24-35mm T2.2 FF

Compatibility has been confirmed with each brand of cinema cameras.

There are three requirements for outstanding lenses: fine design, precise manufacturing and inspection that ensures compliance with all specifications. Sigma lenses are born of outstanding design concepts and excellent manufacturing technology, but they are not complete until they undergo their uncompromising lens performance evaluation. Sigma has developed their own A1 proprietary Modulation Transfer Function (MTF) measuring system using 46-megapixel Foveon direct image sensors. Even previously undetectable high-frequency details are now within the scope of their quality control inspections. Each and every lens is checked before shipping. Thanks to the ultra-high resolution sensors, high- performance shooting is assured.

Computer-based ray tracing has been used from the design stage onward to minimize flare and ghosting and enhance contrast in backlit conditions. Ghosting has also been checked at every prototype stage, with its causes identified, assessed, and eliminated.

To fulfill the high demands for image quality in still photography, Sigma has solved a wide range of issues. The benefit of these efforts can now be enjoyed in cine lenses as well.

All of the lenses in the lineup are designed to comply with Sigma’s CCI standard. Standardized color balance makes color correction a snap.

The lineup features the same optical system that delivers 50-megapixel or higher resolution in still photography. These lenses are therefore ready for higher-resolution shooting and are ideal for chroma keying as well.

The lineup features the same dust and splash resistant structure* as the Sigma 150-600mm F5-6.3 DG OS HSM | Sports. With each ring and mount specially sealed to prevent water and dust from entering, this lens is ready for use in tough conditions. The unusually robust specification of the lineup allows the user to concentrate on shooting while significantly reducing the burden of maintenance. * Although this construction allows the lens to be used in light rain, it is not the same as being waterproof.

The body is made completely of metal to stand up to tough professional use over the long term.

The specification, gradation baseline, and lens change indications all feature luminous paint to aid in changing the lens in the dark and other tasks. Moreover, it can be converted to FULLY LUMINOUS versions with rings whose numbers and gradations are finished with luminous paint(charges apply). Conversion to Fully Luminous Version

Information on rings and elsewhere is laser-engraved for use over the long term. In addition, tape may be placed on gradations without fear of stripping away paint when it is removed.

The filter size is Φ82mm, allowing users to use the same size of ND filter on different lenses.

The front diameter is 95mm, similar to that of other cine lenses and compatible with matte boxes. Compared to lenses in the same class, Sigma’s cine lenses are more lightweight and compact.

The positions of the gears in each ring are standardized, eliminating the need to adjust the follow focus, motor unit, or accessories even when the lens changes.

Each lens has a 0.8M gear pitch, which is the standard for cine lenses, ensuring compatibility with existing accessories.

The stopper of each ring incorporates a damper made of a special resin, resulting in silent operation. While offering a satisfying lock feel, this feature eliminates any metallic sounds, allowing the user to shoot with confidence in a quiet area.

At 180°, the rotational angle of the focus ring is more than double that of a still camera lens, making possible extremely high-precision focusing. Sigma has also optimized the cam for cine lenses for even easier long distance focusing.

At 160°, the rotational angle of the zoom ring is more than double that of a still camera lens, making possible extremely high-precision zooming.

Featuring manual control capability, the iris ring offers smooth control without clicks. The T-stop display, which is standard in cine lenses, contributes to high-precision exposures. Just like a high-end cine lens, the rotational angle of the iris ring is 60°.

The linear iris ring gives users the same rotational angle per T-stop for direct, intuitive control.

Based on user needs, a focus ring with either feet or meter graduations may be selected. For a small charge, Sigma can also convert the ring from one type to the other after purchase.

Seeing lenses as valuable assets, Sigma now makes the Mount Conversion Service available for its new cine lenses. Successfully implemented for their still photography camera lenses, this service allows users to convert their lenses to and from EF and E-mounts (charges apply). If the camera system changes, it is possible to simply convert the mount system to continue using the high-performance Sigma lenses. Note: The Mount Conversion Service is not available for PL mount lenses. Mount Conversion Service

Available lens mounts are the Canon EF mount, which is used on the majority of digital cinema cameras, and the Sony E-mount, which is used on the Sony FS series. All lenses in the lineup may also be used on still cameras with the compatible mount for outstanding DSLR movie shooting.

The hole for the stopper pin has been strengthened with a separate part to minimize loosening over time and enhance long-term use. *Only applicable for Canon EF mount

Coming as a standard accessory with all lenses in the lineup, the lens support foot helps minimize load on the camera body while enhancing mount stability. The height of the seating surface is designed for compatibility with other accessories. Even though the lens is compact, its robust design offers two different screw holes for this accessory to increase user options.

Cine-style front lens cap