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Sigma is saying.


As Sigma’s dedicated Cine Tech Rep, one of the most common questions I get is why should I use a Cine lens instead of the Still Art lens when the Cine version cost so much more?
To me, it comes down to a basic principal, what is the best tool to get the job done right.
Could you build a house with a roofing hammer? Yes. But would it be a lot easier to use a nail gun instead ? Yes!
Does a nail gun cost more and involve more equipment? Yes, but at the end of the day, time is money—using the more expensive equipment to get the job done right and quickly can save you in the long run.


Let’s get into the details of why a Cine lenses can save you time and money on your next big project.

Gearing: Every Sigma Cine lens is properly geared to work with standard Cine accessories, whether it is a manual follow focus or a wireless system. Having the gearing in the same position and standardized makes it easy to attach accessories and allows you to quickly change lenses.
Unified front diameters at 95mm: This allows you to easily setup your matte box and provide ease of use when changing lenses.
180 Degree focus throw: The most important in my opinion, this greater degree of focus control makes it much easier to manually focus. While cameras have come a long way in terms of autofocus for video, they have not been able to replace the fine tuned control an experienced focus puller can achieve. Less missed shots, less retakes, less time spent paying people and moving onto the next project.
Build quality: While the Sigma Art lenses are well made for still photography and light video work, they are not built like the Cine lenses. The Sigma Cine lineup features fully weather sealed metal bodies. They are meant to take the rigors of set life. Again, you need know that your lens is just going to work, to ensure this, nothing has been sacrificed in terms of the build quality.
140 Degree zoom throw: The Sigma Zoom provides a 140 degree zoom throw to allow you to gradually zoom in and out on your shots.
PL mount availability: Once you move onto a dedicated Cine camera having the rock-solid PL mount available is a big help. It’s been the industry standard for years for a reason.
Color rendition: Uniformity of color and tone across all lenses is part of the Cine line’s mission.
Value: Sigma Cine lenses are very competitively priced.


Why Choose Sigma Art lenses over Sigma Cine lenses

After all this is said and done, there are reasons to use still lenses:

  • You’re a small production that has to rely on autofocus.
  • You’re just getting started and don’t have the budget for Cine lenses.
  • You want to “run and gun” with the highest quality glass in the smallest possible package.
  • You are mixing stills and video in your productions and assignments

Our Sigma Art still lenses provide excellent optics that can provide a cinematic look for your production, it just might require more time and work on your end to achieve that look. The best thing is if you use the Sigma Art lenses you can mix and cut them in seamlessly once you start your Sigma Cine collection.

Sigma Cine lenses and Sigma Art lenses share the same optical formula for each focal length; so the visual characteristics are identical. And both the Sigma Cine and Art lenses offer Sigma’s exclusive Mount Conversion Service, where your optics can be swapped between released mounts.

If uniform gearing, front filter size and matte box compatiblity, longer throws for focus and zoom, and glow in the dark distance scales are critical, go for the Cine lenses.

If autofocus, budget, and compactness are the critical success factors for your microbudget project, go for the Art line.


Towards the end of February, Sigma announced a very intriguing product, the MC-11 Mount Converter.  The MC-11 allows the use of Sigma Canon EF Mount and Sigma SA Mount Global Vision lenses to be used on the Sony’s mirrorless cameras.  In an instant, this expands the lens selections for these wildly popular cameras to now include nineteen Sigma lenses!


I have long been lured by the promise of aftermarket adapters to make all of the wonderful Art Lenses work on my Sony mirrorless cameras, but there was always a let down of some type.  Until now.

For example, on my Nex-5n, the autofocus was so slow that I could manually focus much faster and the same was true when I had an a7r and a7s. Much of this changed with the release of the a7r mk2. Suddenly, I had a fast autofocus system with my EF-mount Art Lenses when combined with adapters from Metabones and Fotodiox. However, other issues would arise.  I would get random errors, the camera would lock up, the most innovative autofocus modes wouldn’t work, and some lenses just didn’t work properly at all. I dealt with these issues because I loved the images created when pairing Art Lenses with my a7r mk2.

© Brian Linhoff | Sony a7r mk2 | Sigma 18-35mm f/1.8 DC HSM 1/200 F2.0 ISO 800 @ 31mm

© Brian Linhoff | Sony a7r mk2 | Sigma 18-35mm f/1.8 DC HSM 1/200 F2.0 ISO 800 @ 31mm

So it was with a great deal of excitement that I made my way to WPPI 2016 where I could get my hands on a preproduction sample to try out.  I was completely overwhelmed with how well the adapter worked.  Since it was running beta firmware, our show sample was only compatible with the 50 f1.4 Art and 18-35 f1.8 Art, and these two lenses worked flawlessly. Anyone that has dealt with the usual frustration of adapting lenses can appreciate that it worked in every aspect that I could think to test.