Sigma Sigma 28-105mm T3 FF Cine Zoom Lens with AF (Sony Review

The Sigma 28-105mm T3 FF Cine Zoom is a unique hybrid for Sony shooters who need both manual cine controls and autofocus. Its constant T3 aperture and 28-105mm range are versatile, but it's heavy and not particularly fast. At $3,399, it's a specialized tool that justifies its price only if you genuinely need both workflows in one lens.

So you're looking at a $3,400 cine zoom lens that also has autofocus. That's the Sigma 28-105mm T3 FF in a nutshell. It's a weird, interesting hybrid that sits somewhere between a traditional cinema lens and a high-end photo lens. If you're a solo shooter or a small crew that needs to switch between autofocus for gimbal work and manual focus for more controlled setups, this lens is talking directly to you.

It's based on Sigma's popular DG DN Art photo lens, but it's been given the cine treatment. You get a T-stop aperture scale, focus marks in feet, and a 12-blade iris for smooth bokeh. The zoom range is a classic 28-105mm, which covers a lot of ground from wide to short telephoto. It's a full-frame lens for Sony E-mount cameras, and it's built for video first.

What makes it stand out is that autofocus switch. Most dedicated cine lenses are manual focus only. Sigma is betting that there's a market for filmmakers who want the control and markings of a cine lens, but don't want to give up the option to let the camera track focus when the shot calls for it. It's a specific tool for a specific kind of workflow.

Let's talk about the numbers. The T3 constant aperture is decent, but it's not super fast. Our database puts its aperture performance in the 29th percentile among similar lenses, meaning there are brighter options out there. That means you'll need more light, or higher ISO, especially when zoomed in. The optical performance lands in the 35th percentile, which is solidly middle-of-the-road. You're not buying this lens because it's the sharpest tool in the shed.

You're buying it for the cine features and the flexibility. The autofocus performance is rated at the 45th percentile. It's functional, but don't expect lightning-fast, silent tracking like you'd get from a native Sony G Master lens. It's more about having the option when you need it. The real-world implication is that this lens gives you two tools in one body: a manual cine zoom for planned shots, and an autofocus-assisted zoom for run-and-gun or gimbal scenarios where pulling focus manually is a pain.

At $3,399, this lens asks a big question: is the hybrid autofocus/cine feature set worth the premium? Pure manual cine zooms from brands like DZOFilm or Sirui can be found for less, but they won't have autofocus. On the other hand, high-end Sony photo zooms with faster autofocus might cost a similar amount but lack the cine markings and de-clicked aperture.

You're paying for the convergence of two worlds. If you need both worlds in one lens, the price makes sense as a specialized tool. If you only live in one of those worlds—either full manual cine or full autofocus photo/video—you can probably find a more optimized (and possibly cheaper) option.

This lens doesn't have many direct competitors because of its hybrid nature. A closer look at the list shows most are primes, not zooms. For a similar price, you could look at the Meike 55mm F1.8 Pro or the Nikon NIKKOR Z 35mm f/1.8 S. Both are primes, so you lose the zoom flexibility, but you gain a much faster aperture (great for low light and shallow depth of field) and likely better autofocus. They're also lighter.

If you want a dedicated cine zoom and don't care about autofocus, brands like DZOFilm offer zooms like the 20-55mm T2.8 for around $2,500. You'd get a brighter T2.8 aperture, but a shorter zoom range. The trade-off is clear: give up autofocus for potentially better value or optical performance in a pure cine package. The Sigma's main trick is refusing to make you choose.

Travel videographers should look elsewhere immediately. This lens scored a dismal 13.5/100 for travel, and for good reason. It's big, heavy (1300g), and lacks stabilization. Hauling this around all day is a workout, and handheld shots will be shaky without a gimbal. For travel, a compact, stabilized zoom like a Sony 24-105mm f/4 G OSS would be a much better fit.

Also, if you're after the ultimate in low-light performance or dreamy shallow depth of field, this lens's T3 aperture will hold you back. You'd be better served by a set of fast primes like a Sigma 24mm, 50mm, and 85mm f/1.4 DG DN Art lenses. You'll lose the zoom convenience, but you'll gain over two stops of light and potentially better image quality for that classic cinematic look.

Buy this lens if you're a solo filmmaker or small team shooting on Sony full-frame, and your projects mix stylized, manual-focus scenes with dynamic, autofocus-dependent shots. It's the lens you don't have to swap out when you switch from a tripod to a gimbal. The convenience of having both a cine lens and an AF lens in one can be a huge time-saver on set.

Skip it if you're on a tight budget, if you work exclusively with a focus puller on manual lenses, or if you need the absolute best low-light performance. For pure cinema work, a manual-only cine zoom might be more robust. For pure run-and-gun documentary work, a native Sony zoom with faster AF and stabilization might serve you better. This lens is for the shooter who lives in the messy, practical middle.