These are the best Sigma lenses for video when you want quiet, reliable autofocus, controlled focus breathing, and rigs that balance well from gimbal run-and-gun to narrative—across full frame and APS-C—and here’s what to look for as you buy: favor lenses with minimal breathing and smooth AF transitions, constant T/ƒ for exposure stability, linear or predictable manual focus response for repeatable pulls, unified front diameters for one VND/matte box, close-focus for product cutaways, weather-resistant builds if you shoot outdoors, and reasonable weight/center of gravity for gimbals and shoulder rigs; pair OS lenses wisely with your body’s IBIS, keep firmware current for AF behavior, and if you live in cine mode, consider true cine housings with long throws, 0.8-mod gears, 95/114 mm fronts, and consistent gear positions. Mid-range zoom spine for hybrids: 24–70mm f/2.8 DG DN | Art (quiet drive, excellent close-focus at 70mm, restrained breathing) plus 70–200mm f/2.8 DG DN OS | Sports (sealed, stabilized, beautifully smooth bokeh, gimbal-friendly balance); go ultra-wide with 16–28mm f/2.8 DG DN | Contemporary when you want compact, threaded filtration, or 14–24mm f/2.8 DG DN | Art for corner-clean interiors and night scenes with clamp-on holders; add 100–400mm f/5–6.3 DG DN OS | Contemporary when you need stabilized reach for stage, sports cutaways, or nature B-roll, and 17–50mm f/2.8 DG DN | Contemporary for a tiny mid-range that color-matches and accepts 67mm filters. Prime kit for consistent “look”: 24mm f/1.4, 35mm f/1.4, and 50mm f/1.4 DG DN | Art cover interviews, narrative, and low-light with fast, quiet AF and tasteful rendering; 85mm f/1.4 DG DN | Art and 135mm f/1.8 DG HSM/DG DN | Art add compressed portraits and stage reactions with gentle breathing; the compact I-Series primes—20mm f/2, 24mm f/2, 35mm f/2, 45mm f/2.8, 65mm f/2, 90mm f/2—share metal barrels, gasketed mounts, close-focus, and similar color, perfect for matched, lightweight gimbal sets; for macro inserts and beauty shots, the 105mm f/2.8 DG DN Macro | Art brings 1:1 detail, a limiter, and smooth focus for glide-by product shots. If you want true cinema mechanics, Sigma Cine FF High Speed Primes (14 T2/20 T1.5/24 T1.5/28 T1.5/35 T1.5/40 T1.5/50 T1.5/65 T1.5/85 T1.5/105 T1.5/135 T2) deliver long, repeatable throws, matched color, and 95 mm fronts; the FF Classic Primes keep the same housings with lower-contrast, flare-friendly coatings for a filmic vibe; for parfocal coverage, the Cine 18–35 T2 and 50–100 T2 (Super35) are fast and production-ready, while FF cine zooms like 14–24 T2.6 and 24–35 T2.2 slot into clamp-on matte-box workflows with disciplined breathing. APS-C mirrorless shooters can build a featherweight, quiet video kit with the DC DN primes—16/1.4, 23/1.4, 30/1.4, 56/1.4—and the 10–18/2.8 DC DN for ultra-wide moves; pair with the full-frame 100–400 DN OS on crop for long, stabilized reach. Practical buyer tips: build around a two-zoom spine (24–70/2.8 + 70–200/2.8 OS for people/events, or 16–28/2.8 + 24–70/2.8 for interiors + narrative) and add one fast prime you love for look consistency; standardize on 67/72/82/95 mm fronts to keep filtration simple; choose DG DN versions for the best AF and breathing control; keep one true macro for detail cutaways; if you live on gimbals, the I-Series or lighter DN zooms keep balance painless, while cine primes/zooms give you predictable marks and clamp-on speed for bigger sets. Shooting tips: lock 180° shutter with a quality VND, use AF-C with transition speeds tweaked for subject changes and switch to manual for rehearsed racks, pre-mark pulls (or use linear MF mode) and rehearse end stops, run mild stabilization on handheld but disable IS on locked shots to avoid drift, keep minimum focus handy for foreground layers in tight rooms, and match T-stops/white balance across bodies to simplify grading. Whether you’re filming documentary in drizzle, crafting interview A-cams with creamy roll-off, or mixing product macro into commercial edits, the best Sigma video lenses combine quiet drives or cine-true mechanics, controlled breathing, and coherent color—so your footage intercuts cleanly from wide master to tight reaction and your rig stays fast, balanced, and production-ready.