The 50-100mm T2 Zoom Lens is ideal for the latest digital cine cameras. Its wide focal length offers full-frame sensor coverage, 6K-8K resolution, and a T2 aperture in a compact form. A 95mm front diameter is similar to that of the other cine lenses and is compatible with matte boxes. The body is made completely of metal to stand up to tough professional use over the long term. The filter size is standardized at 82mm, allowing users to use the same size of ND filter on different lenses. High-Speed Zoom Lens The high-speed zoom lens offers a constant aperture of T2 throughout the zoom range, and its outstanding optical performance makes them fully ready for high-resolution shooting in 6K-8K. While offering the highest image quality in its class, this zoom lens is compact and offer amazing value. 6K-8K Resolution The lens features the same optical system that delivers 50MP or higher resolution in still photography. This lens is therefore ready for higher-resolution shooting and is ideal for chroma keying as well. Standardized Color Balance The T2 Lens is designed to comply with SIGMAs CCI standard. Standardized color balance makes color correction a snap. 180 Focus Rotational Angle 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. The lens is optimized even easier long distance focusing. 160 Zoom Rotational Angle 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.
The 50-100mm T2 Zoom Lens is ideal for the latest digital cine cameras. Its wide focal length offers full-frame sensor coverage, 6K-8K resolution, and a T2 aperture in a compact form. A 95mm front diameter is similar to that of the other cine lenses and is compatible with matte boxes. The body is made completely of metal to stand up to tough professional use over the long term. The filter size is standardized at 82mm, allowing users to use the same size of ND filter on different lenses. High-Speed Zoom Lens The high-speed zoom lens offers a constant aperture of T2 throughout the zoom range, and its outstanding optical performance makes them fully ready for high-resolution shooting in 6K-8K. While offering the highest image quality in its class, this zoom lens is compact and offer amazing value. 6K-8K Resolution The lens features the same optical system that delivers 50MP or higher resolution in still photography. This lens is therefore ready for higher-resolution shooting and is ideal for chroma keying as well. Standardized Color Balance The T2 Lens is designed to comply with SIGMAs CCI standard. Standardized color balance makes color correction a snap. 180 Focus Rotational Angle 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. The lens is optimized even easier long distance focusing. 160 Zoom Rotational Angle 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.
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The lowest price for Sigma 50-100mm T2 PL Mount Cine Lens right now is .
Sigma 50-100mm T2 PL Mount Cine Lens
The 50-100mm T2 Zoom Lens is ideal for the latest digital cine cameras. Its wide focal length offers full-frame sensor coverage, 6K-8K resolution, and a T2 aperture in a compact form. A 95mm front diameter is similar to that of the other cine lenses and is compatible with matte boxes. The body is made completely of metal to stand up to tough professional use over the long term. The filter size is standardized at 82mm, allowing users to use the same size of ND filter on different lenses. High-Speed Zoom Lens The high-speed zoom lens offers a constant aperture of T2 throughout the zoom range, and its outstanding optical performance makes them fully ready for high-resolution shooting in 6K-8K. While offering the highest image quality in its class, this zoom lens is compact and offer amazing value. 6K-8K Resolution The lens features the same optical system that delivers 50MP or higher resolution in still photography. This lens is therefore ready for higher-resolution shooting and is ideal for chroma keying as well. Standardized Color Balance The T2 Lens is designed to comply with SIGMAs CCI standard. Standardized color balance makes color correction a snap. 180 Focus Rotational Angle 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. The lens is optimized even easier long distance focusing. 160 Zoom Rotational Angle 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.
The 50-100mm T2 Zoom Lens is ideal for the latest digital cine cameras. Its wide focal length offers full-frame sensor coverage, 6K-8K resolution, and a T2 aperture in a compact form. A 95mm front diameter is similar to that of the other cine lenses and is compatible with matte boxes. The body is made completely of metal to stand up to tough professional use over the long term. The filter size is standardized at 82mm, allowing users to use the same size of ND filter on different lenses. High-Speed Zoom Lens The high-speed zoom lens offers a constant aperture of T2 throughout the zoom range, and its outstanding optical performance makes them fully ready for high-resolution shooting in 6K-8K. While offering the highest image quality in its class, this zoom lens is compact and offer amazing value. 6K-8K Resolution The lens features the same optical system that delivers 50MP or higher resolution in still photography. This lens is therefore ready for higher-resolution shooting and is ideal for chroma keying as well. Standardized Color Balance The T2 Lens is designed to comply with SIGMAs CCI standard. Standardized color balance makes color correction a snap. 180 Focus Rotational Angle 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. The lens is optimized even easier long distance focusing. 160 Zoom Rotational Angle 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.
Prices last updated 24 July 2024.
Last updated at 24/07/2024 21:28:10
originally posted on lensrentals.com
I love the company!!! My new go to place for camera equipment.-William
originally posted on lensrentals.com
Nice to have access to equipment like this at a reasonable price. You guys always get the equipment here on time and in excellent condition.
originally posted on bhphotovideo.com
This lenses is fast and amazingly sharp. Great addition for the money.
| Aperture Range | T2.0 to T16 |
| Aperture | T2.0 to T 16 |
| Camera Mount | ARRI PL |
| Close Focus | 0.95 m |
| Image Coverage | S35 Digital 28.4 |
I love the company!!! My new go to place for camera equipment.-William
Nice to have access to equipment like this at a reasonable price. You guys always get the equipment here on time and in excellent condition.
