Vector illustration of a Micro Four Thirds zoom lens

The Best Micro Four Thirds Lenses For Live Streaming (2024)

This is a complete list of MFT lenses I use and trust for live streaming and recording corporate events, houses of worship, video meetings, conferences, concerts, education, sports, court rooms, government proceedings, podcasts, and more.

Panasonic 12‑35mm f/2.8

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The best overall Micro Four Thirds lens for most users.

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This is essentially THE standard zoom lens for the Micro Four Thirds format.

It covers the full‑frame equivalent of 24‑70mm and maintains a constant f/2.8 aperture throughout the zoom range.

This lens is always with me when I shoot Micro Four Thirds, and it probably stays on my cameras longer than any other lens.

It's consistent, has good corner‑to‑corner sharpness, and it's always a lens on which I can depend.

In addition, it offers built‑in optical image stabilization that really comes in handy during handheld situations.

This is the current lens model H‑ES12035. Lens model H‑HSA12035 is the older version and has been discontinued.


Pros

  • Constant f/2.8 aperture
  • Built‑in optical image stabilization
  • Covers a range of useful focal lengths

Cons

  • Build quality and materials could be slightly better
  • Not as sharp and lacks contrast compared to competitors

Panasonic 12‑35mm f/2.8 Framing Distances
Full Shot 7.5' to 22' (2.3m to 6.7m)
Medium Shot 3' to 8.75' (0.9m to 2.6m)

Panasonic 12‑35mm f/2.8 Specifications
Focal Length 12mm to 35mm (Full‑frame equivalent: 24mm to 70mm)
Lens Mount Micro Four Thirds
Sensor Coverage Micro Four Thirds
Focus Type Auto
Manual
Parfocal No
Zoom Type Manual
Image Stabilization Yes
Filter Size 58mm (Front)

Sigma 16mm f/1.4

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The best overall Micro Four Thirds prime lens for most users.

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This is The "Zoom" Lens.

I know it's a prime lens, don't @ me bruh.

I mean it's perfect for video conferencing.

16mm hits the sweet spot for a pleasing and natural framing of subjects within a few feet of the camera.

Not too wide. Not too telephoto. Just right. 👧

The auto focus is snappy and accurate, and the f/1.4 aperture allows for a fairly shallow depth of field.

With this lens, you and your office bookcase will look 👌 for that 9 AM video call.

It's not just for video conferencing, though. It makes great handheld and gimbal shots, static wide shots for corporate events, houses of worship, fitness trainers, or classrooms, and more.


Pros

  • Value
  • Fast and accurate auto focus
  • Sweet spot focal length for a lot of situations

Cons

  • Originally designed for larger sensors, so it's chunky compared to other MFT primes
  • Manual focusing can be awkward and frustrating

Sigma 16mm f/1.4 Framing Distances
Full Shot 9.75' (3m)
Medium Shot 4' (1.25m)

Sigma 16mm f/1.4 Specifications
Focal Length 16mm (Full‑frame equivalent: 32mm)
Lens Mount Micro Four Thirds
Sensor Coverage Micro Four Thirds
Focus Type Auto
Manual
Parfocal N/A
Zoom Type N/A
Image Stabilization No
Filter Size 67mm (Front)

Olympus 12‑100mm f/4

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The best value Micro Four Thirds zoom lens for live streaming.

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If you're currently stranded on a desert island and can only have one lens, hear me out...

With more than 8x optical zoom and a constant f/4 aperture, this packs major oomph.

Seriously. Find another lens with that much optical zoom and a constant f/4 aperture.

And, for the cherry on top... built‑in optical image stabilization.

Obviously, it lacks sharpness due to these characteristics. Right?

Would you believe me if I told you it's the opposite? 😬

Even wide open at f/4, this thing is impressively SHARP.

Oh yeah... focus is swift and accurate as well.

Olympus just nailed it, plain and simple.


