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Sony E PZ 18-110mm f/4 G OSS Lens

BH #SOSELP18110G • MFR #SELP18110G
Sony E PZ 18-110mm f/4 G OSS Lens
Key Features
  • APS-C/Super35 E-Mount Lens
  • Aperture Range: f/4 to f/22
  • One Aspherical & Two ED Elements
  • Smooth Motion Optics
With a wide focal-length range and a constant f/4 aperture in a compact form factor, the Sony E PZ 18-110mm f/4 G OSS Lens offers videographers and cinematographers a versatile lens choice for lightweight operations. While the lens may seem small, it has professional features to back it up. The 18-110m focal-length range covers moderately wide to narrow angles-of-view. Sony's built-in Smooth Motion Optics leverage the internal mechanics of the lens to minimize focus breathing, focus shifting, and other anomalies that would otherwise be noticeable when adjusting the lens during recording.
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Sony E PZ 18-110mm f/4.0 Overview

  • 1Description
  • 2Smooth Motion Optics
  • 3Versatile Zoom Control
  • 4Professional Focusing Features
  • 5Compact Design
  • 6Optical SteadyShot
  • 7Weather Resistance

With a wide focal-length range and a constant f/4 aperture in a compact form factor, the Sony E PZ 18-110mm f/4 G OSS Lens offers videographers and cinematographers a versatile lens choice for lightweight operations. While the lens may seem small, it has professional features to back it up. The 18-110m focal-length range covers moderately wide to narrow angles-of-view. Sony's built-in Smooth Motion Optics leverage the internal mechanics of the lens to minimize focus breathing, focus shifting, and other anomalies that would otherwise be noticeable when adjusting the lens during recording.

The body of the lens sports separate focus, zoom, and iris rings for complete manual control. Just pull the focus ring back and full-time manual focus is engaged. The focus ring itself has built-in cinema-standard gearing for follow-focus compatibility. Zoom functionality can be operated both manually and electronically. The zoom ring is connected to the lens mechanically, so crash-zooms can be achieved without lag. Iris operation can be done automatically, or by rotating the iris ring. By disengaging the iris click switch, manual iris adjustments can be made smoothly.

For smaller, less robust cameras, a quick-release tripod foot is included. The foot secures towards the rear of the lens for tripod use. Alternatively, a conventional lens support can be attached near front of the lens for compatibility with rod-based lens supports. The filter thread will accept 95mm-diameter round filters and the included lens cap. A lens hood is also included for minimizing flare. The hood's shuttered design can be closed when the camera is not in use.

Smooth Motion Optics
Sony's SMO (Smooth Motion Optics) design and construction minimizes optical shifts that can have a negative impact on image quality. Focus breathing is minimized by an internal focus mechanism, focus shift while zooming is eliminated by precise focus tracking adjustment, and axial shift is minimized by a constant-length design.
Versatile Zoom Control
In addition to a smooth servo zoom, mechanical manual zoom ensures precise control with an immediate response. The desired angle of view can be accurately reached by preventing over or undershoot due to lag. Zoom ring direction can be easily switched as required, smooth, slow powered zoom is supported, and an inner zoom mechanism means that the length of the lens remains constant, regardless of focal length.
Professional Focusing Features
The focus ring slides back to quickly engage manual focusing. Cinema-standard MOD 0.8 gear teeth are built into the focus ring, enabling use of standard follow focuses without requiring cumbersome focus gear accessories.
Compact Design
The lightweight form-factor of this lens contributes to the kind of mobility that active movie shooting demands. Small size and low weight can be advantageous when using gimbals and other types of support as well.
Optical SteadyShot
Built-in Optical SteadyShot (OSS) image stabilization helps to keep recorded images stable and free of excess blur in a wide range of handheld or locked-down shooting conditions involving camera movement.
Weather Resistance
A dust and moisture-resistant design provides extra protection and ensures reliable operation in challenging environments and inclement weather. Shoot with confidence in light rain or windy conditions.
UPC: 027242903067

Sony E PZ 18-110mm f/4.0 Specs

Focal Length
18 to 110mm
Maximum Aperture
Minimum Aperture
Lens Mount
Sony E
Lens Format Coverage
Optical Design
18 Elements in 15 Groups
Filter Thread
95 mm
Minimum Focus Distance
From : 15.75" / 40 cm
Maximum Magnification Ratio
Diaphragm Blades
Image Stabilization
Dimensions (W x H)
4.3 x 4.3" / 109.2 x 109.2 mm
2.4 lb / 1.1 kg
Packaging Info
Package Weight
4.55 lb
Box Dimensions (LxWxH)
12.2 x 7.15 x 6.95"

Sony E PZ 18-110mm f/4.0 Reviews

Not the Greatest Lens

By Donald
Rated 2 out of 5
Date: 2022-07-13

I have been using this lens for about a two years now on a Sony FS 5 Mark II. It works just fine for the run and gun shooting that I am doing at work. What I am not happy about is the resolution while shooting 4K. I have noticed that the video image is soft while shooting wide. As soon as you zoom into a medium shot it seems to sharpen up. Not great! I would not buy this lens in the future.