This lenses is fast and amazingly sharp. Great addition for the money.
I use this with Ursa Mini Pro 4.6k and Pocket 6k for a lot of applications. Most of what I do is doc style and corporate video.The quality of glass that sigma has been putting out the last few years is exceptional. I also own the Cine 18-35mm. Having these two lenses to cover everything from 18-100mm at T2 (F1.8) is fantastic.While the 18-35mm is nearly parfocal, the 50-100mm is not. It’s biggest weakness is the breathing. It hasn’t ruined any shots for me personally, but I imagine if you were doing a more complicated follow focusing shot, it might be frustrating. Still, having 50mm/85mm/100mm and everything in between with one lens is super valuable. Especially when I’m run & gunning on a doc.Greatest strength is having the 50-100mm focal lengths in a single ... MoreI use this with Ursa Mini Pro 4.6k and Pocket 6k for a lot of applications. Most of what I do is doc style and corporate video.The quality of glass that sigma has been putting out the last few years is exceptional. I also own the Cine 18-35mm. Having these two lenses to cover everything from 18-100mm at T2 (F1.8) is fantastic.While the 18-35mm is nearly parfocal, the 50-100mm is not. It’s biggest weakness is the breathing. It hasn’t ruined any shots for me personally, but I imagine if you were doing a more complicated follow focusing shot, it might be frustrating. Still, having 50mm/85mm/100mm and everything in between with one lens is super valuable. Especially when I’m run & gunning on a doc.Greatest strength is having the 50-100mm focal lengths in a single fast lens.Biggest weakness is focus breathing.I’ve heard a few complaints that it’s the same glass as the art series but in a cine housing and 4-5x the price, but when it comes to great/fast cinema glass, I still think its a great value in comparison to a lot of other lenses out there.If you really don’t need to control it with a FIZ, you’ll probably be fine with the art series, but if you have a capable AC at your side, the cine version is the way to go.
I rent these sigma T2 variable focal length lenses over and over because they give me so much flexibility and are still fast. These tend to be my go-to’s.
Nice clean lens that paired well.
These guys rocks! Helpful. Honest. Knowledgeable. Great people! Thanks! Will get gear here again!
Needed a cine lenses to pair with a Blackmagic Pocket Cinema Camera (we also rented) for a campaign we shot in our studio and it did not disappoint!Super sharp for a zoom lens and if I had to do it again, I would have rented the sigma 18-35 cine lens as well.
1. Too noticeable focus breath .... Not usable for serious cinema ....2 . None Lens Data System ( LDS ) that now very need for post - production works with augmented reality3. Too overpriced ( " cinema " version with lens gear )Version for photo with EF ( about $1000 ) mount much better for use with RED .Really .
I work in documentary and TV, shooting on the FS7. I shoot a lot of b-roll and interviews on the fly, but am always looking for that extra edge to make my imagery look better than the next DP, and this lens (plus the 18-35mm sister lens) help me achieve that goal.I can say that for interviews, this lens is irreplaceable. In doc scenarios, primes aren't really ideal, as you are stuck with one focal length in an environment where you need to work quickly and often are making changes. In my experience with this lens, I've found that sometimes I'll settle on 77mm or 86mm or 92mm (or whatever) for interviews, a point of flexibility that isn't possible with primes. The fact that it's T/2 throughout the range is a major bonus, as you are getting the best of both of the ... MoreI work in documentary and TV, shooting on the FS7. I shoot a lot of b-roll and interviews on the fly, but am always looking for that extra edge to make my imagery look better than the next DP, and this lens (plus the 18-35mm sister lens) help me achieve that goal.I can say that for interviews, this lens is irreplaceable. In doc scenarios, primes aren't really ideal, as you are stuck with one focal length in an environment where you need to work quickly and often are making changes. In my experience with this lens, I've found that sometimes I'll settle on 77mm or 86mm or 92mm (or whatever) for interviews, a point of flexibility that isn't possible with primes. The fact that it's T/2 throughout the range is a major bonus, as you are getting the best of both of the zoom/prime worlds.Shooting outdoors in changing light conditions, being able to ride the aperture without the iris-stepping of a stills lens is also an irreplaceable quality.Some people complain that this is just a stills lens with cine gears but in real world shooting conditions, I don't find that to be the case. For pixel peepers, maybe they are right, but you simply can't replace focus markings, smooth aperture, and cinema grade build quality.Last note: I rented the PL and E-mount version of this lens. With the PL to E-mount adapter on the PL version, both lenses are the exact same length, so I'd recommend buying the PL version for resale value and general usability.
| Aperture Range | T2.0 to T16 |
| Aperture | T2.0 to T 16 |
| Camera Mount | ARRI PL |
| Close Focus | 0.95 m |
| Image Coverage | S35 Digital 28.4 |
