The Day My $1,200 Phone Lied to Me
I was shooting Closing Walls a few years ago —tight alley scene, golden hour light, the whole setup was perfect. Except my footage looked like garbage. Flat. Digital. That weird AI-smoothed look where everyone’s face seems slightly made of wax.
My phone kept bragging about its “5x optical zoom” and “computational photography,” but the truth? It was faking it. The software was guessing what the image should look like rather than capturing what was actually there.
That’s when I bought my first real smartphone lens. Not the $15 plastic clip-on thing from Amazon (we’ll get to why those are a scam later), but an actual piece of cinema-grade glass that screws onto my phone.
The difference wasn’t subtle. It was the difference between filming through a window and filming through a soda bottle.
If you want to see what festival-proven mobile setups actually look like on screen, what Going Home taught me about shooting real stories is the proof-of-concept. Every lesson in this article came from shoots like that one.
If you use links in this article, PeekAtThis gets a small commission at no extra cost to you. We only list gear that actually survives a production day.
The Production Reality: Your phone’s “5x zoom” is a crop. Your “portrait mode” is a software mask. Your “cinematic mode” is AI guessing where the blur should go. External glass replaces guessing with physics.
Why Your Phone’s Built-In Camera Hits a Wall
Your phone camera is genuinely excellent until it isn’t. The ceiling isn’t the sensor—it’s the glass. Built-in lenses are fixed, tiny, and optimized for snapshots, not narrative scenes. When you zoom past 2x, the phone crops and guesses. When you film a face on ultra-wide, it distorts. When you want real depth, it fakes it.
Here’s what nobody tells you when you drop a grand on a flagship phone: the camera is really good, but it has a ceiling. Built-in smartphone cameras in 2026—even the iPhone 17 Pro or Pixel 10—hit three walls:
1. Digital zoom is a lie. When you pinch to zoom past 2x or 3x, you’re not actually zooming. The phone is cropping the image and using AI to fill in the “missing” detail. Sometimes it works. Sometimes your friend’s face looks like a video game character.
2. Wide shots introduce distortion. Your phone’s ultra-wide lens is great for landscapes, but try filming a person up close with it and their nose looks like it belongs on a different face. The edges warp. It’s the fisheye problem, just less obvious.
3. You can’t control depth. That blurry background effect (bokeh) your phone brags about? It’s software. Portrait Mode works fine for Instagram posts, but when you’re trying to shoot a narrative scene where someone walks from foreground to background, the blur glitches out. Hair disappears. Glasses turn into weird halos.
If you’ve ever filmed something on your phone and thought, “Why doesn’t this look like the stuff I see on YouTube?”—this is why. You’re asking your phone to do things it physically can’t.
The Common Beginner Mistake: Buying a new phone to fix footage problems. A $1,200 sensor behind $2 glass still looks like $2 glass. The bottleneck isn’t the sensor. It’s what you put in front of it.
What External Glass Actually Fixes
External smartphone lenses solve three problems built-in cameras cannot: optical zoom without AI guessing, depth of field that behaves like real physics, and creative effects that don’t exist in any app. A telephoto physically magnifies. An anamorphic physically widens. Real glass doesn’t run your footage through a neural network before it reaches the sensor.
External lenses do three things your phone can’t fake:
Optical zoom and width without digital trickery. A telephoto lens physically magnifies. A wide-angle lens physically captures more of the scene. No AI guessing, no cropping.
Depth of field you can see with your eyes. Real glass creates real bokeh. When you rack focus from one actor to another, the blur is smooth and natural, not a software mask that cuts off at the edges.
Creative effects that don’t exist in-app. Anamorphic lenses give you that 2.40:1 cinematic aspect ratio with horizontal lens flares. Macro lenses let you shoot extreme close-ups of insects or jewelry without your phone freaking out and refusing to focus.
Think of it this way: your phone is a Swiss Army knife. It does everything pretty well. An external lens is a chef’s knife—it does one thing exceptionally.