APS-C =great!

By Kranky Plate
Rated 4 out of 5
Date: 2021-01-19

If you only shoot in full-frame, prepare to crop in post.

Not as good as it should be...

By Kyle
Rated 1 out of 5
Date: 2020-08-19

I have shot with both this 18-110 lens and the 28-135 lens extensively for the last couple of years on FS7 cameras and I don't understand why the 18-110 lens is so much more expensive for what I believe is an inferior lens.  Problem number 1: the 18-110 is NOT par focal. That is a big problem when you come from the ENG world and expecting this lens to behave like an ENG lens would. Not to mention, the 28-135 lens is par focal. Problem number 2: the focus is not very sharp. If you're shooting something where focus is absolutely critical (and I know what you're thinking...when is it not?) this 18-110 lens is just not great in post, even when it appears to be in focus out in the field. To check focus with this lens, I frame the shot the way I want it, then I use the digital zoom on the hand grip of the FS7 to punch in to check sharpness, then punch back out. I have done this with the peaking on and with it off and I still don't have 100% confidence that the shot is focused correctly. Sometimes the focus is totally fine and it's just my paranoia, but other times it hasn't been and we didn't notice until we're editing. This lens has really hosed me when I'm shooting b-roll and trying to zoom and adjust focus along the way. I've been shooting for 20 years and this 18-110 lens is a struggle to use. I hate this lens and it should be thrown into the deepest of oceans. The 28-135 Sony lens (despite how narrow it is - even on my FX9 in 6k, full-frame mode) is a much better lens, although I don't love that lens either. But the 28-135mm is a more user-friendly lens and more forgiving. Bottom line is this: Sony makes some pretty darn good cameras (I've owned an F55, two FS7's and now the FX9) but their servo zoom lenses, especially this 18-110mm one, leaves a lot to be desired.

Great lens, very versatile

By Jonathan
Rated 5 out of 5
Date: 2020-07-17

Smooth and sharp with a sturdy mount.

Love it

By Darren
Rated 5 out of 5
Date: 2020-02-24

I have the Sony FS-7. I was using the 18-105 lens. Had the money for this upgrade and its fantastic. I come from the ENG news world. This lens acts and looks like an ENG lens. Iris is now on the lens instead of the camera body which takes some time getting use to the change. If you have the money you wont be disappointed.

A professional cine lens with some limitations

By Jason
Rated 4 out of 5
Date: 2020-01-30

Every lens has its advantages and disadvantages. The Zeiss 21-100mm is beautiful and perfect in almost every way, except it's a T2.9-3.9 and is enormous. The Fujinon MK lenses are well-sized, decently fast at T2.9, but are low contrast and have limited range. Which brings me to the Sony E PZ 18-110mm f/4 OSS lens, which is in a comparable price and quality range to these other budget cine-style zoom lenses. It offers the native e-mount, which, as a sony user, I appreicate. The image stabilization works well, as does the autofocus— though the lens occassionally loses focuses and goes between the background and subject. Sony has never been known for its autofocus. It's not spectacular, but it is more functional than usual. The image is exceptionally sharp, offers nice micro-contrast, and has nice bokeh if you know what you're doing. It won't give you the out of the box bokeh of a T1.4, but then again, if you're filming documentaries on your own, chances are you can't pull focus at T1.4 anyways. I'm impressed with the sharpness throghout the aperture range, even at T4. Plus, Sony's cameras are notoriously good in low-light anyway, so for me, the aperture wasn't an issue. The lens is heavy, but so efficient with the zoom range that it's difficult to knock. The range itself is pretty great, and offers a lot of flexibility. It's parfocoal, which is great, and maintains sharpness throughout the zoom range. There's very little focus breathing, and filmmakers will appreciate the declicked aperture for fine tune adjustments to exposure. A few complaints: - There's no way to lock the aperture, and it's very sensitive to touch, so I found that it's very easy to move accidentally while filming, unless you tape it in a specific position. - The minimum focus distance makes it very difficult to get close to subjects, and impossible to do any kind of macrowork. Fair enough, it's not a macro lens. But compared to the Zeiss and Fujinon lenses, where you can get to within mere inches of your subject, this lens leaves a lot to be desired in that area. Overall, it's a great lens, especially at its price point. It's a great choice for a sony user doing run and gun doc work. I didn't use the electronic zoom function, but see that as a plus going forward. I don't think it offers enough flexibility or quality for high end commercial work or feature narrative films, but for what it is, it's great.

It's a big, impressively looking pain in keister

By josh
Rated 2 out of 5
Date: 2021-12-14

i shot with this lens last night on an FS7. I like the Servo zoom. And i like the range. It's not particularly fast f-stop, but i suppose it's about average for a zoom. On an APS-C sensor, it's more like 27-150mm--for the most part, that was wide enough. The real pain is that, unlike Sony's other servo lenses, this lens needs to be refocused every time you adjust the zoom. Unlike Sony's other servo lenses, this one is NOT A PARFOCAL LENS. The autofocus is NOT good. And it's a pretty soft focus--I'm not expect the tack-sharpness of a prime, but good gravy, this is embarrassingly soft. I wouldn't recommend this lens.

