Sigma's first ever autofocus cinema lenses are in development

In the same week that Sigma announced its new super-fast Aizu Prime cine lenses, the company also revealed the development of something equally forward-thinking: its first autofocus-compatible cine lens series.

The upcoming Sigma AF Cine Line will launch with two full-frame zoom lenses. The 28-45mm T2 FF and the 28-105mm T3 FF will bring high-performance autofocus to professional cinema production. The former is set for release in November, with the longer latter lens following in spring 2026. Both will be available in L-Mount and Sony E-mount.

While Sigma’s manual cine primes have become industry favorites for their precision and character, the AF Cine Line taps into a growing demand for fast, reliable autofocus in serious filmmaking.

As mirrorless camera systems become more prevalent on set, and autofocus motors become more sophisticated, cinematographers are increasingly open to using AF in scenarios where speed, agility or small crews make it invaluable.

Sigma’s entry into this space suggests that the technology has matured enough to be trusted with high-end production.

Both lenses are built on the optical platforms of Sigma’s acclaimed Art series stills lenses, redesigned with cinema ergonomics in mind. They promise sharp, clean rendering with controlled flare and pleasing bokeh, all while maintaining consistent performance across the zoom range.

Mechanically these are true cine tools, with 0.8M pitch gears, clickless aperture rings and a refined build for on-set reliability. The autofocus system uses Sigma’s HLA (high-response linear actuator) offering high-speed, near-silent tracking even in high-movement scenes. This makes them ideal for gimbal work, handheld setups or unpredictable documentary moments.

What sets the AF Cine Line apart is its ability to bridge the gap between traditional cine build and modern autofocus needs. It offers the look and handling demanded by professionals, but with the flexibility today’s hybrid workflows increasingly require.

Pricing is still to be confirmed, but for filmmakers blurring the boundary between stills and cinema – or simply looking to move faster without sacrificing image quality – Sigma’s latest development could be just what the industry was waiting for.

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