The Sigma 85mm f/1.4 Art Series lens announced at Photokina last week is another step in the expansion of Sigma’s Global Vision lens line. This much anticipated model is Sigma’s longest Art prime lens. With IBC and Photokina so close together, we have been bombarded by new releases from various manufactures thick and fast. Sigma has been right in the middle of it, initially announcing a new venture into cinema lenses with their High Speed Cinema Zoom and Prime lines. An exciting announcement by all accounts, but keen readers will have noted the inclusion of an 85mm T1.5, a focal length we were yet to see in the ancestry Art stills line. It was therefore surely only a matter of time before Sigma announced the much anticipated 85mm Art lens, and Photokina 2016 was when they dropped the news. The same way that Zeiss hold their 85mm Milvus in high regard, the Sigma 85mm pokes its head above the rest of the Art line in size, price and most likely weight. Sigma claim that this all-new construction embodies the perfect portrait lens. New and fast HSM (hypersonic motor), dust & splash proof and electromagnetic aperture control for the Nikon version are some of the features of the Sigma 85mm Art prime. Speaking of mounts, the Sigma 85mm Art f/1.4 comes in both Canon and Nikon F mount, with Sony E mount support via their MC-11 adapter. It’s also compatible with their USB Dock for firmware updates and Autofocus adjustments. The Sigma 85mm Art f/1.4 – Full Specs: Focal Length: 85mm Aperture Max/Min: f/1.4 – f/16 Camera Mount: Canon EF, Nikon F, Sony E via Adaptor Format Compatibility: Full Frame, APS-C / Super 35mm Angle of View: 28.6° Minimum Focus Distance: 33.46″ (85 cm) Magnification: 0.12x Maximum Reproduction Ratio: 1:8.5 Elements/Groups: 14/12 Diaphragm Blades: 9, Rounded Image Stabilization: No Autofocus: Yes Filter Thread Front: 86 mm Dimensions: (DxL) 3.73 x 4.97″ (94.7 x 126.2 mm) Weight: TBC Sigma has indeed been busy with new releases, expanding the Art line, announcing a new ultra wide-angle full frame 12-24mm f/4 zoom, new cine lenses and expanding the Sports division of the Global Vision Line with the Sigma 500mm f/4. Now, where’s that 100mm Macro/135mm Art….Read more
Sigma continue the high performing ART lens range with an ultra-wide Sigma 12-24mm f/4 ART lens, promising no distortion. Landscape scenes, architecture and large spaces can be captured in even wider angles with the new 12-24mm f/4 ART lens, with zero distortion according to Sigma’s tests. The lens is designed for full frame and has a uniquely designed front element that aids in reducing the ‘fish-eye’ look. Aspherical lenses with low dispersion glass (equivalent to flourite in performance) help minimize distortion, chromatic aberration, pin cushion effect and flaring. The body is weather sealed, and the front and rear lenses have splash proof coating. The Sigma 12-24mm f/4 ART lens will be available in EF, Nikon and SA mount, but with the soon coming MC-11 mount converter you can use the lens on E-mount cameras like the Sony a7S II and FS5. The only comparable lens on the market right now is probably the Canon EF 11-24mm f/4 lens. But with the ART lens series quality we’ve seen before, the promise of no distortion and a pricetag almost half of the Canon, the Sigma 12-24mm f/4 ART lens is certainly an intriguing product for many video shooters and photographers alike. Here are the specs of the lens: 16 elements in 11 groups Aperture of f/4 to f/22 No hard stop focus ring Angle of view – 122 degrees to 84.1 degrees. Minimum focus distance of 24cm. 9 aperture blades Weighing in at 1150g/40.6oz Splash proof front and rear lenses. 102mm front diameter. The Sigma 12-24mm f/4 ART lens will be available in October 2016 and is available for pre-order now.Read more
After the success of their ART lenses, the Sigma cinema line of primes and zooms marks their foray into the cine lens market. Responding to the success of the ART range, Sigma has designed a new range for videographers and cinematographers, with 8 new fast cine primes and zoom lenses for full frame and super 35/APS-C cameras. The optics are the same as the ART range, but rehoused into a cinema lens with gears and 180 degree focus throw. The Sigma Cinema prime lenses come in focal lengths of 20mm, 24mm, 35mm, 50mm and 85mm, all at a very fast aperture of T/1.5, and are all full frame compatible. They come in EF, PL and E-mount, have rugged metal housing and a front diameter of 95mm, meaning they can be easily changed on a camera rig or matte box/follow focus setup. The Sigma Cinema 18-35mm and 50-100mm zoom lenses are for super 35/APS-C, with a fast aperture of T/2 and ready for high resolutions of 6K and 8K. They are also compact in comparison to other lens models, keeping the camera footprint small without compromising on quality. They’ll be available in EF, PL and E-mount, with a filter size of 82mm; ideal for swapping ND filters. The 24-35mm is the full frame zoom model in the Sigma Cinema range, with a maximum constant aperture of at T/2.2. It is also very compact and 6K/8K ready, and will be available in EF and E-mount, with no PL mount option (yet). Following suit with the other lenses, the size and filter thread diameter is the same at 95mm and 82mm respectively. Sigma also have a mount conversion service, should you wish to convert the full frame 24-35mm to PL mount. [UPDATE]: The Sigma 24-35mm T2.2 will not be available for PL mount, so you the conversion to PL mount will not be possible. Pricing is still to be determined, but the two super 35 zooms are expected to be available at the end of 2016, with the full frame zoom and prime lenses becoming available in spring 2017. In Europe, you can get more info from CVP here. Like the look of the new Sigma cine lenses? Let us know in the comments!Read more