If you come from ENG you'll feel perfectly at home

By Jim
Rated 5 out of 5
Date: 2021-05-10

This lens is expensive but has been wonderful for use with my Sony FS5m2. I worked 15 years in television news, have owned this lens nine months, and use it daily without problem. I'm prompted to write this review because I see a previous reviewer incorrectly claiming this lens is not parfocal. Absolutely untrue. I don't know if he/she bought a lemon, but this lens calibrates fine. Zoom all the way in, focus, zoom out to frame the shot, stays in focus, light level doesn't change, just a great video zoom lens. The controls are very smooth and I love having focus, iris, and zoom rings with hard stops as opposed to the infinity-spin on many camcorders. I don't use the power zoom much as I generally prefer to turn off the servo and use the manual zoom ring to quickly calibrate and frame shots. But when I do use the power zoom, I always use the controls on the servo on the FS5m2 and cannot really speak to how well the zoom lever on the side of the lens works. This lens is 10x better than the smaller $500 lens you could get with the FS5m2, even with the same focal lengths. The one drawback to the PZ 18-110 is it's heavy. It weighs more than the body of the FS5m2. Be prepared for a camera that balances very differently both on the tripod and in-hand when you're attaching this 2.5 pound weight to the front. I'm sometimes tempted to use the smaller lens if doing strenuous shoots but always go back to this. It looks so much better and is easier to operate. I haven't needed any support rods but you may want them for peace of mind if doing a lot of shooting where you bounce around.

See any errors on this page? Let us know



What is the full frame equivalent of a 18-110mm?
Asked by: alex
Answered by: James B.
Date published: 2018-08-27


Will the 18-110 lens work with the automatic features (AF, auto iris) of the Sony FS5?
Asked by: Steven
Yes, you can auto iris and auto focus with the FS5 and the E PZ 18-110mm f/4 G OSS Lens.
Answered by: Dennis A L.
Date published: 2020-08-24

Does this lens enable still picture functions in ...

Does this lens enable still picture functions in compatible Sony cameras to take pictures as well as video? Is the Multi Port functional on Sony cameras to control zoom functions on the lens?
Asked by: Derek
Yes, this can be used for still images as well as video. You will be able to control the zoom through select camera's Multi-Terminal Input with the Sony RM-VPR1 Remote Commander with Multi-Terminal Cable, BH #SORMVPR1.
Answered by: Joseph
Date published: 2020-01-16


Do people typically buy a large ND filter for this lens if they don't have an internal one? Or do people use a matte boxe instead? Also if I were to use this with the Sony a7rii, would I need a rig?
Asked by: Michael M.
The choice of matte box or screw-in filter is a choice that is up to you and your needs. The fastest, easiest, most compact, most affordable solution is to use a screw-in 95mm ND filter of the strength you need. This works well when you are working by yourself while doing events/wedding/documentaries/corporate/news. If you are doing something like a cinema movie where you have a bit more time or you can pay attention to the image quality to a higher degree, a matte box allows you to use more than one filter, the use of grads, and when you include top and side flaps, much better control of keeping contrast-robbing flare off the front filter. Regarding the Sony a7 R II, this is one of those situations where the camera is mounted to the lens; not vice-versa. You can mount the lens directly to the tripods quick release plate using the lenss foot/handle and then mount the camera to the rear and finally screw-in the filter. You can get a clamp-on matte box for use directly on the lens or if there is more money in the budget you can get a 15mm LWS rig to hold the matte box, the lens and the camera.
Answered by: Dennis A L.
Date published: 2018-08-27

What is the thread pitch on the filter threads?

What is the thread pitch on the filter threads?
Asked by: Eric
The Sony E PZ 18-110mm f/4 G OSS Lens (B&H# SOSELP18110G) has a filter thread diameter of 95mm and a filter thread pitch of 1mm.
Answered by: Yoni
Date published: 2022-10-31


Is the servo zoom speed on the 18-110 faster than the 28-135 lens which I own and find quite slow?
Asked by: Anonymous
According to some early reviews, it is faster. Google THE NEW SONY FS7 ZOOM LENS, THE SONY SELP18110G. Should be top result.
Answered by: Josh R.
Date published: 2018-08-27


What is the zoom ring gear size? Thanks!
Asked by: Wayland S.
Sorry, but there is no zoom or aperture gears on this lens. What looks like zoom or aperture rings are just rubber grips. Only the focus has a cinema type 0.8 gear ring.
Answered by: Dennis A L.
Date published: 2018-08-27


What is the outer diameter of the front of the lens for matte box fitting?
Asked by: Aaron K.
Outer diameter of the lens is 110mm, so I thought the following Bright Tangerine product will be the missing link, but it seems it might not work... https://<a href= target= _blank ></a>
Answered by: Takeshi F.
Date published: 2018-08-27
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