[82 mm] I work in documentary and TV, shooting on the FS7. I shoot a lot of b-roll and interviews on the fly, but am always looking for that extra edge to make my imagery look better than the next DP, and this lens (plus the 18-35mm sister lens) help me achieve that goal.


I can say that for interviews, this lens is irreplaceable. In doc scenarios, primes aren't really ideal, as you are stuck with one focal length in an environment where you need to work quickly and often are making changes. In my experience with this lens, I've found that sometimes I'll settle on 77mm or 86mm or 92mm (or whatever) for interviews, a point of flexibility that isn't possible with primes. The fact that it's T/2 throughout the range is a major bonus, as you are getting the best of both of the zoom/prime worlds.


Shooting outdoors in changing light conditions, being able to ride the aperture without the iris-stepping of a stills lens is also an irreplaceable quality.


Some people complain that this is just a stills lens with cine gears but in real world shooting conditions, I don't find that to be the case. For pixel peepers, maybe they are right, but you simply can't replace focus markings, smooth aperture, and cinema grade build quality.


Last note: I rented the PL and E-mount version of this lens. With the PL to E-mount adapter on the PL version, both lenses are the exact same length, so I'd recommend buying the PL version for resale value and general usability.

[Super35/APS-C] Anyone who uses a lot of cine glass knows that the 18-35mm Sigma Cine is legendary for into film makers. Please ignore the other 2 star review as this person clearly doesn't understand the value of lenses. The lack of LDS makes this lens actually "affordable", and speaking of which, is considered CHEAP for the quality of the optics and build. A lot of people are ordering entire era of primes and zooms for RED cameras (ourselves included) for a reason. Sigma Cine lenses are arguably the best value for the superb quality in the industry right now.

[Super35/APS-C] I work in documentary and TV, and use this lens on the FS7 with the PL to E-mount adapter.


I find it to be an excellent addition to my kit, and I use it frequently for b-roll, as well as following subjects around through changing environments.


Being able to ride the aperture in real time (going from outside to inside, or in cloudy weather) is an invaluable quality for documentary shooting.


Interestingly, using this with the PL to E-Mount adapter on the FS7, the minimum focusing distance decreases to about 4 inches. Yes, you read that right. I don't know the physics behind it, but something is going with with the adapter to allow it to close-focus substantially more than advertised. This has been extremely useful!


Image quality is excellent. It doesn't have the personality as the big name prime lenses; I'd characterize it as a clean, neutral looking image. But for the versatility you get, it has no competitor.


For those complaining that this is just a stills lens I'd ask them to consider that the cinema version has proper focus marks, gears, declicked aperture, and build quality that will last a lifetime.


Overall this is a fantastic lens, and I'd recommend it for anyone looking to up their game without spending a fortune on a set of primes, or that is working in doc/TV and wants to simplify their kit.

[18 to 35mm] After a year of adapting Nikon glass, using cannon photography lenses, and trying out a few Rokinon primes, I couldn’t be more elated with the results I’m getting from this lens. Having 18-35mm and all the focal lengths between, covered in a single lens is great. The image quality is truly great, but more importantly, it’s soooooo much easier to use than still photo lenses.

I’ve already heard the complaints of, “but it’s the same glass as the art series lens, just in a cinema housing!” I don’t know if this is 100% true. My brother and I (Curtis Judd) will be doing a side by side comparison soon with matching Ursa Mini Pros to see if that’s true.

Yes, the extra $3000+ for this lens is steep, and yes, I’ve heard it’s the same glass as the art series, but for me in my particular applications, function is the second priority right after image quality. The quality of my projects (ranging from corporate, to real estate, music videos, documentary, and tv commercials) has significantly improved with having a proper range on my focal ring. Historically, as my quality improves, so doesn’t client base.

A few other wonderful things about this lens: sigma does not advertise it as being par focal, though after working with it for a week, I have to say, it’s pretty close. If I pull focus at 18mm and zoom to 35mn, the focus holds strong till about 28mm & then it goes a little soft

Breathing is minimal on this lens, which I can’t say for the matching 50-100.

Another delightful surprise is that my UMP4.6k is able to read and display the aperture via electronic contact points on the lens, so you don’t have to rely solely on the markings on the barrel of the lens.

[18 to 35mm] very good balancing between clinical precision and anamorphic identify. I bought 2. Wish i bought the set at one time.

[9] This lenses is fast and amazingly sharp. Great addition for the money.

[82 mm] Hace pocos meses compr la cmara de cine Ursa mini pro g2 y trat algunos lentes prime, ninguno de ellos me agrad tanto como este de Sigma, porque si tengo que trabajar en un documental que no me permita estar cambiando de lentes constantemente, este 18-35 lo hace todo.

[Super35/APS-C] Perfect combo with BMPCC 6K

[ARRI PL] I just started using the Sigma FF lenses and shot in a very humid location. No internal condensation seen. These lenses have a much higher resolution as far as sharpness and critical focus goes as compared to my previous cine style lenses. Robust build to say the least. I haven't noticed any chromatic aberration at all. Looking forward to using these on feature work!

[28.4 mm] This is part of a kit i bought. This is probably my favorite lens of sigma cine line. Super sharp. Good color and contrast, as they all the cine line does. The numbers even glow in the dark if they are exposed to enough light. Nice little touch. Could not be happier with this lens.