콘텐츠 제작에 적합한 카메라 렌즈 선택하기

특정 촬영 스타일에 맞는 고품질 콘텐츠를 촬영하려면 올바른 렌즈를 선택하는 것이 필수적입니다.

### 올바른 렌즈 선택하기: 콘텐츠 크리에이터를 위한 종합 가이드
* 📷 고품질 콘텐츠를 제작하려면 **적합한 렌즈를 선택하는 것**이 필수적이지만, 초보자에게는 방대한 옵션과 용어가 부담스러울 수 있습니다.
* 🔍 초점 거리를 이해하는 것은 이미지의 확대 정도를 결정하기 때문에 매우 중요한데, **렌즈가 넓을수록 더 많은 장면**을 캡처하고 **초점 거리가 길수록 배경이 압축**되기 때문입니다.
* 📏 인물을 촬영할 때는 왜곡을 방지하고 얼굴이 돋보이게 하려면 **24~70mm 범위 내에서 촬영**하는 것이 중요하며, **55mm가 가장 이상적**입니다.
* 🏠 부동산을 촬영할 때는 공간을 효과적으로 포착하기 위해 **초광각 렌즈(12~17mm)**가 필요하고, 스포츠나 원거리 피사체를 촬영할 때는 **망원 렌즈(70~200mm)**가 가장 적합합니다.
* 💡 조리개값도 중요한 역할을 하는데, **조리개값이 낮을수록 빛이 더 많이 들어오고 배경이 더 흐릿해져 동영상의 영화 같은 화질이 향상**됩니다.
* 🔄 카메라 브랜드마다 고유한 마운팅 시스템이 있으므로 기능 문제를 방지하려면 **렌즈가 카메라의 마운트와 일치**하는지 확인하는 것이 중요합니다.
* 🛠 자동 초점 및 손떨림 보정과 같은 추가 기능은 촬영 경험을 크게 향상시킬 수 있지만, **특정 요구 사항과 촬영 스타일에 따라 우선순위**를 정해야 합니다.
* 🎓 이제 막 촬영을 시작하는 분들에게는 **다양한 촬영 시나리오에 대응할 수 있는 다목적 24-70mm 렌즈**를 적극 추천하며, 모든 콘텐츠 크리에이터에게 가치 있는 투자가 될 것입니다.

[Music] If you're looking to create awesome content that blows people away, you're gonna need the right lens for the job. The problem? Well, there's only a billion or so different lenses that you can buy, all with these confusing terms like f-stop, focal length, sensor format, stabilization mode, elements, lens mount, and tons more. Not to mention, there are tons of different styles of content. Some lenses are great for one style but terrible for another. So, with so many options and overwhelming terminology, it can sometimes feel like an impossible task to choose the right lens for you. Well, have no fear because in today's video, we're going to cover everything you could ever need to know about lenses so you never waste your money. And make sure you stick around to the end of the video because I will walk through specific types of video content and outline which lenses make the most sense for that style. With that being said, let's dive into it. [Music] Okay, my friends, so with lenses, there is one thing you need to know above all.

Else and that is the focal length. Now technically, focal length is the distance between the optical center of your lens and the camera sensor, measured in millimeters. That's not really important though. What does matter is knowing that the longer your focal length is, the more zoomed in your resulting image will be. What you're looking at right now is the 13-millimeter ultra-wide-angle lens on the iPhone 13 Pro. The field of view is very wide, meaning we can see a lot from the left and the right. Now this is the 17-millimeter lens on my Canon EOS R. Still very wide, but not quite as wide as the 13-millimeter. Before this is a 24-millimeter lens, considered a wide angle but not ultra-wide like the iPhone. Up next we have a 35-millimeter lens, which marks the end of the wide category of lenses. Right now you're looking at a 55-millimeter lens, and you'll hear people call this the standard or medium range of lenses. After this we have a 70

millimeter lens, which marks the beginning of the telephoto range. And finally, here we have a 200 millimeter lens, which is very zoomed in. Of course, there are lenses that have even higher focal lengths, but you probably get the point by now. Let's unpack some of the key differences between all of these different focal lengths. Obviously, the wide-angle lenses are, well, very wide, but I want you to also notice how spread out the space is. The background seems very far away here. Keep an eye on the background here as we switch between the focal lengths and get more zoomed in. We call this scene compression, and as the focal length increases, the space gets more and more compressed. It's important to keep this concept in mind when filming people simply because the compression, or lack thereof, can make people look pretty weird. Anything over 70 millimeters in facial features starts to get kind of flattened, which looks strange, and anything under 20 to 24 millimeters, if you get too close to the person's face.

