German lens manufacturer (since 2008) producing zoom (15–300mm, T2.8) and prime series (12–200mm, T1.4–T2.8) in PL mount for mid-range market.
The GL Optics Vario lenses cover focal length ranges of 15-40mm, 28-85mm, and 85-300mm with a constant T2.8 aperture. The in-house prime lenses range from 12mm to 200mm with maximum apertures between T1.4 and T2.8. All cine lenses feature standardized 0.8 module gears for follow focus systems, uniform 95mm front diameters, and PL mount connections. The focus and zoom rings offer 270° and 180° rotation angles respectively. GL Optics exclusively uses mechanical iris systems with 9-15 aperture blades for smooth bokeh characteristics.
Founded in 2008 by Gerd Löbl, GL Optics initially began with the repair and maintenance of broadcast lenses. In 2012, the first in-house development occurred with the Vario series, followed in 2015 by the first prime lenses. In 2018, the company expanded its portfolio to include large format lenses for Alexa LF and RED Monstro. Collaboration with renowned DoPs led to the development of the "Signature Prime" series in 2020, featuring characteristic optical properties. Today, GL Optics employs 35 people and supplies over 60 countries worldwide.
GL Optics lenses have been used in German productions such as "Parfum" (2018), "Hagen" (2020), and international projects like "The Crown" (Season 4). The Vario lenses are particularly suitable for documentaries and run-and-gun situations, while the primes are preferred for narrative projects with controlled lighting conditions. A typical workflow involves pre-calibration of all lenses in a series for identical color reproduction and sharpness behavior. The compact design allows for use on gimbals and Steadicams.
In contrast to established manufacturers like Zeiss, ARRI, or Cooke, GL Optics positions itself in the mid-price segment with German manufacturing quality. While Cooke is known for warm, organic image characteristics, GL Optics lenses deliver a more neutral, technically precise rendering. Compared to cheaper Chinese manufacturers, GL Optics offers local service and shorter repair times. The lenses compete directly with Sigma Cine, DZOFilm, and Canon Cinema series, but offer more individualized customization options and smaller production batches for special requirements.
Ich schätze an GL Optics die konsistente Farbwiedergabe innerhalb einer Objektivserie und die präzise mechanische Verarbeitung der Focus-Ringe. Die T2.8-Durchgangsblende bei den Zooms gibt mir Planungssicherheit, auch wenn ich mir gelegentlich mehr Lichtstärke wünsche. Der lokale Service ist unschlagbar – binnen 48 Stunden habe ich reparierte Objektive zurück.
Die neutralen optischen Eigenschaften der GL Optics-Objektive geben mir maximale Kontrolle über den finalen Look in der Postproduktion. Ich kann sowohl sterile, klinische Atmosphäre als auch warme, emotionale Stimmungen realisieren, ohne gegen die Objektivcharakteristik zu arbeiten. Für Projekte mit schnellen Brennweitenwechseln sind die Vario-Objektive unverzichtbar.
Mit einem Tagessatz von 80-120 Euro pro Objektiv liegen GL Optics-Optiken preislich zwischen Consumer-Adaptionen und High-End-Marken. Die deutschen Fertigungsstandards reduzieren Ausfallrisiken während der Drehzeit erheblich. Der direkte Kontakt zum Hersteller ermöglicht kurzfristige Verfügbarkeit und flexible Mietkonditionen für längere Produktionen.
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