Pros

  • Insane optical zoom
  • Constant f/4 aperture
  • Built‑in optical image stabilization

Cons

  • Might be a bit large and heavy for some
  • Not a great option if you want shallow depth of field
  • Lens barrel extends outward when zoomed in, making it tricky to balance on gimbals and smaller fluid heads

Olympus 12-100mm f/4 Framing Distances
Full Shot 7.5' to 62' (2.3m to 18.9m)
Medium Shot 3' to 25' (0.9m to 7.6m)

Olympus 12-100mm f/4 Specifications
Focal Length 12mm to 100mm (Full‑frame equivalent: 24mm to 200mm)
Lens Mount Micro Four Thirds
Sensor Coverage Micro Four Thirds
Focus Type Auto
Manual
Parfocal No
Zoom Type Manual
Image Stabilization Yes
Filter Size 72mm (Front)

Panasonic 25mm f/1.7

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The best value Micro Four Thirds prime lens for live streaming.

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Consistent.

Sharp.

Good low light performance.

Fairly nice shallow depth of field.

It's about all you can want from a lens under $150 USD.

Consider this the Nifty Fifty for Micro Four Thirds.

So maybe we should call it the Alive Twenty-Five?

ヽ(。_°)ノ

I don't know.

But I do know this: it is a phenomenal bang for the buck.


Pros

  • Price - it performs better than most budget lenses
  • Great auto focus performance and sharpness
  • Nice size and weight

Cons

  • Price - it feels cheap
  • Build quality

Panasonic 25mm f/1.7 Framing Distances
Full Shot 15.25' (4.7m)
Medium Shot 6.25' (1.9m)

Panasonic 25mm f/1.7 Specifications
Focal Length 25mm (Full‑frame equivalent: 50mm)
Lens Mount Micro Four Thirds
Sensor Coverage Micro Four Thirds
Focus Type Auto
Manual
Parfocal N/A
Zoom Type N/A
Image Stabilization No
Filter Size 46mm (Front)

DZOFILM 20‑70mm T/2.9

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The best budget Micro Four Thirds cinema zoom lens.

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DZOFILM has made a solid reputation the last few years for providing nice cinema lenses for indie filmmakers on a budget.

The 20-70mm T2.9 was one of their first steps into the market, and since then has proven to be a solid performer.

It doesn't get very wide and it's fairly soft, but considering it's a budget cinema zoom it does well.

You can also pair this with the Tilta Nucleus-M or another good FIZ system to achieve parfocal servo zoom at a reasonable cost.

IMPORTANT NOTE: Cinema lenses are generally larger and heavier compared to their photography counterparts. Parfocal lenses often require back focus adjustments to work optimally as well. And this lens is fully manual, so be aware that you will not get camera control of aperture or auto focus through the camera.


Pros

  • Parfocal
  • Pleasing filmic look and bokeh
  • Geared focus, zoom, and aperture rings

Cons

  • Chromatic aberration and softness wide open
  • May require back focus adjustment periodically
  • Fully manual focus, iris, and zoom is not for everyone

DZOFILM 20-70mm T2.9 Framing Distances
Full Shot 12.25' to 42.75' (3.75m to 13.1m)
Medium Shot 5' to 17.5' (1.5m to 5.25m)

DZOFILM 20-70mm T2.9 Specifications
Focal Length 20mm to 70mm (Full‑frame equivalent: 40mm to 140mm)
Lens Mount Micro Four Thirds
Sensor Coverage Micro Four Thirds
Focus Type Manual
Parfocal Yes
Zoom Type Manual
Image Stabilization No
Filter Size 77mm (Front)

Olympus 7‑14mm f/2.8

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The best Micro Four Thirds wide zoom lens for live streaming.

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When you want epic super wide shots without fisheye distortion, this is the hotness.

I love using this lens on gimbals and handheld cameras to get larger-than-life shots.

Just be aware of the look this lens creates. It is not for everyone or every situation.