you start distorting their features because the space between their nose and their ears starts to look really exaggerated. 24 to 70 millimeters is a great range to stay in due to this concept, with 55mm as being one of my favorite focal lengths for capturing people. Now, these are all very important concepts to understand about focal length, but really what you want to focus on is what type of content am I filming and what focal length makes most sense for that style. For example, let's say you're filming real estate. Do you want a telephoto lens or an ultra-wide? You probably guessed it, real estate would be practically impossible to film with a tight lens. Walking through my room here with the 55 millimeter on, you can't really see the actual room due to how tight the field of view is. On the flip side, when we go ultra-wide, we decompress the space and make it look significantly larger. Now, let's say you're filming sports from the sidelines. What do we think, ultra-wide or telephoto? Yeah, we

want that sucker zoomed in in telephoto; otherwise, we won't be able to make out pretty much any detail at all. Now, those are really extreme examples, but you want to consider what type of content you plan on shooting before buying a lens. If you make the wrong choice, it could really hurt your ability to capture the content that you really want to. And like I said earlier, at the end of this video, I'll do an overview of all the different types of content and what lenses make most sense, in my opinion. Okay, we have a few more factors to consider with focal length, and bear with me; focal length is the longest section by far. First, we have the blurriness of the background, also known as bokeh. Pretty straightforward: at higher focal lengths, you're going to get more and more background blur due in part to that scene compression that we talked about earlier. Pair these two similar shots, and it's pretty evident how much additional blur there is at the higher focal length. This is a great strategy to use if you have a

distracting background, and you want the viewer focused just on the subject. Or, on the flip side, if you are filming landscapes and you wanted the viewer to be able to focus on the subject and the background, the general sharpness of a wide-angle lens will help immensely. Now, when it comes to keeping our subjects in focus, as you can imagine, it's much easier to do that on a wide-angle lens, simply because what we call the plane of focus is much deeper in three-dimensional space. Compare that to a telephoto lens, and that plane of focus is like one to two inches deep, which means anything beyond that or in front of that is going to be wildly out of focus. After background blur, we also want to consider the impact focal length has on the smoothness of our videos. Go take your smartphone, film yourself walking with the wide-angle lens, and then do the same thing with the telephoto lens. When you're paying attention, you'll notice right away that the wide angle is much smoother than the telephoto. So keep that

in mind. If you're constantly frustrated with shaky-looking footage, it could be that you're filming on a lens that is too tight. Now, finally here with focal length, our last factor to consider is if we want a prime or variable focal length lens. This right here is a 24 to 70 millimeter lens, meaning I can zoom in and out and film anywhere in between these two focal lengths. This is extremely versatile, which is a huge pro in my eyes, especially for people just getting started. You can film a ton of different styles of content on this one lens. Now, on the flip side, we have prime lenses, which basically means we're fixed at one single focal length. It sounds a lot less fun, but considering there are fewer moving elements in this lens, the optics are going to be technically sharper because they're always fixed in the same exact spot. There's much less room for variability. Now, how big of a difference in sharpness does it really make? Well, it's going to change from lens

to lens it is a difference, but you're really not going to notice it, especially if you're just getting started. Now, those are all the ways focal length impacts our videos, but there is one more somewhat related concept that we have to cover; otherwise, you'll get super confused down the road when you're looking at buying a lens for your camera. Now, this factor has everything to do with our camera's sensor and its impact on the final video. In a nutshell, not all cameras have the same sensor size. You see, when a sensor is full frame, the focal length we see when we're recording is true to the focal length listed on the lens. So, if you're filming at 24 millimeters, the image that you're seeing is going to be 24 millimeters. However, when the sensor size is smaller than full frame, commonly referred to as a crop sensor camera, the focal length we see when we're recording is actually cropped in, resulting in a slightly more zoomed-in image. A common crop sensor size is called APS-C, where the sensor is