What Audiences Actually Feel: Audiences don’t notice resolution. They notice when a face looks slightly wrong, when the background blur pulses during movement, when the image feels “off” without knowing why. Real glass eliminates that uncanny valley. It’s not about sharpness. It’s about whether the image feels trustworthy.
Are Smartphone Lenses Worth It in 2026?
Yes—if you’re shooting narrative work. No—if you’re posting casual content. The dividing line is whether you care what the footage looks like after color grading. Built-in lenses use AI to simulate depth, flares, and bokeh. External glass uses physics. Real glass holds up under grading. Software effects fall apart.
In 2026, flagship phones like the iPhone 17 Pro have legitimately impressive built-in zoom and ultra-wide lenses. If you’re shooting casual Instagram stories or TikToks, you probably don’t need external glass.
But if you’re trying to shoot anything narrative—short films, music videos, travel docs—external lenses still win in three areas:
Anamorphic widescreen effects (those horizontal blue/gold lens flares)
Extreme macro detail (closer than your phone’s minimum focus distance)
Variable ND filters to control motion blur and shutter speed in bright sunlight
The built-in lenses on your phone are computational. They use AI to simulate depth, flares, and bokeh. External lenses use physics. The difference shows up when you’re editing. Real glass holds up under color grading. Software effects fall apart.
If you want pixel-peeping proof before you spend money, I’ve published anamorphic test data and real-world benchmarks that compare flare behavior, edge sharpness, and distortion across the main budget and pro options.
The Production Reality: That anamorphic flare that looked incredible on your phone screen? On a festival projector, it can look like a smeared light artifact. Test on a big screen before final delivery. I learned this the hard way with Going Home—looked great on my laptop, borderline amateur on a theater screen.
The M-Series vs. T-Series Trap (Read This Before You Buy)
If you have an iPhone 14 or newer, Pixel 7 or newer, or Galaxy S24 or newer, you need T-Series lenses. M-Series was designed for older, smaller sensors and will vignette heavily on modern phones—dark corners that cannot be corrected in post. The lens physically isn't wide enough to cover the sensor.
Moment's lens ecosystem has two incompatible generations:
M-Series = Legacy lenses. Designed for older phones (iPhone 13, Pixel 6, and earlier). They worked great back then, but they have a narrow aperture opening.
T-Series = Modern lenses. Redesigned for the massive sensors in iPhone 14-17, Pixel 9-10, and Samsung S24-S26. They have a wider aperture to prevent vignetting.
If you put an M-Series lens on an iPhone 17 Pro, you'll get heavy vignetting. It's like trying to look through a keyhole with your whole face. The lens isn't physically wide enough to cover the sensor.
| Your Phone Model | Sensor Status | Which Lens Do You Need? |
|---|---|---|
| iPhone 14, 15, 16, 17 (All models) | Huge Sensor | T-Series only. M-Series will cause dark corners. |
| Pixel 7, 8, 9, 10 Pro | Large Sensor | T-Series. Google's sensors are massive now. |
| Samsung S24, S25, S26 Ultra | Elite Sensor | T-Series. These sensors are DSLR-sized. |
| iPhone 13, Pixel 6, or older | Standard Sensor | Both work. M-Series is fine, but T-Series is future-proof. |
Pro tip: If your phone's main camera is 48MP or higher, you almost certainly need T-Series glass for edge-to-edge sharpness.
The Budget Reality: If you're on an older phone and planning to upgrade within a year, don't buy M-Series to save $40. Buy T-Series now. The M-Series lenses become paperweights the moment you get a new phone.
Which Lens for Which Shot? (The Filmmaker’s Decision Framework)
Don’t buy lenses by product name. Buy them by the shot you’re trying to get. Dialogue and portraits need the 58mm telephoto. Widescreen drama needs the 1.33x anamorphic. Extreme detail needs the 75mm macro. Match the glass to the frame, not the marketing page.
