SIGMA has been designing and producing innovative and high-performance optics in Japan since 1961. Today’s CINE range of more than 25 8K-ready primes and zooms is the culmination of the technology, design, craftsmanship and experience that SIGMA has developed over the years.
11
FF High
Speed Primes
11
FF Classic
Primes
1
FF High
Speed Zoom
2
S35 High
Speed Zooms
3
Mount
converters
The optical design of SIGMA’s cine lenses are identical to those found in the highly-acclaimed Art line of stills lenses, hence their optical precision, beautiful bokeh, and well-controlled distortion and vignetting. Externally, though, the CINE line has been designed from the ground up to meet the needs of cinematographers, delivering exceptional build quality, precisely machined components and ultra-smooth action on the control rings.
Virtually every part of every SIGMA lens is designed, manufactured and constructed in SIGMA’s sole factory in Aizu in Japan, allowing very tight control over optical, mechanical and build quality. The people of the Aizu region are renowned for their exceptional craftsmanship and attention to detail.
Owing to their small and light bodies, the SIGMA CINE range can easily be used hand-held for long periods, and are light enough for most electronic gimbals.
They are also ideal for tight spaces where it’s simply not possible to use larger kit.
100% metal body
Accurately milled body with precise movement and robust construction
Laser-engraved markings
Gives increased durability even with heavy professional use. Luminous markings also available in both metric and imperial.
95mm diameter
Every lens in the CINE range has a 95mm diameter, and those with a filter thread are either Φ82mm or Φ86mm, allowing users to use the same filters across the set.
Dust- and splash-resistant
The focus and zoom rings and lens mount is specially sealed to prevent water and dust from entering, making it suitable for use in difficult conditions.
Standard gear positions
The gears in each ring are standard gauge with a 0.8m pitch, eliminating the need to adjust the follow focus, motor unit or accessories even when the lens changes.
180° focus throw
The rotational angle of the focus ring is more than double that of a still camera lens, allowing for high-precision focusing.
Lens support foot
Coming as a standard accessory with all lenses in the lineup, the lens support foot helps minimise load on the camera body while enhancing mount stability.
Electronic contacts
All three mounts have electronic contacts to allow the lens to communicate important information to the body.
An all-metal, weather-resistant body makes the lenses suitable for heavy professional use. Intricately knurled control rings with a fluid-like action make them highly intuitive and precise, even for very fine focus and zoom adjustments.
A small and light form factor makes the lenses highly adaptable tools that can be used for a wide range of productions.
All of the markings on the body of the SIGMA CINE line lenses are diamond-cut engraved. This ensures that the paint is recessed and therefore can not accidentally be removed should tape be applied to the lens. Some lens models are available in a fully-luminous option that glows green in dark conditions, ideal for shooting in low-light environments.
Most SIGMA CINE lenses are available in three mount options (PL-i, Sony E and Canon EF), which covers most cameras commonly used for film-making.
PL-i mount
Used on Arri, RED, some Blackmagic and Canon and Sony cinema cameras
Sony E-mount
Used on all Sony mirrorless cameras including the a7, FX, Burano and Venice ranges
Canon EF mount
Fit all Canon cine cameras, not including mirrorless, as well as some Blackmagic models
In addition, SIGMA makes three mount converters to open up the lenses to even more users. The MC-11 allows Canon EF lenses to be used on Sony bodies, the MC-21 allows Canon EF lenses to be used on L-Mount bodies, and the MC-31 (pictured below) allows PL-i lenses to be used on L-Mount bodies.
There are two prime lines in the SIGMA CINE line-up – the FF High Speed Primes and the FF Classic Primes. Both have the same 11 focal lengths and their build, optical design, dimensions, filter sizes and ergonomics are identical. However, the Classic line has recoated elements to create a lower contrast look with more flare. The T stops are slightly different and the Classics are only available in PL-i. Having both lines gives DoPs the option of choosing slightly more classic, characterful look when needed.
Name of line
FF High Speed Primes
Lenses in range
11
Mount options
3
Luminous option
Yes
Markings
Metric or imperial
Lens coating
Super Multi-layer Coating
Maximum T-stop values
T1.5 – T2.5
Name of line
FF Classic Primes
Lenses in range
11
Mount options
1
Luminous option
No
Markings
Metric or imperial
Lens coating
Recoated
Maximum T-stop values
T2.5 – T3.2
Click play on both videos to see a real-world comparison between the FF High Speed primes and the FF Classic primes in a range of different lighting conditions.
SIGMA CINE FF High Speed Prime sample footage
SIGMA CINE FF Classic Prime sample footage
It’s easy to build a custom lens kit of up to 11 cine primes using our flexible prime kit builder. Buying three or more SIGMA CINE primes in a set gets you a discount, which increases the more lenses you add. The discount is available on either FF High Speed Primes or FF Classic Primes.
‘Un Voyage Blanc’ is a short film shot on Red VV Monstro and SIGMA CINE FF High Speed Primes. Directed and photographed by Stéphan Massis AFC
Lenses: SIGMA 20mm T1.5, 24mm T1.5, 35mm T1.5, 50mm T1.5, 85mm T1.5, 135mm T2
Top Gun: Maverick was the second-highest grossing film of 2022, winning more than 60 awards, including several for its cinematography. A range of lenses was used in the production, including SIGMA FF High Speed Primes from 14mm to 50mm.
According to cinematographer Claudio Miranda ASC, “We were looking at a bunch of lenses during tests for Top Gun: Maverick and we gravitated toward these SIGMA lenses based on some stills that we saw earlier on.”
Navalny (2022) is a documentary film directed by Daniel Roher with Niko Waltl Director of Photography. The film is a study of Russian opposition leader Alexei Navalny. It received critical and audience acclaim at Sundance and won the Audience Award and Festival Favorite Award in the US Documentary competition. It also won the Best Documentary Feature at the 95th Academy Awards, the award for Best Political Documentary at the 7th Critics’ Choice Documentary Awards and Best Documentary at the 76th BAFTA Awards.
Navalny was shot primarily with SIGMA CINE FF Prime lens line, including the 20mm, 24mm, 28mm, 40mm, 50mm, 85mm and 135mm. Director of Photography, Niki Waltl commented. “As this film is a political documentary that plays in contemporary time, we felt we wanted a clean image. The SIGMA lenses gave us exactly that. Also, they are very fast and can be shot wide open without any problem.”
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