But for the times that call for the wide angle look, this lens brings it real nice like. 😮‍💨

The f/2.8 aperture is also nice to have in a lot of indoor and low light situations.

And just like most other Olympus M.Zuiko lenses, it's simply a joy to use.


Pros

  • Built like a tank
  • Really sharp, especially at f/4 and above
  • Consistent rectilinear lines

Cons

  • Lens flare is inevitable
  • No optical image stabilization
  • Built like a tank = weighs as much as a tank
  • Rounded front element makes front filters tricky

Olympus 7-14mm f/2.8 Framing Distances
Full Shot 4.25' to 8.5' (1.3m to 2.6m)
Medium Shot 1.75' to 3.5' (0.5m to 1m)

Olympus 7-14mm f/2.8 Specifications
Focal Length 7mm to 14mm (Full‑frame equivalent: 14mm to 28mm)
Lens Mount Micro Four Thirds
Sensor Coverage Micro Four Thirds
Focus Type Auto
Manual
Parfocal No
Zoom Type Manual
Image Stabilization No
Filter Size N/A (requires a Filter Holder for Olympus 7-14mm f/2.8)

OM System 40‑150mm f/2.8

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The best Micro Four Thirds telephoto zoom lens for live streaming.

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For live events, sports, and houses of worship that need slightly longer focal lengths, this is a great lens for small‑to‑medium sized venues.

150mm can get a medium shot from up to about 35 feet away, and the constant f/2.8 aperture offers good low light performance as well as a decent shallow depth of field.

This lens also delivers the same sharpness (even wide open) and beautiful micro contrast the M.Zuiko PRO series is known for.


Pros

  • Build quality
  • Snappy auto focus
  • Constant f/2.8 aperture
  • Incredible sharpness and micro contrast

Cons

  • Fairly heavy
  • No optical image stabilization

Olympus 40-150mm f/2.8 Framing Distances
Full Shot 24.5' to 91' (7.5m to 27.75m)
Medium Shot 10' to 37.5' (3m to 11.4m)

Olympus 40-150mm f/2.8 Specifications
Focal Length 40mm to 150mm (Full‑frame equivalent: 80mm to 300mm)
Lens Mount Micro Four Thirds
Sensor Coverage Micro Four Thirds
Focus Type Auto
Manual
Parfocal No
Zoom Type Manual
Image Stabilization No
Filter Size 72mm (Front)

Panasonic 10‑25mm f/1.7

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The best premium Micro Four Thirds standard zoom lens money can buy.

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Well, Panasonic hit a walk‑off grand slam here.

2.5x optical zoom and a constant f/1.7 aperture is, dare I say, remarkable.

This lens is...

  • Built like a 🪨
  • Sharp as a 📌
  • Bokeh like 😚👌
  • Perfect ⭐️⭐️⭐️⭐️⭐️ ratings on B&H
  • Simply 🪄✨🦄

Pair this lens with the Panasonic 25-50mm f/1.7 and you have yourself one powerhouse duo!


Pros

  • Pleasing bokeh
  • Constant f/1.7 in a zoom 🤩
  • Stellar sharpness, even wide open

Cons

  • Fairly bulky and weighty
  • No optical image stabilization

Panasonic 10-25mm f/1.7 Framing Distances
Full Shot 6' to 15' (1.8m to 4.5m)
Medium Shot 2.5' to 6.25' (0.75m to 1.9m)

Panasonic 10-25mm f/1.7 Specifications
Focal Length 10mm to 25mm (Full‑frame equivalent: 20mm to 50mm)
Lens Mount Micro Four Thirds
Sensor Coverage Micro Four Thirds
Focus Type Auto
Manual
Parfocal No
Zoom Type Manual
Image Stabilization No
Filter Size 77mm (Front)

OM System 150‑400mm f/4.5

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The best premium Micro Four Thirds super telephoto zoom lens money can buy.

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At this point the specs just speak for themselves.

