Honestly i have to disagree slightly with the focus on just those two lenses! While they are both cool, if you are doing corporate interviews AND travel vlogs, you really want a bit more reach than 50mm. I have been using the Tamron 17-70mm f/2.8 Di III-A VC RXD and it is seriously a beast for the money. You get that f/2.8 constant aperture which is amazing for blurring out busy backgrounds, plus it has built-in stabilization which helps so much on the FX30. It is a bit bigger than the Sigma, but the versatility is worth its weight in gold! Quick tip for the Chicago trip: grab a solid variable ND like the PolarPro Peter McKinnon Signature Edition II 2-5 Stop VND for those outdoor vlogs. It makes hitting your shutter speed way easier. You are gonna love the results, good luck with the shoot!

^ This. Also, i hate to be the bearer of bad news but the Sony E 16-55mm f/2.8 G is actually kinda disappointing for the price because it lacks OSS (optical stabilization). Since you mentioned the FX30 is your main money maker, you really want that extra layer of stabilization for handheld corporate b-roll, and IBIS alone usually isnt enough for clean movement. Unfortunately, the Sigma 18-50mm f/2.8 DC DN Contemporary feels a bit like a toy on a pro body and i had issues with the autofocus pulsing during slow pans which is a total dealbreaker for video work. If you want the real technical breakdown, check out the lab tests on Gerald Undone or the MTF charts on the Digital Picture website... they show that while the Sigma is sharp in the center, the micro-contrast just isnt as good as expected compared to the Sony glass. Honestly tho, if you want something versatile for Chicago, you should look at the Tamron 17-70mm f/2.8 Di III-A VC RXD. Its got built-in VC stabilization which plays way nicer with the FX30 for video. The Sony G lens is technically superior with those dual XD linear motors, but paying over a grand and still not getting stabilization in the glass feels like a bit of a ripoff. Also, the focus breathing on the Sigma is kinda gnarly. If your talent moves slightly during an interview, you will see the frame edges zooming in and out. Not exactly the professional look you want for corporate clients... anyway, just my two cents.

Native glass is more reliable in my experience. tbh i have learned the hard way that saving money usually costs you more later. Years ago I was doing a travel shoot and my off-brand lens kept hunting... it was a nightmare. 1. Go with Sony for peace of mind.

• Professional work needs that native autofocus. Just get any pro zoom from Sony and you cant go wrong.