Dialogue and Portraits: 58mm Telephoto
Best for: Interviews, portraits, dialogue close-ups, anything where you want to separate your subject from the background with natural bokeh.
Honest drawback: The 58mm forces a distance. You can’t be in your actor’s face. That distance changes the scene’s energy—sometimes for the better, sometimes for the worse.
Who should NOT buy this: If you’re shooting primarily wide establishing shots or action sequences, this isn’t your first lens.
Real production use case: This is what I actually keep in my bag. The 58mm hits that sweet spot where people’s faces look good—not distorted, not flattened. It’s the difference between a CCTV camera zoom and a professional portrait.
Critical mounting note: Mount it over your phone’s 1x main lens for the best quality. I used to think stacking a telephoto on a telephoto was a genius move. I was wrong. It’s a chromatic aberration nightmare—purple fringing around every edge, light loss that turns your ISO into a grainy mess.
Budget alternative: Apexel 2x telephoto (soft edges, less contrast, but $30 vs. $130).
Widescreen Drama: 1.33x Anamorphic
Best for: Narrative shorts, music videos, any project where you want that 2.40:1 widescreen cinema look with horizontal lens flares.
Honest drawback: You’ll need the Moment Pro Camera app or Blackmagic Camera to de-squeeze the image—otherwise everything looks squished. The native iPhone Camera app records the image squeezed and uncorrected.
Who should NOT buy this: If you’re not willing to change your shooting workflow (de-squeeze app, framing for squeezed preview, post-production adjustment), skip it. This is not a point-and-shoot accessory.
Real production use case: Don’t buy this if you’re just filming your cat. Buy this if you’re trying to impress a client or make your travel vlog look like a Christopher Nolan film.
1.33x vs. 1.55x: The 1.33x is your all-terrain lens—easier to shoot with, less edge distortion. The 1.55x gives you the widest possible image but softer edges.
Budget alternative: Sandmarc 1.33x ($130). Gold flares give you a unique look, and it’s the best value for iPhone-specific workflows.
Extreme Detail: 75mm Macro
Best for: Product videos, texture shots (bubbles in soda, stitching on sneakers, water droplets on leaves), nature docs.
Honest drawback: Macro is a specialty lens. If you’re not specifically shooting product videos or nature docs, skip it.
Who should NOT buy this: Anyone shooting dialogue scenes. This lens has no place in a narrative kit unless your script calls for extreme close-ups of objects.
Real production use case: Most macro lenses require you to be so close you block the light. The 75mm focal length gives you breathing room.
Budget alternative: None available. Standard phone built-in macro modes or cheap clip-on sets introduce severe edge distortion.
Budget Starter: Apexel 2-in-1 Lens Kit
Best for: Beginners who want to test whether external glass actually improves their workflow before spending real money.
Honest drawback: The universal clip can shift mid-take. I bought a cheap 10-in-1 clip-on kit early on—three shots into a shoot, the clip shifted. Half the footage had a dark corner. We reshot the entire sequence.
Who should NOT buy this: If you’re charging a client, buy T-Series glass. The Apexel is for learning, not for deliverables.
Real production use case: Is the edge-to-edge sharpness as good as Moment? No. Will you notice softness at the edges if you pixel-peep? Yeah. But for 30 bucks, it’s 90% of the way there and infinitely better than using your phone’s digital zoom.
Budget alternative: This is the budget alternative.
The Accessory That Makes Anamorphic Actually Usable
If you buy an anamorphic lens but don’t buy a variable ND filter, you’re wasting your money. Without ND, your phone uses a fast shutter speed to compensate for daylight, which eliminates motion blur and makes footage look jittery and video-gamey. The ND filter maintains a natural-motion-blur shutter speed.
What it does: Lets you control shutter speed in bright sunlight so your video has natural motion blur instead of that jittery, choppy look.