1.5 to 1.6 times smaller than a full-frame sensor. To figure out how much that crops in when we're looking for lenses, we simply take that number, 1.5 or 1.6, depending on your camera model. This is referred to as the crop factor, and then we multiply that number by the focal length listed on the lens. The final number is the resulting effective focal length that we're actually going to see when we're filming. So really, all this means for you if you have a crop sensor camera is to remember when you're buying a lens that a 28-millimeter lens is going to give you a video that looks equivalent to a 42-millimeter lens on a full-frame camera. Basically, you need to go even wider than what you would normally do on a full-frame camera to get the same look on a crop sensor camera. Alright, focal length done, check that box off of all the things that you need to know. Up next, we have aperture. Aperture is the size of the opening

known as the diaphragm that lets light pass through your lens and actually hit your camera sensor. Most lenses have the ability to change the aperture higher or lower, manipulating the exposure or brightness of our images. The key is to look for a lens with as low of an f-stop as possible. This is because the light is so important when it comes to capturing quality videos, and the lower the f-stop, the better our camera will perform in all lighting situations. Quick example: this is a 24 to 70 F 2.8 lens, meaning the widest the aperture can get is f 2.8. Now, this is a 17 to 35 millimeter F 4.0 lens, meaning it can't get as wide as the other lens. It might sound small, but it's actually a pretty big difference. If I were filming something like a concert where the lighting is a little low, the F 2.8 would be a much better option. Not only does a lower aperture allow more light to enter the camera, it also creates an even blurrier background.

which typically is associated with the cinematic look. Here's a shot where the aperture is f/2.8, and here is the same shot where the only thing changed is the aperture being set to f/10. Notice how much darker it is. Well, that's due to the smaller aperture. But if I increase the exposure to make these shots look similar in terms of brightness, what else do you notice? Well, there's a pretty big difference in the amount of background blur, and it has everything to do with the different apertures. So, as you can probably tell by now, a lower aperture is generally much better. Unfortunately, this hits us pretty hard in the price tag. Look at basically all lenses online, and the ones with lower apertures are always significantly more expensive than their counterparts with high apertures. This 70 to 200 millimeter f/2.8 lens that I have is literally a thousand dollars more expensive than the 70 to 200 millimeter f/4.0 lens. It's the same focal length.

range, but that aperture sure does drive up the price. Now, another thing you might see with apertures when you're lens shopping is a range written like F4 to 5.6. This is very common with entry-level or kit lenses, and it means that as you zoom in or out, the minimum aperture, which is the aperture we usually want to film at, is actually going to change as we Zoom. This causes an unfortunate darkening of your image while you're filming. As you zoom in, it's not the end of the world if you aren't constantly zooming in and out while you're filming, but it is somewhat of a nuisance, and it's a Telltale Mark of a cheap beginner lens. Then finally, with aperture, another thing to note about variable focal length lenses versus their Prime counterparts is that prime lenses, because they have fewer moving parts inside, they're typically able to have a lower aperture. For example, this 24 to 70-millimeter variable focal length lens has a minimum aperture of f 2.8, whereas

this fixed Prime 35-millimeter lens can go all the way down to F 1.8, allowing for better performance in low light and an even blurrier background. Okay, now that does it for aperture, which honestly rounds out the two biggest factors you really want to consider with lenses. However, it's not the end of the list, so what I'm going to do now is quickly run through all the secondary attributes of your lens that you still need to care about. Up first, we have the mount compatibility. Pretty straightforward, but not all lenses work on all cameras. Each camera brand has its own unique mounting system, and within that brand, each level of camera will typically have its own subcategory mounting system. For example, let's take a look at just Canon cameras. Starting at the bottom, we have something like the Canon SL2, which is a great entry-level camera, but the mounting system used by the SL2 is the EFS system, meaning you'd want to buy a lens that is labeled EFS. Another good entry-level camera is the Canon M50.

