Saw this earlier and been thinking... honestly, I am so satisfied with the current GM lineup, it is hard to go wrong. Quick thing tho-are you mostly shooting on a gimbal or are you a cage-and-handle kinda person? Reason I ask is the weight distribution. The Sony FE 24-70mm f/2.8 GM II is basically the gold standard for docs because it covers that 35mm and 50mm sweet spot without a lens swap. Technically, those four XD linear motors are the real mvp since they handle focus shifts so fast you wont even hear them on your internal mic. I use it for almost everything and the de-clicked aperture ring is a dream for manual iris pulls. Plus, if your body supports it, the breathing compensation on this glass is near-perfect so you dont get that weird zooming effect when focusing. TL;DR: The 24-70mm GM II is the best all-rounder for DIY docs, just gotta know if you need that wide 16mm look more for your specific style.

Re: "OMG you absolutely have to go with the..."

• I feel that frustration deeply. Honestly its ridiculous how much we have to spend just to get decent glass these days. The whole ecosystem feels like such a scam sometimes with how fast they cycle through models and leave us hanging with compatibility issues. It drives me crazy that even after dropping $2500 on something like the Sony FE 24-70mm f/2.8 GM II, you still run into technical headaches that shouldnt exist. A few things that always get me:
• Linear vs non-linear focus response inconsistencies across different firmware versions.
• Software-based distortion correction that secretly crops your image.
• Proprietary communication protocols that nerf third-party lens performance. It just feels like companies dont care about the actual filmmaker once they have your money. Definitely double check if the AF features on the Sony FE 16-35mm f/2.8 GM II even work fully with your specific body, because sometimes they just lock stuff out for no reason. Its a total mess but I am sure you will make a great film regardless of the gear hurdles.

OMG you absolutely have to go with the Sony FE 24-70mm f/2.8 GM II!! When I first started out, I was so nervous about messing up a shot or getting dirt inside my camera body while changing lenses in the middle of a windy park. I decided to stick with one high-quality zoom to keep everything sealed and safe, and it was the best decision ever! The peace of mind you get knowing it is a native Sony lens that wont glitch out during a crucial take is just incredible.

• The weather sealing is honestly a lifesaver when it starts drizzling on set.
• Autofocus is so snappy that I never worry about missing the subjects eyes during an emotional scene.
• Constant f/2.8 means my exposure stays perfect even when I zoom in for a close-up. I once bumped my camera against a door frame and was literally shaking, but this lens is built so tough it didnt even have a scratch! For someone like me who is still learning the ropes, having gear thats this reliable and high-performing is such a huge confidence booster. It is basically the safest bet you can make with your money!

For filmmaking, I recommended the FE 24-70mm f/2.8 GM II lens.

Been thinking about your post for a few hours now and honestly, you're looking at some solid glass. I've been shooting Sony for a long time and the reliability of the newer GM stuff is just hard to beat. Quick question before I give my final vote tho... what camera body are you actually using? And for those docs, you doing mostly handheld or are you on a tripod? Knowing if you need active stabilization or a lightweight setup makes a big difference. Here's how I see the options for your budget:

• Sony FE 24-70mm f/2.8 GM II: I am super satisfied with this one. Its way lighter than the v1 and the focus breathing is basically zero. It just works every time you hit record.
• Sony FE 70-200mm f/2.8 GM OSS II: Dont sleep on this for documentaries. The internal zoom means it doesnt shift weight on a gimbal, and the sharpness is unreal for interviews.
• Tamron 35-150mm f/2-2.8 Di III VXD: If you want pure versatility without swapping glass, this thing is a beast. A bit heavy, but the range is incredible for run-and-gun stuff. Let me know about the camera setup and I can give more specific advice. Happy to help out!

Saving this whole thread. So much good info here you guys are awesome.

Man I wish I found this thread sooner. Would have saved me so much hassle.

The new released Sigma 24-70mm f/2.8 DG DN Art II lens is great, highly recommend it.

Re: "Re: "OMG you absolutely have to go with..." - i totally get the frustration with the price, but for professional docs, that reliability usually pays for itself in the long run. before you commit to one over the other tho, i have a couple questions about your actual workflow:

• are you doing mostly handheld work or are you gonna be using a gimbal for most shots?
• do you often find yourself in cramped indoor spaces where you cant really back up? knowing if you need that extra width for tight spaces vs the reach for interviews would really help narrow it down. it basically comes down to the specific environments you shoot in most.

If you find yourself frequently needing wider shots, the 16-35mm might be the better choice. On the other hand, if you prefer a more versatile range that includes short telephoto, the 24-70mm would be the way to go.

Another lens to consider is the Sony FE 35mm f/1.4 GM. While it's a prime lens with a fixed focal length, it offers exceptional sharpness, beautiful bokeh, and outstanding low-light performance. It's a favorite among many filmmakers for its cinematic look and compact size.