When to buy it: You’re shooting outdoors and your footage looks too sharp—almost video-gamey. That’s because your phone is using a crazy-fast shutter speed to compensate for the brightness. An ND filter is basically sunglasses for your lens.
Real talk: The Moment Variable ND Filter (67mm) lets you blur motion naturally. It’s the secret sauce most YouTubers don’t tell you about. If you want the deeper breakdown on building a lighting kit that actually works on a budget, I’ve written a separate guide on light, color temperature, and exposure control.
You’ll also need the 67mm Lens Filter Adapter to mount it—Moment’s T-Series lenses have a bayonet mount that accepts screw-on filters.
Who should NOT buy this: If you only shoot indoors with controlled lighting, you can skip it. But the moment you step outside with an anamorphic, you need ND.
The Budget Reality: Rent the ND filter for your first outdoor shoot before buying. It’s an accessory that you might not need if your shooting style stays interior. But if you’re shooting a short film with any exterior scenes, buy it. You’ll use it every time.
The “Do Not Buy” List: Save Your Money
Four categories of smartphone lens gear will waste your money: plastic multi-lens kits, outdated M-Series glass on new phones, stick-on lens protectors, and cheap 36x+ clip-on telephotos. Each one either degrades your image, introduces vignetting, or falls apart mid-shoot. Buy one good glass lens instead of ten bad ones.
If you recognize yourself in this section—buying gear to solve creative problems instead of learning technique—you may be falling into Gear Acquisition Syndrome (GAS). That article is the intervention this list can’t provide.
1. The “10-in-1” Plastic Lens Kits (The Amazon Special)
Those $15–$25 kits with 10 different lenses in a little zip pouch.
Why it’s garbage: The lenses are plastic, not optical glass. They will make your $1,200 smartphone look like you’re filming through a plastic soda bottle. Edges blur, colors wash out, and you’ll get internal reflections that ruin every shot.
What to do instead: Buy one good glass lens instead of ten plastic ones.
My mistake: I bought one of these early on. Three shots in, the clip shifted. Half the footage had a dark corner. We reshot the entire sequence. That’s the cost of cheap gear—not the $20, but the reshoot.
2. Outdated M-Series or Legacy Lenses
Old stock of Moment M-Series or other pre-2023 lenses on clearance or eBay.
Why it’s garbage: Smartphone sensors got massive in the last two years. These older lenses have a smaller aperture, which means heavy vignetting—ugly black circles in the corners of your frame.
What to do instead: In 2026, if it isn’t labeled “T-Series” or “Universal-Large Sensor Compatible,” it’s a paperweight.
3. Integrated “Lens Films” or Stick-On Protectors
Those little glass or plastic circles people stick over their actual phone lenses to “protect” them.
Why it’s garbage: Modern phone glass is incredibly tough. Adding a $5 adhesive layer creates internal reflections and ghosting. It also messes up the phone’s autofocus algorithms.
What to do instead: Get a case with a raised lip. Don’t put a cheap sticker over expensive optics.
4. Cheap “Super-Zoom” (36x+) Telephotos
Massive, 8-inch-long clip-on tubes claiming “DSLR zoom.”
Why it’s garbage: They’re top-heavy, they fall off, and because they’re cheap glass, they have massive chromatic aberration. Your phone’s built-in 5x or 10x digital crop usually looks better and is 100% less embarrassing to pull out in public.
What to do instead: If you need serious reach, buy a real camera. Smartphones aren’t telescopes.
