Sigma Cinema Lenses: Affordable Precision for Filmmakers

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Published: March 14, 2025 | Last Updated: May 21, 2025

Sigma made its debut in the cinema lens world in 2016, introducing high-quality glass at prices far below its competition. With two high-speed zooms and a range of primes, Sigma set out to disrupt the dominance of Zeiss, Cooke, and ARRI by leveraging its existing Art-series still lenses.

The Sigma Cine Lens Lineup

Sigma’s lineup features two zoom series and two prime series. The High-Speed Zoom line includes the 18–35mm T2 and 50–100mm T2, both designed for Super35 sensors with a constant T2 aperture.

For larger sensors, the 24–35mm T2.2 Full-Frame Zoom brings 8K-ready resolution. Sigma offers High-Speed (T1.5) and Classic (T2.5) versions in the primes category, covering focal lengths from 14mm to 135mm.

The Secret to Sigma’s Low-Cost High Performance

The key to Sigma’s pricing is simple: it reuses the optical formulas of its stills Art-series lenses. This allows Sigma to produce cinema glass with the same sharpness and contrast as its photography lenses. Unlike traditional cine primes that often cost $20,000 or more, Sigma’s versions retail for just $3,000 to $5,000.

And because they reuse the same glass, you can buy the photography versions and get exactly the same cinematic look, at an even lower price. You sacrifice the smooth focus gears, though.

Optical Performance: Sharp, Clean, and Neutral

Sigma cine lenses are known for their crisp images and neutral color reproduction. MTF tests reveal that Sigma’s primes often rival the sharpness of Zeiss and Canon cinema lenses. The 35mm T1.5, for example, has been shown to resolve detail comparable to far more expensive glass.

Every Sigma cine lens is built to last. Its all-metal, weather-sealed construction makes it engineered for professional use. The 180° focus throw and 95mm front diameter make it a favorite for focus pullers and matte box setups.

From my testing, the lenses are even parfocal, but others have not been so lucky. So, there might be some testing issues in the production line. Also, you should know that the 50–100mm T2 is prone to heavy focus breathing. It’s some of the worst I’ve seen. That said, if you don’t plan to zoom in and out a lot, you get great glass at a cheap price.

Cinematographer Praise and Real-World Use

Sigma lenses are gaining traction with cinematographers worldwide. Niki Waltl used them on Navalny, praising their sharpness and modern look.

Bradford Lipson found their contrast and flaring abilities perfect for his indie project Prom Dates. The lenses’ affordability and quality have allowed smaller productions to achieve a cinematic look.

Competing with the Big Names: Zeiss, Cooke, and ARRI

Sigma’s cine lenses hold their own against legacy brands. While Zeiss and Cooke are known for their unique aesthetics, Sigma’s neutral look offers a clean slate for post-production. Its lenses may not have the stylized warmth of Cooke or the hyper-clarity of Zeiss, but they deliver professional-grade sharpness at a fraction of the cost.

Summing Up

With its aggressive pricing and solid optical performance, Sigma has made high-end cinema glass accessible to indie filmmakers and students. Building a full set of Sigma primes costs less than a single lens from ARRI or Cooke, democratizing cinema tools.