There is a good reason Barry Ackroyd chose the Canon 8-64mm T2.4 as his primary lens on HURT LOCKER – it does everything right. Not only is it sharp, has one of the most useful zoom ranges of any lens and has an amazing close-focus, but it also has almost NO FOCUS BREATHING at any focal length. Super-16 zooms are known for their bad focus breathing, and this lens has none at the wide end and almost none at the long end. With a field of view that is roughly equivalent to a 14.5-115mm in Super-35 terms and a close focus that nearly touches the front of the lens, this is the ultimate documentary lens. There is rarely a moment where you feel like you can’t get the shot you need or feel like you have to change lenses.