[Yes] We rented this lens for our FS5 recently, and decided to keep it after testing it for a week. The image quality is actually superior to our Rokinon Cine DS primes, with less chromatic aberration. Image stabilization is a wonderful thing to have when filming events, and I feel that the zoom range offered meets my needs - I'm able to get close framing of a subject on the stage of our auditorium from the control room in the back of the room, and it's perfect for our event run-and-gun shooting. I love the sheer amount of control this lens offers. It's way better than using the 18-105 that we got with the camera, and has been better than my favorite cine lenses as well.

[4.55 lb] I bought this lens not really knowing if I was going to keep it or not. It was depending on how it performedwith my A7r2 and FS7. I come from a Stills lens background, not Cine but I wanted something that could give me an all around look and serve numerouspurposes, while I was shooting different events. To be honest I'mnot sure if I would call this lens a cine lens, more like a hybrid lens, between Broadcast and the ability to be a Cine Lens. This Lens is very nice for reacting to the environment,events, and things around you. Run and Gun as they say works great with this lens, news,docs and event shooting will work great as well. At f4 it's not going to be that fast lens but it has a lot of other features to make up for that and if you're shooting outside or have mediocre lighting it will be efficient and yield some great sharp, clean footage. $3,500 is a lot but not for a lens of this kind. This lens will make your life much easier if you use AF or even if you like the feel of a good MF lens. It's parfocal with minimum breathing. IT'S BIG and it's not a carry around in your hand all daylens. On my FS7 it pairs great, on my A7r2 it looks and feels pregnant. At the end of the day, i'mkeeping it for all the reasons I thought I would. It just works better than most other lenses on a Sony Camera, All the way around. Hope this helps you.

[Yes] I have the Sony FS-7. I was using the 18-105 lens. Had the money for this upgrade and its fantastic. I come from the ENG news world. This lens acts and looks like an ENG lens. Iris is now on the lens instead of the camera body which takes some time getting use to the change. If you have the money you wont be disappointed.

[6x] I purchased this lens to use on a Sony FS 7 camera filming observational documentary and general TV work. The wide end of the lens is a god send after using the 28 - 135mm lens originally supplied with the camera and the zoom range is adequate for most situations. The mechanics of the zoom are fast and smooth plus you have the option to use manual for quick stab zooms.
The image quality is really sharp and it is an easy to use lens. The only let down is the F4 maximum aperture.
I would recommend it.

[f/4] I wish it where a T2.8

[6x] As a documentary film Grad Student, I find this lens to be the perfect addition for my Sony FS5, it is an F/4 constant aperture cine lens that does not disappoint. In addition to quiet operation, and parfocal attributes for constant focus throughout the zoom range, the crystal clear high-resolution glass is superb. I would recommend this lens to any serious filmmaker that uses Sony E-mount Camcorders or DSLR Cameras.

[Super35/APS-C] I have been waiting for the Sony E Pz 18-110mm F/4 G Oss Lens since it was first announced at IBC. I have the FE PZ 28-135mm F4 G OSS lens which being 35mm full frame format means it actually has a focal length of 42-202mm on my FS7 since my FS7 is Super 35 (APS-C) format and the lens gets cropped. I found this lens very limited to longer lens applications but useless for probably 80% of what I generally shoot. I shoot a lot of reality TV, observational documentary, run n gun, etc. The 18-110mm F/4 G Oss Lens covers the most used focal range for this kind of work with no cropping on my FS7 as it is APS-C format. I was able to find very little review information on the lens and what I really wanted to know was how the focus would be and zoom speed. I have been spoilt by years on expensive broadcast ENG lenses which have lightening fast zoom speeds and the importance to me is how fast you can re compose a shot such as snapping in for a close up. Sure you can have the lens servo turned off & control it manually and I often do this but not having to move your hand off the focus to the zoom ring & back to the focus is a luxury & faster and a second or two count to me when covering fast moving reality smoothly. The 28-135mm in servo mode was painfully slow, fine when rolling on stuff but painful for repos and in manual mode was pretty bad too being fly by wire. So finally I have received my 18-110mm and its awesome! To my great relief in manual mode it has a precise crisp focus that doesn't feel like fly by wire and has end stops from 0.95 to infinity (It is the same in this regard to the 28-135 in manual focus mode). The zoom in manual mode feels totally mechanical exactly what you want and the servo zoom speed is heaps faster than the 28-135. With its smooth iris ring, precise manual focus and greatly improved zoom mechanism, steady shot and weather proofing, its going to be a great, versatile doco lens :). Its lighter & the new lens hood with shutter is great too.

[Sony E] This lens has proven to be a great upgrade from the Canon 24-105 w/ Metabones than I used on my FS7 for a few years. 


Although the 24-105 is a decent all-around lens, the Sony 18-110 has a few major advantages. Specifically, it doesnt change exposure while zooming in or out. You can ride the aperture ring when working in variable light conditions (doc work isnt always pretty!) And most importantly, the range of 18-110mm is sufficient for a vast majority of my documentary-oriented assignments. I still carry a few fast primes for interviews, but this lens stays on my FS7 90% of the time. Its also very light compared to other cinema zooms, and the image stabilization is great to have.  


The image quality is excellent without calling attention to itself. Its utilitarian in that sense, but again, for documentary it is often more about getting the shot than in always making the shot look pretty. Bottom line is that this lens helps me get the shots I need in a wide variety of circumstances and scenarios.  


Id recommend this lens for FS7 operators.