I mean... (gestures wildly towards specifications table)

For sports, live events, or houses of worship in large venues, this is your answer.

Your best friend.

Your secret weapon.

We're talking tight follow shots from 100 feet away. 😱

🎵 Amazing grace... 🎶

Just be ready to drop quite a few Hamiltons for the opportunity to own one. 💸


Pros

  • Focal length coverage
  • Built‑in 1.25x teleconverter
  • Constant f/4.5 aperture on this much glass is just bonkers

Cons

  • Price
  • Big and heavy (like your mom)

Olympus 150‑400mm f/4.5 Framing Distances
Full Shot 91' to 305' (27.75m to 93m)
Medium Shot 37.5' to 125' (11.4m to 38m)

Olympus 150‑400mm f/4.5 Specifications
Focal Length 150mm to 400mm (Full‑frame equivalent: 300mm to 800mm)
187.5mm to 500mm (with built‑in 1.25x teleconverter, full‑frame equivalent: 375mm to 1000mm)
Lens Mount Micro Four Thirds
Sensor Coverage Micro Four Thirds
Focus Type Auto
Manual
Parfocal No
Zoom Type Manual
Image Stabilization Yes
Filter Size 95mm (Front)

Panasonic 45‑175mm f/4.0-5.6

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The best budget Micro Four Thirds servo zoom lens for live streaming.

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I mentioned briefly at the beginning of this article that parfocal servo zoom in this category is tricky.

But I also mentioned one way to achieve servo zoom on a tight budget is to use a lens that is not parfocal.

This is one of those options.

Just temper your expectations here...

Can it be mounted on a Blackmagic MFT camera and be controlled with the Blackmagic Focus and Zoom Demands or through an ATEM switcher?

Yes.

Is it parfocal?

No.

Can it be used to do smooth zooms while a camera is live?

Maybe.

I've seen passable results with some, but also seen focus jump and shift distractingly during zooms with some. Results vary.

Don't expect it to be as smooth as a camcorder or professional servo zoom lens, though.

It's also rather slow, with f/5.6 being the widest constant aperture. Low light performance will suffer and depth of field won't be shallow.

Is it a lens I would personally use and trust?

Maybe. But ONLY in a few circumstances.

I would use it to give camera operators control of zoom behind the camera or use it on a Blackmagic Micro Studio Camera 4K G2 and a remote pan/tilt head to get a budget PTZ-like setup to match the look of other Blackmagic cameras. I would probably not use zoom moves while a camera is live, though.

You may also be wondering about the other MFT servo zoom lens options that are not parfocal.

The list is short...

There are only two others currently in production: the Panasonic PZ 14-42mm f/3.5-5.6 lens and the Olympus 14-42mm f/3.5-5.6 EZ lens.


Pros

  • Price
  • Servo zoom

Cons

  • Build quality
  • Slow aperture 🐌
  • Price - it's cheaply made

Panasonic 45‑175mm f/4.0-5.6 Framing Distances
Full Shot 27.5' to 106.5' (8.4m to 32.5m)
Medium Shot 11.25' to 43.75' (3.4m to 13.4m)

Panasonic 45‑175mm f/4.0-5.6 Specifications
Focal Length 45mm to 175mm (Full‑frame equivalent: 90mm to 350mm)
Lens Mount Micro Four Thirds
Sensor Coverage Micro Four Thirds
Focus Type Auto
Manual
Parfocal No
Zoom Type Power/Servo
Image Stabilization Yes
Filter Size 46mm (Front)

Why You Can Trust Me

I started my career over 23 years ago as a freelance live and ENG camera operator for broadcast television networks including ABC, FOX Sports, and Speed Channel. I've also been using digital photography cameras for the last 20 years and digital cinema cameras since early 2007, before RED ONE and ARRI ALEXA. I have spent countless hours with hundreds of different cameras throughout 25 different countries. Additionally, I have spent the last decade running this website and consulting with organizations to help them find the right cameras and maximize their results. Learn more about Joel

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