Sigma releases AF Cine 28-105mm T3.0, bringing autofocus to cinema lenses

Sigma has pushed one of cinema’s most stubborn holdouts into new territory. The AF Cine 28-105mm T3.0 went on sale as the second lens in Sigma’s AF Cine Line, and its pitch is as practical as it is disruptive: keep the geared, rig-friendly feel of a cinema zoom, but add autofocus for shoots that do not have a dedicated focus puller.

That matters most for hybrid shooters who bounce between stills, solo video, documentaries and commercial work. Sigma said the AF Cine Line was built for shooting styles and environments that were difficult to address with conventional still or cine lenses, and the 28-105mm T3 FF leans hard into that idea. The lens uses Sigma’s High-response Linear Actuator for AF, which the company says is meant to deliver fast, precise focus for gimbal work, handheld shooting and small crews. In other words, Sigma is not trying to replace manual cinema glass. It is trying to make cinema-style tools less brittle when one person has to do everything.

The optical base will look familiar to anyone who has used Sigma’s stills glass. The 28-105mm T3 FF is built from the Sigma 28-105mm f/2.8 DG DN Art, then reworked into an 18-element, 13-group cine design with two FLD elements and one SLD element. Sigma lists a 12-blade iris, a 0.4 m close focus distance, a 1:3.1 magnification ratio, 200 degrees of focus rotation, 70 degrees of zoom rotation and 54 degrees of iris rotation. The lens has a 95 mm front diameter, an 82 mm filter thread and a support foot, with cine-friendly 0.8 MOD gears on focus, zoom and aperture. It weighs 1.3 kg and measures 157.9 mm in L-mount and 159.9 mm in Sony E-mount.

Sigma launched the lens in Sony E-mount and L-mount, with a US price of $3,399. The company had already set the 28-105mm T3 FF for release on April 16, 2026, after first showing the AF Cine lenses at IBC 2025. Sigma’s first AF Cine lens, the 28-45mm T2 FF, was scheduled to follow on November 6, 2025. Both are developed and manufactured at Sigma’s Aizu factory in Japan, and together they show where the company wants this line to land: between traditional stills gear and true cinema tools, in the messy middle where most real-world production actually happens.