Sigma has officially pulled the curtain back on the 28-45mm T2 FF, the first release in its brand-new AF Cine Line. Launching November 6, 2025, this lens is more than just another short zoom; it’s Sigma’s declaration that autofocus has a place in professional cinema production. Available in L-Mount and Sony E, the 28-45mm arrives with cine-style mechanics, the optical pedigree of Sigma’s Art series, and a high-response linear actuator for fast, near-silent autofocus. For Sigma, this is both a technical showcase and a philosophical challenge to decades of manual-only cinema tradition.
Optical Pedigree – Built on Art Glass
The 28-45mm T2 is built around the same optical design as the stills-oriented 28-45mm F1.8 DG DN | Art, a lens that earned attention for its sharpness and character. Sigma’s Aizu factory production ensures consistency across the line, and in cine trim, that translates to excellent resolution across the frame, controlled flare, and smooth bokeh from an 11-blade iris. In practice, that means this lens carries forward the “Art” look, but wrapped in a cinema housing. At the same time, Sigma has been making clear that it isn’t abandoning the traditional end of the market—their Aizu Primes, announced recently and now shipping, deliver fully manual T1.3 speed, precise mechanics, and a build aimed squarely at high-end narrative productions. Taken together, the AF Cine Line and the Aizu Primes show Sigma’s two-pronged approach: innovating with autofocus for smaller, fast-moving productions while also committing to the uncompromising, tactile precision of classic cinema glass.
Cinema-Ready Mechanics, With a Twist
On the surface, the 28-45mm T2 reads like a proper cinema zoom: a 95mm front diameter, industry-standard 32 (0.8M) pitch gears on focus, iris, and zoom, and a de-clicked aperture ring spanning T2 to T16. The focus throw is a respectable 200°. A detachable support foot (SF-91) is included for rig stability, and compatibility with clamp-on matte boxes is accounted for via the optional COR-21 ring. The COR-21 increases versatility across a larger variety of matte boxes ensuring a properly snug fit. But there’s an important distinction: even in manual mode, focus is focus-by-wire. The ring is electronically linked to the optics, not mechanically coupled. While this allows for integration with autofocus and helps keep the lens compact, it also means focus lacks the direct, tactile precision that many cinematographers associate with traditional cine glass. It’s a compromise, one that might not faze some shooters but will be a sticking point for purists.
At the heart of the AF Cine Line is Sigma’s HLA (High-response Linear Actuator), designed for speed and silence with strong subject tracking. In practice, this means the 28-45mm can keep up with unpredictable documentary shooting, gimbal moves, or handheld action where traditional manual control can slow down production. Autofocus in cinema remains divisive, but for smaller crews or single operators, this implementation could be invaluable.
This release also answers earlier speculation about Sigma’s hybrid approach. The lens does indeed use electronic focus drive, confirmed by the manual’s notes on AF/MF switching and the decoupled focus ring. The inclusion of cine-standard gearing and an iris ring that can be locked in “A” mode for camera-side control shows how Sigma is bridging stills and cinema conventions. On the outside, it looks every bit the part of a cinema zoom; on the inside, it carries the electronics of a modern stills lens. For narrative filmmakers, autofocus is unlikely to replace the artistry of a skilled focus puller. For everyone else, the 28-45mm represents a new category of tool — one that marries speed, precision, and accessibility in a package that wasn’t possible just a few years ago.
Who This Lens Is For, and Where It Fits in the Landscape
The Sigma 28-45mm T2 isn’t trying to unseat traditional cinema zooms, at least not yet. Instead, it carves a niche for documentary filmmakers, event shooters, indie productions, and small crews working on mirrorless platforms. For these users, the combination of cinema handling and responsive autofocus could streamline workflows and expand creative possibilities.
For big-budget narrative work, the compromises are clearer. Focus-by-wire won’t satisfy an experienced 1st AC, and reliance on camera-side aberration correction may put off cinematographers who prefer open, flexible systems. In that sense, Sigma joins the growing ranks of manufacturers—Nikon, Sony, Canon, Fujinon—who are exploring hybrid lenses aimed at bridging cinema and video production. This is not a replacement for a Cooke or Zeiss cine zoom, but rather a new category that acknowledges the evolving needs of modern filmmakers.
Conclusion – A Hybrid Future Beckons
With the 28-45mm T2 FF, Sigma is officially signaling its belief that autofocus belongs in the world of cinema lenses. It’s a bold move, one that will divide opinions; some will embrace the efficiency and versatility, others will dismiss it as an overreach into a domain where manual craft still reigns supreme. What’s undeniable is that Sigma has created a capable, well-built lens with serious optical performance and professional ergonomics. In the right hands, it could be a game-changer, particularly for small crews who demand speed without sacrificing quality. Whether autofocus finds lasting acceptance in high-end cinema remains to be seen, but with this launch, Sigma has put the debate front and center.
Price & Availability
The Sigma 28-45mm T2 FF will ship in November 2025 with a retail price of $3,399. Pre-orders are now open through Duclos Lenses.
| Spec | Sigma 28–45mm T2 FF |
|---|---|
| Lens Mount | L-Mount, Sony E-mount |
| Focal Length | 28–45 mm |
| T-stop | T2 – T16 |
| Number of Diaphragm Blades | 11 |
| Close Focus *1 | 0.3 m / 1’0 |
| Magnification Ratio | 1:4 |
| Front Diameter | 95 mm / 3.7” |
| Front Filter | M82 × 0.75 mm |
| Length *2 | L-Mount: 151.3 mm / 6” Sony E-mount: 153.3 mm / 6.1” |
| Weight *3 | L-Mount: 1.2 kg / 2.7 lb Sony E-mount: 1.2 kg / 2.6 lb |
| Angle of View (Full Frame) *4 | 65.5° – 43.6° |
| Angle of View (Super 35) *5 | 47.9° – 30.9° |
| Focus Ring Rotation | 200° |
| Zoom Ring Rotation | 60° |
| Iris Ring Rotation | 57° |
| Lens Support Foot | SF-91 |