS-E 17mm ƒ4L (huge image circle—dramatic rise for interior pushes and establishing shots), TS-E 24mm ƒ3.5L II (workhorse for walk-ins and slider moves with straight lines), TS-E 50mm ƒ2.8L Macro and TS-E 90mm ƒ2.8L Macro (flat-field precision for tabletop, beauty, and selective-focus portraits), and TS-E 135mm ƒ4L Macro (compressed interviews/product with elegant plane control); Nikon perspective-control set for video rigs: PC 19mm ƒ4E (razor-wide with independent axis rotation), PC-E 24mm, 45mm, and 85mm (classic movements that adapt well to Z for stabilized bodies); mirrorless shift-only options with big image circles for parallax-clean “zoom by shift” moves: Laowa 15mm ƒ4.5 Zero-D Shift and 20mm ƒ4 Shift (low distortion, excellent for vertical/horizontal shift reframes), plus Samyang/Rokinon 24mm ƒ3.5 TS as a budget starter; modular movement rigs—Cambo Actus or Arca-Swiss Universalis with modern primes—behave like compact view cameras on mirrorless and let you pick focal length as your “look” while retaining full tilt/shift control. Practical buyer tips: build a two- or three-lens spine—24mm TS for most interiors/establishers, 50/90mm TS Macro for tabletop and stylized portraits, and 17/19mm TS when you often shoot tight spaces or dramatic architectural moves—then add 135mm TS for compressed interviews and product hero shots; prioritize lenses with independent axis rotation so you can run vertical rise while tilting along floors or surfaces; standardize 15/60-tooth gears on focus and tilt for follow-focus use, add an L-bracket and nodal slide for parallax-minimized shift moves, and match transmission/color across bodies for consistent grades; carry a high-quality VND, slim CPL (sparingly to avoid blotchy skies/LED issues), small flags, and a sturdy tripod/slider or gimbal (lock IS on lenses off when the camera is locked, rely on IBIS judiciously). Tilt-shift video shooting tips: keep the sensor plane level and compose with rise/fall to hold verticals during dollies, use tiny tilt amounts (subtle is cinematic—too much looks gimmicky and “swims” on racks), rack focus slowly with a follow-focus and marks, start around ƒ5.6 for edge discipline unless you want deliberate falloff, lock all movements before rolling, and pre-block moves so talent passes through the focus wedge; for “wider without distortion,” shoot a horizontal or vertical shift-reframe rather than yawing the camera—parallax stays clean, cuts are seamless, and you can animate the shift for an organic, lens-driven move; watch rolling shutter on long lenses—keep pans measured and shutter angles sane, and nudge shutter speeds higher when panning to avoid smear; for tabletop, cross-polarize lights + CPL to tame glare, tilt to lay focus across labels/ingredients, and add micro-slides with vertical rise for dimensionality; for concerts/fashion, keep tilt minimal and use shift to reframe around LED walls and truss without bending lines; whether you’re crafting an architectural walkthrough, a glossy product spot, or a narrative insert with selective focus, the best tilt-shift lenses combine big image circles, precise mechanics, and honest geometry—so your frames stay straight, depth feels intentional, and your motion looks premium and purposefully in-camera.