Sigma Lenses

The lens decides how a picture feels as much as the camera does. Every lens in the ACOCA Media kit is Sigma glass from its Art and Sports lines, so the look stays consistent whichever lens is on the camera, and the two cameras can share lenses on a shoot.

Sigma 24-70mm f/2.8 DG DN II Art

The everyday workhorse. Wide enough for a room, tight enough for a mid shot, and fast enough for low light.

• Great for: run-and-gun news, b-roll, the second camera on interviews
• Worth knowing: for very tight close-ups we switch to the longer lenses

Sigma 28-105mm f/2.8 DG DN Art

A little more reach than the 24-70 in one lens, which means fewer lens changes on a fast-moving day.

• Great for: documentary days, events, a single lens that covers most situations
• Worth knowing: for the widest views of a space we use the 24-70

Sigma 70-200mm f/2.8 DG DN OS Sports

The long zoom. It reaches across a room or a field, softens the background beautifully and has built-in stabilisation.

• Great for: tight interview close-ups, sport, wildlife, press conferences from the back of the room
• Worth knowing: it is a big lens, so it lives on the tripod or the FX6

Sigma 85mm f/1.4 DG DN Art

A prime lens made for faces. It separates the subject from the background with a soft, creamy blur that gives interviews a high-end, cinematic look.

• Great for: sit-down interviews, portraits, low light
• Worth knowing: a fixed focal length, so the camera moves to change the framing

Sigma 135mm f/1.4 DG Art

Sigma's newest long portrait lens. Longer still, for the tightest, most intimate interview close-ups with the background melted away.

• Great for: the close-up angle on a two-camera interview, portraits, low light
• Worth knowing: it needs room to step back, so very small spaces suit the 85mm better