On November 3, 2018 Sigma Corporation of America celebrated the opening our Burbank Facility. A West Coast presence has been a long-time goal. Realizing this goal has been made possible by the overwhelmingly positive reception and momentum of our Cine…
We sat down with Timur Civan, Sigma Corporation of America’s first Cine Pro, to learn more about his career, what inspires him and what things he’s looking forward to working with Sigma.
As Sigma’s dedicated Cine Tech Rep, one of the most common questions I get is why should I use a dedicated Cine lens instead of the Still Art lens when the Cine version cost so much more?
Actor Brian Jordan Alvarez and Director of Photography Jordan McKittrick created the feature-length comedy “Grandmother’s Gold” using only two Sigma Art lenses: the 18-35mm Art and 50-100mm Art.
If you’re a director of photography hoping to shoot a micro-budget movie as efficiently as possible, there are ways to plan ahead and achieve every bit of production value you can.
Solving workflow issues on set can be a challenge, especially if you don’t have the right tools. The camera department from Amazon’s “Sneaky Pete” sat down with the S.O.C. to talk about some of the challenges the show faced and how they solved them by focusing on their gear.
Come take a deep dive with D.P. Will Rexer and team, and check out the role the Sigma Cine Primes played in their production process.
“Blur” was created for the launch of the Sigma Cine line. The fifteen minute production was filmed with just two lenses, the 18-35mm T2 and 50-100mm T2 High-speed Zoom lenses.
Cinematographer Chuck France explains how the Sigma 18-35mm T2 and 50-100mm T2 High-Speed Zoom lenses helped create the distinctive look and feel of Dogwood Pass: The Series on an incredibly tight budget and timeline.