Today’s announcement of the new Sigma High Speed Cinema lenses, complete with both prime and zooms, comes on the eve of the International Broadcasters Convention (IBC) week in Amsterdam. Sigma’s Art series has long been a favorite of DSLR filmmakers, and these new cinema lenses are aimed squarely at the high-end commercial and film industries. This is the company’s first foray into the cinema lens world, and is an ambitious first step with eight new lenses covering a variety of focal lengths. The Sigma FF High Speed Cinema Prime lineup includes the following focal lengths: 20mm, 24mm, 35mm, 50mm and 85mm, all at a speedy T1.5, with the option of E, EF or PL mounts. Two new Sigma High Speed Cinema Zooms cover 18-35mm and 50-100mm at T2.0, and will handle 6-8K sensors from camera manufacturers like RED Cinema. Available initially in both EF and Sony E mount, I’m told PL mounts are on the way for the zoom line as well. All lenses are weatherproofed and use luminous paint markings for operating in dark conditions. Sigma also announced a plan to continue adding to the cinema line throughout 2017 with an additional zoom and a further five primes on the horizon. New Sigma High Speed 50-100 T2.0 Cine Zoom (EF and Sony E) Sigma High Speed Cinema Lenses – Features at a Glance: Sigma FF High Speed Primes in T1.5, and Full Frame compatible. Sigma High Speed Zooms in T2, Super 35mm coverage. Metal bodies, with standardised 95mm front diameter, 82mm filter thread, lens gear positions and 0.8M gear pitch across the board. Same weatherproofing found in their 150-600mm F5-6.3 DG OS HSM Sports Zoom. Luminous paint and laser engraved ensure durable lens markings that can be operated also in dark conditions. Smooth and precise focusing and zooming with ring throw of 180° and 160°, respectively. Optional manual iris control. Separately, Sigma also announced a non “High Speed” FF Cinema Zoom today that covers 24-35mm T2.2, and will be available in EF and E mount with no plans for a PL mount version. Could this be a more budget friendly option aimed at competitors like Zeiss with their ZEISS LWZ.3 21-100mm/T.2.9-3.9 T recently being announced? With Rokinon’s Xeen line occupying the entry level of the cinema glass market at least in terms of primes, and with many manufacturers building glass only big-budget productions can afford, it will be interesting to see where Sigma’s pricing lands. Availability: Expected Q4, 2016 – initially only available in Japan and the United States. Pricing: TBD What are your thoughts on the new Sigma FF High Speed Cinema lineup? Let us know below.Read more
Sigma just announced two new super-fast lenses. The Sigma 50-100mm f/1.8 DC HSM joins the “Art” family of lenses that have shown great performance. The Sigma 30mm f/1.4 DC DN is made for Sony E-Mount and comes at a low price of $339. Both lenses were announced alongside Sigma’s new MC-11 (announced earlier today) which is basically a Metabones adapter for Sigma lenses. Sigma 50-100mm f/1.8 The press-release says it all: Pairing a versatile range of telephoto focal lengths with a fast constant maximum aperture, this 50-100mm f/1.8 DC HSM Art Lens from Sigma is designed for APS-C-format Canon EF-mount DSLRs, and provides an 80-160mm equivalent focal length range. The rest goes on to emphasize the high performance of the lens. It is true that many sources have reported about outstanding quality on Sigma’s “Art” line of lenses. At cinema5D we reviewed the Sigma 20mm f/1.4 Art lens a while back and found it was a superb lens that also offered good handling for video. The most evident downside to this zoom is that it will only work with APS-C sized sensors. This means that it will not be an ideal choice for full frame cameras like the Sony a7S II or the Canon 5D Mark III. However, in terms of filmmaking, I can see this one as a potentially good choice for super-35mm cameras like the Sony FS7, C300 mark II or Varicam LT. It is available with Canon EF, Nikon F and Sigma SA mount options. The lens is on pre-order now, and will arrive in late April with a price tag of around $1,100. Sigma 30mm f/1.4 for Sony E A fast, versatile prime, this 30mm f/1.4 DC DN Contemporary Lens from Sigma is designed for APS-C-format Sony E-mount mirrorless cameras, where it provides a 45mm equivalent focal length. What’s interesting about this lens is its native Sony E-mount. The low price of $339 for such a fast lens could be very interesting for many video shooters and photographers as well, provided the quality is up to par. The native E-mount means fast autofocus performance by skipping the need for an adapter, and the low aperture of f/1.4 means that it will deliver nice shallow depth of field and help with lowlight shooting. Personally, I’m a fan of fast wide angle lenses. However, just like the 50-100m zoom mentioned above, this lens is made for APS-C sized sensors, so it will be more similar to a 45-50mm field-of-view and not cover the full-frame sensor of a Sony a7S II. Alternatively the slightly more expensive Sigma 35mm full-frame Art lens is a good option for Sony a7S II cameras. The 30mm f1.4 is available for Sony E or MFT mount. The lens is on pre-order now, will arrive in mid March and cost around $340. more info on the Sigma 50-100mm here more info on the Sigma 30mm hereRead more