What Audiences Actually Feel: Nobody watching your film knows what lens you used. They know when a shot looks slightly wrong—when the edges are soft, when the flare looks like a smudge, when the color grading can’t fix the glass. Cheap gear doesn’t announce itself as cheap. It just makes everything feel slightly off.
| Lens Type | Focal Length | The "Zoom" Factor | Aspect Ratio | Best For |
|---|---|---|---|---|
| Wide 18mm | ~18mm | 0.63x (2x Wider) | Standard (16:9) | Vlogging, landscapes, tight indoor shots |
| Tele 58mm | ~58mm | 2x Optical Zoom | Standard (16:9) | Portraits with real bokeh, street photography |
| Anamorphic 1.33x | ~24mm (Horizontal) | Wide View | 2.40:1 (Cinema) | "Star Wars" look with blue/gold flares |
| Anamorphic 1.55x | ~24mm (Horizontal) | Ultra-Wide View | 2.76:1 (Super Wide) | Ultra-widescreen "letterbox" drama |
| Macro 75mm | 75mm | ~10x Detail | Standard (16:9) | Extreme close-ups without blocking light |
The “Garbage” Mount Warning
Universal plastic clips will sag under the weight of real glass, tilting the lens and softening one side of your frame. High-end lenses like Moment and Sandmarc are heavy because they’re actual optical glass. Use a dedicated lens case with a built-in metal mount. It’s the only way to keep the glass centered over your sensor every time.
Avoid universal plastic clips for high-end lenses. Moment and Sandmarc lenses are heavy because they’re real glass. A plastic clip will sag over time, which tilts the lens.
The result? One side of your video sharp, the other side a blurry mess.
The fix? Always use a dedicated lens case with a built-in metal mount. It’s the only way to ensure the glass is perfectly centered over your sensor every time.
What Lenses Won’t Fix (Stabilization, Lighting, Audio)
Lenses don’t fix bad footage. Shaky hands, dim lighting, and garbage audio will ruin a shoot regardless of how much you spent on glass. Stabilization, lighting, and audio are separate problems with separate solutions. Fix those first. Then buy lenses. A great lens on shaky, badly-lit footage is still shaky, badly-lit footage.
Stabilization: Shaky footage ruins everything. Even the fanciest lens can’t fix your shaky hands. I use a cheap tabletop tripod for locked-off shots and a gimbal when I’m moving. When I was shooting Married & Isolated during the pandemic, every shot was handheld because I didn’t have a crew. The footage was unusable until I bought a gimbal. Suddenly everything looked intentional instead of panicked.
Lighting: Your phone’s sensor is small. It needs light. Lots of it. Shoot near windows during golden hour whenever possible. If you’re stuck indoors or filming at night, grab a portable LED panel. And if you want to know which LEDs are actually worth the money, here’s the $150 lighting kit breakdown.
Audio: Nobody complains about “okay” video quality if the audio is clean. But perfect video with garbage audio makes people click away instantly. The glass can’t save you here. Before you spend another dollar on lenses, read up on location scouting for film—because half the audio problems you’ll hit were visible on the scout day if you knew what to listen for.
Key Takeaways
Buy T-Series, not M-Series, if your phone is from 2023 or newer. The vignetting isn’t worth the $40 savings.
Start with one lens. The 58mm telephoto is the most versatile for narrative work. The anamorphic is the most visually dramatic.
Budget for ND. An anamorphic lens without an ND filter outdoors is a waste of money.
Avoid plastic kits. One good glass lens beats ten plastic ones.
Mount on the 1x lens. Never stack telephotos. The chromatic aberration will ruin your footage.
Test on a big screen. That flare that looks great on your phone might look like a smudge on a projector.
Quick Recap: Which Lens Should You Actually Buy?
If you've read this far and just want the answer: buy the 58mm telephoto first if you're shooting dialogue and portraits. Buy the 1.33x anamorphic first if you want the widescreen cinematic look. Buy the Apexel kit if you're testing whether external glass is worth it at all. Skip everything else until one of those three stops being enough.