which uses the EFM system with that camera. You don't want to get an EFS lens; you want to get an EFM lens. Moving up in price tag, we have Canon's full-frame cameras like the 1DX Mark II here, which uses the EF system. Then we also have the recently introduced full-frame mirrorless cameras from Canon, which utilize the RF system. It's confusing, I know, and it's impossible to memorize all the different mounting systems for all the different camera brands. So, my recommendation to you whenever you buy a camera is to confirm with four to five Google searches exactly what mounting system your camera has and then focus on buying compatible lenses that show the same mounting system in their title. Now, yes, there are adapters you can buy to convert one lens from one camera brand to work with another camera that's in a different brand, but they're not always 100% compatible. And even if they are compatible, you might lose functionality like autofocus or stabilization. Now, after compatibility, we have autofocus. Now, this isn't really a

bonus feature nowadays when you consider how widely accessible it's become. But believe it or not, not all lenses have built-in autofocus, which for an entry-level content creator might make filming on the fly significantly harder because you're going to need to manually pull the focus ring from one subject to another. Now, I personally love autofocus, and I highly recommend people entering the industry rank it high on their priority list, but there are definitely those out there who claim that manual focus is a superior form of filmmaking. Who knows? Either way, keep in mind that even if the lens you have does have autofocus, it's only going to be as good as your camera allows for. For example, if your camera is known to have relatively bad autofocus, no lens in the world can really make it any better. Your camera is kind of like the brains of the operation, and the lens is just like your bicep muscle. It's only as good as your brain can tell it to be. Now, after autofocus, we have internal stabilization. This is a really cool feature of some lenses where

the optical center is capable of moving in a directional plane. As the camera moves, the optical center shifts slightly to actually counteract the movement, resulting in a slightly smoother image. Now, will this save your footage if it's like super shaky? No, absolutely not. But if you're already pretty smooth with just a few small bumps, this can go the extra mile to smooth it out even more. I have a few lenses with internal stabilization, like the Canon 7200 millimeter lens, and it is definitely useful at longer focal lengths, where even small micro shakes can impact the footage quite a bit. Here's an example of one shot with the stabilization off, where I'm slightly tapping the camera body to give a shake, and then the same shot with the same amount of tapping but with the stabilization turned on. You can see here it definitely cleans it up quite a bit. Now, one thing to keep in mind, this is why I don't think stabilization is absolutely necessary. There is software that you can use that's built into most editing programs.

that will actually stabilize your footage digitally in Premiere Pro. It's called Warp Stabilizer, and it does a really good job of eliminating those micro shakes. It's not quite as good as built-in stabilization, but I just want to let you know, don't throw it super high on your list. It's not an absolute necessity. After stabilization, another term you'll hear thrown around is what's known as a macro lens. Without getting overly technical, macro is basically the ability to focus on objects super close to the camera. The iPhone 13's ultra-wide lens actually has a macro functionality built-in, and it allowed me to capture this shot the other day where a ladybug landed on my arm while I was working outside. It was pretty insane considering most of my professional lenses could never have captured this because they have a minimum focusing distance that's actually too far away from the camera to get that ladybug when it's super close. Now, I do have one camera lens that is a macro, and it is the 35 millimeter F 1.8.

