My Favorite Lenses to Pair with the Sony FX3 (For Interviews and Brand Work)
The Sony FX3 is one of my favorite cameras for brand videos, corporate interviews, and documentary-style storytelling. It’s compact, reliable, and performs beautifully in controlled lighting environments.
But the camera is only half the equation.
The lens you pair with the FX3 has a huge impact on how professional, intentional, and cinematic your interviews feel. Below are the lenses I rely on most, depending on the setup, the space, and the goal of the shot.
A Camera Interviews: 35mm f/1.4 GM
Sony FE 35mm f/1.4 GM
If I had to pick one lens for A-camera interviews, this is it.
A 35mm on a full-frame sensor gives you:
Natural perspective
Slight environmental context
Clean separation without extreme compression
It feels intimate without being distorted and honestly it give you the perfect crushed out background. I love using this lens in a busy environment when you have people walking in and out of frame because you can’t see faces - it just looks really natural. When framed correctly, it keeps the subject grounded in their space while still prioritizing their face.
At f/1.4, you have flexibility. You don’t have to shoot wide open, but having that option in lower light situations is powerful. This is so huge for me - I love the ability to have that lower light option.
This lens feels honest. That’s why I like it for primary interviews.
B Camera Interviews: 85mm f/1.4 GM II
Sony FE 85mm f/1.4 GM II
The 85mm is where interviews start to feel cinematic - who doesn’t love that!?
As a B camera lens, it adds depth and visual contrast to the wider A camera shot. While the 35mm gives you balance and context, the 85mm isolates the subject and compresses the background in a way that feels polished and intentional.
What the 85mm does exceptionally well:
Strong background compression
Beautiful subject separation
Flattering facial rendering
A more intimate perspective
Because of the compression, backgrounds feel cleaner and more controlled. Busy office spaces, shelves, or equipment behind the subject soften into texture rather than distraction.
On a two-camera interview setup, this lens gives you:
A natural primary angle (35mm)
A tighter, emotionally engaging secondary angle (85mm)
It also becomes a strong A camera option when the space allows for more distance. If I have the room to back up, an 85mm A camera interview can look incredibly refined.
The key is space. The 85mm needs breathing room. But when the environment allows for it, it immediately elevates the interview from clean to considered.
Alternate A Camera Option: 50mm f/1.2 GM
Sony FE 50mm f/1.2 GM
There are times when the 50mm becomes my A-camera lens.
It sits between environmental and intimate. It feels slightly tighter than a 35mm but not as compressed as an 85mm. It really depends on the space I’m in. If I can’t get close enough from my subject I’ll use the 50 and just sit back a bit.
The 50mm f/1.2 GM delivers:
Incredible sharpness
Creamy background falloff
A classic interview look
When the space allows for it, and I want something more cinematic without going too tight, this is a strong choice.
Environmental Interviews: 24mm f/1.4 GM
Sony FE 24mm f/1.4 GM
If I’m intentionally trying to showcase the environment, the 24mm becomes powerful. Like… if I’m shooting in a hotel that has a really cool vibe and I want to pull that into the piece - in comes the 24mm!
This is useful when:
The space itself tells part of the story
You’re filming in a greenhouse, factory, studio, or historic building
You want scale and context to matter
The key is distance and framing. A 24mm too close to a face can distort features. But when used carefully, it creates immersive, honest interviews that feel grounded in place.
When I Need Flexibility: 16–35mm f/2.8 GM
Sony FE 16-35mm f/2.8 GM
There are plenty of shoots where you don’t fully know what the space is going to look like until you walk in. For that case, I always have this lens in my back pocket.
Ceilings might be low. The room might be tight. You may not be able to move furniture. You may not have the distance you were hoping for.
That’s where the 16–35mm becomes incredibly useful.
This lens is my play-it-safe option when:
I don’t know how much room I’ll have
The space is tight or unpredictable
I need flexibility without swapping lenses constantly
I want to quickly adjust framing without physically moving lights and stands
At 35mm, it still gives you a natural interview look. At 24mm, you can open up the frame and show more of the environment. At 16mm, you can solve real logistical problems in cramped locations.
It may not have the same subject separation as a fast prime wide open, but what it gives you is control. And in production, control often matters more than theoretical perfection.
For corporate interviews in tight offices, fast-paced brand shoots, or locations you have not seen in advance, this lens earns its place in the bag.
Why These Work So Well on the FX3
The FX3’s full-frame sensor pairs beautifully with fast primes and high-quality zooms.
What matters to me in these lenses:
Reliable autofocus
Strong contrast and color
Minimal focus breathing
Consistent rendering across focal lengths
These lenses give me a cohesive look across A and B cameras. That consistency is more important than chasing new glass every year.
Final Thoughts From Bunker Hill Media
The lens you choose shapes how your interview feels.
35mm for balanced storytelling.
85mm for cinematic compression.
50mm for classic framing.
24mm for environmental context.
16–35mm when flexibility and control matter most.
The FX3 is incredibly capable, but pairing it with intentional lenses is what elevates interviews from clean to compelling.