Here's the short version of every lens in this article, in one place.
| Lens | Price | Buy It If | Skip It If | Budget Alternative |
|---|---|---|---|---|
| Moment T-Series 58mm Telephoto | ~$130 | You shoot dialogue, interviews, or portraits and want real bokeh | You shoot mostly wide establishing shots | Apexel 2x telephoto (~$30) |
| Moment T-Series 1.33x Anamorphic | ~$150 | You want 2.40:1 widescreen and horizontal flares | You won't change your workflow for de-squeeze | Sandmarc 1.33x (~$130) |
| Moment T-Series 75mm Macro | ~$130 | You shoot product, texture, or nature detail | You shoot narrative dialogue scenes | None worth buying |
| Apexel 2-in-1 Wide/Macro Kit | ~$30 | You're a beginner testing external glass for the first time | You're charging a client for deliverables | This is the budget pick |
| Moment VND Filter (67mm) | ~$200 | You shoot anamorphic outdoors in daylight | You only shoot indoors with controlled light | Neewer variable ND (cheaper, less precise) |
The 58mm Telephoto — The One to Buy First
- Best for: Dialogue, interviews, portraits. Anyone who needs real background separation without software faking it.
- Honest drawback: It forces distance. You can't be in your actor's face. That changes the intimacy of a scene, and not always for the better.
- Who should NOT buy this: Filmmakers who shoot primarily wide establishing shots or action. This is a portrait lens, not a wide lens.
- Real production use case: I keep this in my bag permanently. It's the lens that makes phone footage look like it wasn't shot on a phone.
- Budget alternative: The Apexel 2x telephoto is soft at the edges but workable for testing.
Buy the Moment T-Series 58mm if you're shooting your first narrative short and need one lens that does the most work.
The 1.33x Anamorphic — The One That Looks Like Cinema
- Best for: Narrative shorts, music videos, anything that needs 2.40:1 widescreen and horizontal flares.
- Honest drawback: You must change your workflow. Native iPhone camera app won't de-squeeze. You need Blackmagic Camera or Moment Pro Camera. If you're not willing to do that, don't buy this.
- Who should NOT buy this: Anyone who wants point-and-shoot. This is a workflow commitment, not an accessory.
- Real production use case: The fastest way to make phone footage look expensive. The widescreen frame changes how people perceive your work before they even notice the image quality.
- Budget alternative: The Sandmarc 1.33x is a legit alternative at a slightly lower price with gold flares.
Buy the Moment T-Series 1.33x Anamorphic if you've already shot something narrative and you're ready to make it look like a film instead of a phone video.
The 75mm Macro — The Specialist
- Best for: Product videos, texture B-roll, nature docs.
- Honest drawback: It's a one-trick lens. If your project isn't specifically about extreme close-ups, it sits in the bag.
- Who should NOT buy this: Anyone shooting dialogue scenes. This isn't a narrative lens.
- Real production use case: When you need texture shots your phone physically can't focus on—bubbles, fabric weave, water droplets—this is the only way to get them without blocking your own light.
- Budget alternative: None. Cheap clip-on macro lenses distort edges badly. If you can't afford the real one, use your phone's built-in macro mode and accept the limitations.
Buy the Moment T-Series 75mm Macro if you're shooting product or nature content and close-up detail is the whole point.
The Apexel 2-in-1 Kit — The Starter
- Best for: Beginners who want to test whether external glass actually improves their footage before spending $150 on one lens.
- Honest drawback: The universal clip shifts. I've had it happen mid-shoot. Half the footage had a dark corner. We reshot.
- Who should NOT buy this: Anyone charging a client. The softness and alignment issues aren't deliverable-grade.
- Real production use case: Testing. Learning. Figuring out whether the 58mm or anamorphic is the right first real lens for you.
- Budget alternative: This is the budget alternative.
Buy the Apexel 2-in-1 if you've never used an external lens and you want to see what the fuss is about for $30.
The Moment VND Filter — The Anamorphic's Required Companion
- Best for: Anyone shooting anamorphic outdoors in daylight.
- Honest drawback: It costs more than the anamorphic's budget alternative. At roughly $200 for the Moment VND plus the adapter, it's a real investment.
- Who should NOT buy this: Anyone who shoots exclusively indoors or at night with controlled lighting. You won't use it.