RF lens from Canon. What's great about it is that even though it's a macro lens, it still works completely normal as you would expect any other lens to work. So basically, it allows you to get those super close shots, but then you can film any other footage like you normally. Then finally here to round off the discussion on lens features, we have to talk about the build quality in weather sealing. Now I group them together because typically a lens with solid build quality is also going to be nicely weather sealed. Ideally, you don't want a lens that is built with a ton of plastic components. There's more shifting that can occur over time which can impact the sharpness of your image, and it's also much easier to break than lenses that are made almost entirely of metal. Not to mention, proper weather sealing can really come in handy when you're filming in the rain or under a waterfall. Just keep in mind that your camera also has to have a decent amount of weather sealing to truly be safe. And that does it, my

friends, a somewhat brief overview of all the major features you should consider before making a lens purchase. Now, the goal of this video is to make choosing a lens easier. The reality of the situation, as it stands right now, is I probably made it seem even harder because of all the new terminology I just threw your way. To solve that, let's take it back a few steps and make some specific recommendations for different types of content creators in the videos they plan on shooting. So, let's say you're just getting started. Maybe you just bought your first camera, and now you're looking for your lens. You're not entirely sure what content you plan on shooting yet. Maybe a YouTube channel, maybe weddings, some commercial work here and there, a music video, narrative filmmaking, who knows? The world is your oyster. Believe it or not, you're actually the easiest person to make a recommendation for. Go out and get yourself a 24 to 70 millimeter lens. Why? Well, one word: versatility. Now, I might be biased because this is one of the first lenses

that I got, but still to this day, 90% of the content that I shoot is on a 24 to 70-millimeter lens. At the widest range, we can get full-body shots, landscape shots, action scenes. It looks nice and smooth on a gimbal. Then we can zoom it all the way in, and we have those beautiful intimate shots with the background blur and the scene compression. We're able to film objects that are a little bit further away. We can take a few steps back from our subjects and get long medium shots, which is a really unique look. And then, of course, we have everything in between 24 and 70, which is a pretty insane range. What's also great here is that basically every camera manufacturer out there has their own 24 to 70-millimeter lens, and they are all at or very close to F 2.8 as the minimum aperture, which is a really good place to be. One of the first pro lenses I got was the 24 to 70 F 2.8 Canon, which I have here. It's basically

what I started my business on. I filmed weddings on it, commercials on it, music videos on it, narrative stuff on it, anything that I could film. I would capture with that lens, and right now, although I'm not shooting on Canon anymore, I'm using the Sony a7s III. I got a Sigma 24 to 70 F 2.8 lens, which brings up a valuable point. You don't always need to buy lenses that are made from the actual manufacturer like Canon or Sony or Panasonic. You can buy third-party lenses, and Sigma is my favorite brand, and that can save you some serious money. I think this lens is like $600 cheaper than the actual Sony e-mount lens. Now, also keep in mind here, I set a 24 70 millimeter lens, but if you don't have a full-frame camera, you're going to want to get something that has an equivalent range to 24 to 70. So, if you're on a crop sensor camera, instead of 24 to 70, you might want 18 to 35 or

12 to 55. Something in that range is going to give you a very similar look to what I'm capable of capturing on my full-frame camera with a 24 to 70. Okay, now let's say you fall somewhere outside of that previous description. Maybe you know exactly what you're going to be shooting, and you don't plan on straying outside of that particular style. Real estate is a popular job for new content creators, and if that's you, definitely stay somewhere in the 12 to 17-millimeter range. Something like the Lila 12-millimeter manual focus lens is amazing bang for your buck and perfect for getting those super wide real estate shots. I actually own a couple of Airbnbs myself, and I shoot all of their marketing content 99% of the time on that exact lens, and it's really affordable. Now, if you have a bit more to spend, similar to the 24 to 70-millimeter, basically all manufacturers carry a 16 to 35-millimeter F 2.8 lens, which is

amazing for Real Estate but also versatile enough to capture tons of different types of content. This is a go-to of so many people with action sports if they're filming things where the subjects are going to be moving around a lot. Landscapes, anything where you want a wide field of view but still have the ability to zoom in slightly. Then on the flip side of that range, if you're filming nature, you want to capture animals. If you're filming Sports from the sideline, really anything where you can't get close to your subject and you're, you know, like 40 to 50 feet away. You're Gonna want something in these 70 to 200 millimeter range and potentially even further depending on how far away that subject is. My 70-200 is probably my least used lens, but when you're in that situation, you really have no choice other than getting that lens or renting it because you just can't capture content with a wide-angle lens when you're super far away. And now those three lenses that I just mentioned, the

