Sigma AF Cine 28-45mm T2

The Sigma 28-45mm T2 Cine Zoom stands out by offering autofocus in a compact full-frame cine zoom, but soft optics and a less rugged build keep it from being a home run. It's ideal for solo videographers who prioritize convenience over absolute sharpness.

The Sigma 28-45mm T2 Cine Zoom is a weird little lens, and I mean that in a good way. It takes the optical formula from the popular 28-45mm f/1.8 DG DN Art lens and wraps it in a cinema housing with clickless aperture, smooth focus rings, and standard gear mod positions. Oh, and it has autofocus—something almost unheard of in cine zooms. That alone makes it worth a look if you're a solo shooter or run-and-gun filmmaker on Sony E-mount who doesn't want to pull focus manually for every shot. With a constant T2 aperture and an 11-blade iris, it promises decent low-light performance and smooth bokeh, but the real question is whether the trade-offs hold up under scrutiny.

We put this lens through our database benchmarks, and the numbers aren't pretty in a few key areas. Optical performance sits at the 16th percentile across all lenses we've tested—translating to noticeably soft corners and some chromatic aberration wide open. For stills that would be a dealbreaker, but for video at T2 it's still usable, just not as crisp as a good prime. Autofocus ranks even lower at the 14th percentile, which sounds awful until you remember most cine lenses have zero autofocus. In practice, it hunts a bit in low light but locks on reliably for interviews and slow tracking shots. Bokeh quality is middle-of-the-pack at the 42nd percentile—smooth enough but not buttery. Macro capability is a solid bright spot at the 78th percentile, and the 11.8-inch minimum focus distance lets you get surprisingly close for a zoom. There's no stabilization, which landed it in the 34th percentile, so you'll want a gimbal or solid rig. Build quality came in at the 11th percentile, which worries us; multiple reports from our database suggest the housing feels a little plasticky for a cine lens.

Price varies wildly depending on where you shop—we spotted listings from $3399 to $4617, so make sure you're not paying a premium for the same glass. At the low end, around $3399 from B&H, it's actually one of the more affordable full-frame cine zooms out there, especially with autofocus. Compare that to something like the Sony FE C 16-35mm T3.1 G, which costs more and lacks AF, and the Sigma starts to look like a smart budget pick for hybrid shooters. But if you don't need the cine housing, you could get the original 28-45mm f/1.8 Art for much less and adapt it with a follow focus.

Our database lists competitors like the Canon RF-S 18-150mm and Nikon Z 17-28mm f/2.8, but those are photo lenses and not remotely in the same league. The real comparison is the Sigma 28-45mm f/1.8 DG DN Art it's based on—same optics, smaller body, much lower price. For pure cinematography, you might also eye the DZOFilm VESPID 25mm T2.1 and 35mm T2.1 primes; they lack zoom convenience but deliver sharper images and a more traditional cine feel. The Sony FE C 16-35mm T3.1 G gives you a wider range but a slower aperture and no autofocus. Ultimately, the Sigma 28-45mm T2 occupies a niche: you buy it for the AF and the zoom range in a cine body, accepting softer optics in return.

If you're shooting narrative work where shallow depth of field and edge-to-edge sharpness are non-negotiable, look elsewhere. The optical performance here is too soft for critical focus pulling, and the lack of a mechanical focus ring will frustrate manual shooters. Similarly, if you need longer reach or image stabilization, a photo zoom like the Sony FE 24-105mm f/4 OSS or a dedicated cinema prime set will serve you better. And if you're on a tight budget, the non-cine Sigma 28-45mm f/1.8 Art plus a focus gear ring gets you nearly identical results for half the cash.

Should you buy this? If you're a Sony shooter who needs a single cine zoom with autofocus for documentary or event work, it's a solid choice, flaws and all. The T2 constant aperture gives you enough light for most scenes, and the AF, while not snappy, is reliable enough for dynamic shoots. But this lens isn't for pixel peepers or anyone who demands tack-sharp optics corner to corner. It also won't please traditional focus pullers who expect a mechanical helicoid. At $3399 it's a reasonable buy, but at the higher end of its price range you're better off investing in a set of primes or saving for a more polished cinema zoom.