- Real production use case: Maintains a natural-motion-blur shutter speed in bright daylight. Without it, anamorphic footage looks jittery and video-gamey no matter how good the lens is.
- Budget alternative: Neewer variable ND filters are cheaper and less precise. If you're just testing, rent before you buy.
Buy the Moment VND if you're committed to shooting anamorphic outdoors. Skip it if your shooting is entirely interior.
The One-Line Answer
- If you buy one lens: the 58mm telephoto.
- If you buy two: add the 1.33x anamorphic.
- If you're not sure yet: the Apexel kit.
- If you're charging clients: skip straight to T-Series glass and don't look back.
FAQ
Do I need a special case for smartphone lenses?
Yes, for high-end glass. Moment T-Series lenses require a Moment case with a drop-in mount. Universal clips work for cheap lenses but shift and sag over time. The case is $50. The lens is $150. Don’t cheap out on the mount.
Can I use an anamorphic lens with the native iPhone camera app?
No. The native app records the image squeezed and uncorrected. You need Blackmagic Camera (free) or Moment Pro Camera to de-squeeze in real time. Without de-squeeze, your footage looks like everyone got put in a trash compactor.
Why does my phone lens have dark corners?
Three reasons: (1) You’re using an M-Series lens on a newer phone with a larger sensor. (2) You’re stacking filters or adapters, adding depth that blocks light. (3) Your clip mount isn’t centered—even 1mm misalignment causes one corner to darken.
What's the difference between 1.33x and 1.55x anamorphic?
1.33x gives you a 2.40:1 aspect ratio with less edge distortion—it’s the all-terrain option. 1.55x gives you 2.76:1 with softer corners—more dramatic, more vintage. Start with 1.33x unless you specifically want that dreamy, blurry-corner look.
How do I de-squeeze anamorphic footage in DaVinci Resolve?
Set the Anamorphic Squeeze Factor in Project Settings (File > Project Settings > Image Scaling) to match your lens—1.33x or 1.55x. For mixed timelines, right-click individual clips and set Clip Attributes. The original files aren’t modified; it’s a display setting.
Conclusion
Smartphone lenses for filmmaking are worth it if you’re shooting narrative work and you buy the right glass. The 58mm telephoto and 1.33x anamorphic are the two lenses that actually change what your footage looks like. Everything else is optional.
The honest reality is that most people don’t need every lens. They need one good lens, mounted correctly, with the right app settings, and an ND filter if they’re shooting outdoors. The gear matters less than knowing which shot you’re trying to get and choosing the glass that delivers it. A $130 telephoto used well beats a $500 kit used confusedly. If you’re just starting, buy the Apexel 2-in-1 and test whether external glass actually improves your workflow. If you’ve already made the mistake of buying cheap glass, sell it or bin it. One T-Series lens will do more for your footage than a drawer full of plastic. The phone isn’t the problem. The glass is.
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About the Author
Trent Peek is a filmmaker, writer, and producer based in Victoria, BC, and the founder of PeekAtThis.com. His production credits include set decoration on Netflix’s Maid, and writing/directing Going Home (2024 Soho International Film Festival) and Noelle’s Package (48-hour festival winner, shot on smartphone). He’s also a former President of Cinevic, Victoria’s Society of Independent Filmmakers, and works as a doorman at a four-star hotel — a job that’s taught him as much about reading people under pressure as any film set has.
When he’s not writing articles, testing gear, or working on film projects, Trent enjoys traveling, reading, exploring new technology, and developing future film ideas — many of which may never leave the notebook stage.
P.S. Writing in the third person still feels weird.
Trent recently appeared on the Pushin Podcast — listen to the full episode — where he discussed independent filmmaking, directing actors, production challenges, and lessons learned from working in film.
Trent which one do you think is best for shooting YouTube videos? I film diy/craft tutorials and I am not happy with just my i phone 7 plus but don’t want to learn a whole new camera and editing. Any advice?