16 to 35, the 24 to 70, and the 70 to 200. That's basically the Holy Trinity of camera lenses. You can cover everything from ultra-wide to really zoomed in with just three lenses, and you have minimal overlap. Now, you might be thinking, That's kind of silly, Anthony. Why would you buy a 16 to 35 and a 24 to 70 when they have so much overlap? But believe me, 24 millimeters compared to 16 millimeters. It sounds small, but it's actually a really big difference. And if you need to capture those massive landscapes, you need to make the rooms inside a house look big in a real estate video. 24 is just not going to cut it, and that's why 16 is so much more powerful. The only time I'd really recommend straying from those three lenses that I just mentioned for someone's first purchase is if you absolutely know without a doubt that you are going to be filming from one setup all the time, like a YouTuber with a

studio where the camera will always be in the same place. If you're in a situation like that, then sure, a fixed Prime might make more sense for you because you can squeeze a little bit of extra quality out of that lens, sacrificing a little bit of Versatility, but who cares because you're always going to have your camera in the same exact spot. And finally, I just want to reiterate, I know a lot of you watching this video probably have entry-level cameras, you're on a crop sensor system, whatever it may be. Don't think that just because there isn't a 24 to 70 millimeter lens for your camera that you're screwed. You want to do that focal length math due to the crop factor and then find the lens that fits in that range, 18 to 35, 20 to 55, even super wide like 10 to 20. Those are going to give you equivalent ranges and allow you to capture all the content you need. There are literally so many lenses out in the

world. As long as there are solid reviews, you know it falls into a focal length range and a minimum aperture that's going to make you happy for the content you're filming. You're probably in a safe bet. Buy it. You can always sell it or, even better, rent it first to get an idea if you really like it. And there we go. That covers basically everything that I wanted to go over in this video. I could obviously talk for hours and get super granular, but at this point, there's only so much that you can learn on a topic in a given day. Now, with that being said, if you did find this content valuable and would appreciate a similar approach to covering all different aspects of content creation, from choosing your camera gear, your lighting gear, your audio gear, your computer gear, and so on, not to mention also learning everything you need to know to use that gear and create amazing, beautiful, cinematic videos, like fundamentals of lighting, beautiful composition, cinematic movements, professional editing techniques, and so on, I'd highly recommend you check out our online film.

school at contentcreator.com. It's called 14 Day Filmmaker, and it's helped over 55,000 students massively improve the quality of their videos in just 14 days. The program is focused entirely on speed, helping you learn these concepts in minutes rather than months, like unfortunately a lot of us experience on YouTube, where we just go from one video to another, kind of getting confused over and over. On top of all that learning, you get free sound effects, discounts on editing software, graphic presets, and tons more, including two bonus programs that by themselves are worth hundreds of dollars. The whole bundle costs less than a trip to the grocery store, and you can enroll in just seconds by clicking the link in the description beneath this video. Check out that page, see if it interests you. Otherwise, thanks so much for watching, and I'll see you in the next one.

Watch BEFORE Buying a Camera Lens for Filmmaking | Buyers Guide

Content Creators

콘텐츠 제작에 적합한 렌즈 선택

초점 거리는 렌즈 선택의 핵심 요소로, 길이가 길수록 확대된 이미지를 제공합니다.

광각 렌즈는 배경을 넓게 표현하는 반면, 초점 거리가 길면 장면이 압축되어 카메라에 비치는 인물의 모습에 영향을 미칩니다.

인물 촬영에 이상적인 초점 거리는 24~70mm이며, 얼굴을 촬영하는 데 가장 적합한 초점 거리는 55mm입니다.

초점 거리는 배경 흐림에 영향을 미치며, 길이가 길수록 더 많은 흐림과 장면 압축을 제공합니다.

광각 렌즈는 초점면이 더 깊어 피사체에 초점을 맞추기 쉬운 반면, 망원 렌즈는 초점면이 얕아 초점이 맞지 않는 부분이 더 많이 발생합니다.