Sigma’s new line of filters will ship end of January. The heat treated WR Ceramic Protective Filter line are 300% stronger, 30% lighter and water repellant. A protective filter by definition should not influence your image – no loss in sharpness, no reduction in light, no additional flare; their fundamental & sole use is to protect the front element of your lens. Lenses like the Canon L Series EF line also often rely on a protective filter to complete their weather sealing attributes. The new clear glass ceramic line from Sigma boast a much tougher and flexible element that’s up to 300% stronger than previous filters as well as 30% lighter; the above science class-esque video with soothing voiceover was posted earlier in the month and does a good j0b in displaying how the technology is put to use. I must admit I rarely use a protective filter on my lenses. I have one in my kit bag for what I bill “precarious shots” (hanging out of a car, shooting in the rain, near a waterfall) where added protection/weather sealing is required, but the standard format for me is a naked front element. This is usually down to the fact that I haven’t found a protective filter that doesn’t completely un-influence the image; I’d be keen to see how these hold up. The Sigma WR Ceramic Protective Filter line come in a variety of sizes: 67, 72, 77, 82, 86, 95, and 105mm. I’d recommend anyone building a lens collection to pick a large filter diameter and step all lenses to that size. This is cheaper in the long run for selecting filters and makes switching out centre caps much faster. Specs for the Sigma WR Ceramic Protective Filters: Type: Clear protector filter Effect Protects front lens element Size: 67, 72, 77, 82, 86, 95, and 105mm Filter Factor: 1 (0 stop) Multi-Coated Water-repellent coating Construction: Clear glass ceramic The filters should ship by the end of January, and for price reference a 77mm version is $118, check out the full list here as well as pre-order. via/NoFilmSchoolRead more
Sigma has just announced its next instalment to its Global Vision Lens Line. The Sigma 24-35mm f/2.0 becomes the fastest full frame zoom lens in production. Sigma re-defined themselves as a third party lens company when introducing the Global Vision Lens Line. Previous to this, they offered affordable second tier standard alternatives to Canon and Nikon still lenses. We’ve seen then offer some stellar performing prime lenses in the 35mm f/1.4 Art, 50mm f/1.4 Art and 24mm f/1.4 Art, as well as the fastest zoom lens in production the 18-35mm f/1.8 Art. These latest releases have now put them right up there with the best performing still lenses. There was one caveat with the latter mentioned zoom lens, it is APS-C only. Well, Sigma have responded with another record breaking fast zoom lens, this time suitable for the full frame format. The Sigma 24-35mm f/2.0 offers a wide to moderate zoom lens, with a constant aperture of f/2.0 maintained through all focal range challenged only by prime lens equivalents. The Sigma 18-35mm f/1.8 performed fantastically as both a parfocal lens (doesn’t alter focus when zooming) and constant aperture lens. In regards to the latter, many constant aperture lenses despite saying so on paper don’t actually maintain the same brightness throughout the zoom range. T stopping a lens would prove this; I hope the Sigma 24-35mm f/2.0 performs as well as it’s APS-C brother here. Here’s the spec of what will be a much anticipated lens: Lens Construction : 18 Elements in 13 Groups Angle of View : 84.1º-63.4º Number of Diaphragm Blades: 9 (rounded diaphragm) Mininum Aperture: f/16 Minimum Focusing Distance: 28 cm / 11 in Filter Size: 82mm Maximum Magnification: 1:4.4 Dimensions: 87.6 x 122.7 mm/ 3.4 x 4.8 in Weight: 940g/ 33.2oz Currently, the Canon 16-35mm f/4 IS is my go to stills lens for gimbal work. It offers a good range from wide to moderate zoom as well a Image Stabilization. It has needed a faster counterpart for sometime, and this may just be the lens to go for. The Sigma 24-35mm f/2.0 will be a fantastic partner to the likes of the Sony A7S, 5D Mark III, as well as Sony FS7 with Metabones Speedbooster. APS-C users will make great use of this fast zoom lens also, which converts to 38.4-56mm focal length. Pricing and availability not announced just yet, will keep you updated. Via Sigma & NoFilmSchoolRead more
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