Special Feature


The majority of filmmakers in Ghana who shoot video probably use photo lense also called still lenses even me. You might ask yourselfs why you may need different lenses for video while your existing photography ones work just fine. In this i will show you certain features of the cinema glass that you probably always wanted subconsciously. Maybe after reading this you’ll start saving up the money for one.


There are lots of cinema lenses on the market ranging from four-figure price tags to six-figure ones. The most common cinema lenses of high quality costs five-figure amounts in US dollars. That’s why cine lenses that cost below $5,000 range is deemed “affordable.” Believe it or leave it.

I will put  images of cine lenses and u will agree with me that cinema lenses look way more professional than the professional photol lenses. Definitely If you want to look more professional, you may get cinema lens just to make you look pro.


If you’ve noticed, most cinema lenses are way bigger on the front and weigh higher than photo lenses.
I will add pictures of cine lens and u will know the difference.

You can find whole series of cinema lenses that are exactly the same as the outer diameter and the same size, such as Leica cinema lenses

The reason is accessories that may be used with them. Imagine using ND filters for a certain scene. By switching lenses you don’t have to switch to different filter sizes.

Focus Control

Aperture Control

Lens Zooming

Parfocal Lenses

Optical Quality

Color, Contrast, and Sharpness

Bokeh and Light Flares

All the above are better in cinema lenses than photo lenses

I can’t get time to brief u more in the list above.

“If you were to ask several directors and DPs what their normal and most-used lens is for motion-picture 35mm, you’ll get answers ranging, roughly, from 24mm to 50mm.” Trust me, U can ask Director Jackson.


For full-frame 35mm, a common kit could be 24mm, 50mm, and 85mm.
For Super 35 format, a three-lens kit could look more like this 18mm, 32mm, and 75mm. But, if I haven’t emphasized it enough, how wide and how long you want to go will come down to personal preference.

If you’re set on zoom lenses for your production, then you’ll probably want one wide-angle zoom, such as a 24-70mm (for full-frame cameras), and one telephoto zoom, such as a 70-200mm. Director Jackson like using the 70-200mm and 50mm on close ups a lot, although I have not been on his set but I follow him by his pictures. Because he have good sharp pictures.

Shirley and Leila always use cinema lenses no compromise.

A cinema lens is built for life on set and usually has a durable all-metal body. It tends to be larger and heavier than a still lens, with internal focusing designs so the lenses don’t physically change, making them easy to use with matte boxes.

The iris ring on cinema lenses is also click-less, so you can adjust aperture smoothly during a shot without the audience noticing (hopefully).

If you’re looking for good-value lenses for a first lens kit, then I’d recommend looking at used vintage.

Well there also good cinema lenses you can get from $300 to $500 which I dream to have some someday.
Kofi Asamoa has moved from photo lenses to cinema lenses because he uses cinema camera. For he use Sony FS5, if not the 5 then is the 7 for John n John. Just by looking at the BTS picture and he had great pictures.

If u can afford go for super 35mm sensor camera for those are the cinema cameras. With that one or two full frame cinema lens will dobl magic.

The sad thing is that the difference between us and the professionals like Ama Asante,Shirley, Leila and co and the second generation like Jackson Kofas n co is that I have seen some of us using full frame camera with none full frame lens on it. Others with none full frame camera with full frame lens on it.
Let us learn please.

Dir. McLord Ice

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