단초점 렌즈와 가변 초점 거리 렌즈의 선택은 다용도성과 선명도에 영향을 미치며, 단초점 렌즈는 고정 초점 거리와 잠재적으로 더 선명한 광학 기능을 제공합니다.

또한 카메라 센서 크기도 유효 초점 거리에 영향을 미치며, 크롭 센서 카메라는 더 확대된 이미지를 제공합니다.

렌즈의 크롭 팩터와 조리개 이해하기

크롭 센서 카메라는 풀프레임 센서보다 1.

6배 작기 때문에 렌즈의 유효 초점 거리에 영향을 미칩니다.

더 나은 빛 포착과 배경 흐림을 위해서는 렌즈의 F값이 낮을수록 중요하며, 조리개가 낮은 렌즈는 더 비쌉니다.

가변 초점 거리 렌즈는 줌하는 동안 최소 조리개가 변경되어 이미지가 어두워질 수 있으며, 단렌즈는 일반적으로 움직이는 부품이 적기 때문에 조리개가 더 낮습니다.

렌즈 선택 시 고려해야 할 주요 요소

8 조리개값의 고정 프라임 35mm 렌즈는 저조도 및 흐릿한 배경을 촬영하는 데 이상적입니다.

카메라 브랜드마다 고유한 시스템이 있으므로 렌즈와 카메라의 마운팅 시스템을 일치시키는 것이 중요하므로 마운트 호환성이 중요합니다.

자동 초점 및 내부 안정화 기능은 촬영 시 사용 편의성과 안정성에 큰 영향을 미칠 수 있으므로 고려해야 할 중요한 기능입니다.

카메라 렌즈 기능: 손떨림 보정, 매크로 및 빌드 품질

카메라 렌즈의 광학 중심이 움직여 카메라의 움직임에 대응할 수 있어 특히 초점 거리가 긴 경우에 유용한 부드러운 영상을 제공합니다.

매크로 렌즈를 사용하면 초근접 촬영이 가능하며, iPhone 13의 초광각 렌즈와 Canon의 35mm F 1.

8 RF 렌즈가 이 기능을 제공합니다.

렌즈의 견고한 제작 품질과 내후성 실링은 선명도와 수명을 보장하는 내구성과 외부 요소로부터 보호하는 데 중요합니다.

24~70mm 렌즈는 전신 촬영부터 친밀한 클로즈업까지 다양한 촬영이 가능하므로 초보자에게 추천합니다.

이 렌즈는 일반적으로 모든 주요 카메라 제조업체에서 구입할 수 있으며 일반적으로 최소 조리개값이 F 2.

시그마 렌즈와 같은 타사 렌즈는 품질 저하 없이 더 저렴한 옵션을 제공할 수 있습니다.

콘텐츠 제작을 위한 필수 카메라 렌즈

12~17mm 렌즈는 부동산 촬영에 적합하며, Lila 12mm 수동 초점 렌즈는 뛰어난 가치를 제공합니다.

8 렌즈는 액션 스포츠와 풍경 등 다양한 콘텐츠에 다용도로 사용할 수 있습니다.

70~200mm 렌즈는 멀리 있는 피사체를 촬영할 때 유용하며, 이 세 가지 렌즈는 다양한 촬영 요구 사항을 충족하는 '성삼위일체'입니다.

카메라에 적합한 렌즈 선택하기

고정 단렌즈는 카메라가 항상 같은 위치에 있어야 하는 상황에 이상적이며 추가적인 품질을 제공합니다.

보급형 또는 크롭 센서 카메라를 사용하는 경우 초점 거리를 계산하고 원하는 콘텐츠를 캡처할 수 있는 동등한 렌즈를 찾는 것이 중요합니다.

온라인 영화 학교인 14일 영화 제작자는 무료 음향 효과 및 편집 소프트웨어 할인과 같은 추가 혜택과 함께 학생들이 동영상 품질을 빠르게 향상시킬 수 있는 종합적인 프로그램을 제공합니다.