French lens manufacturer known for high-quality vintage cinema lenses from the 1960s–80s, prized for their characteristic warm rendering and optical signature.
The Kinoptik series comprised focal lengths from 9.8mm to 150mm with a consistent aperture range from T2.3 to T22. The lenses featured a special six-layer coating and used lanthanum glass elements for color correction. The flange focal distance was 52mm for 35mm cameras. The series consisted of the following models: 9.8mm (Fisheye), 18mm, 25mm, 32mm, 50mm, 75mm, 100mm, and 150mm. The filter thread varied between 82mm and 95mm depending on the focal length. The lenses weighed between 1.2kg (25mm) and 2.8kg (150mm).
Pierre Angénieux developed the Kinoptik series in 1963 in collaboration with Berthiot as a response to the increasing demand for lenses with more character for feature films. The initial production comprised 250 sets, primarily supplied to French and British production companies. In 1968, Berthiot expanded the series with the longer focal lengths of 100mm and 150mm. After being acquired by Angenieux in 1975, production ceased in 1982, as the sharper Zeiss lenses dominated the market. Approximately 1,200 sets were produced in total.
Kinoptik lenses shaped the visual appearance of numerous films in the 1970s. Vilmos Zsigmond used them for "All the President's Men" (1976) to imbue the dark parking garage scenes with characteristic flare. "Barry Lyndon" (1975) also utilized individual Kinoptik focal lengths for candlelight sequences. The lenses produce a creamy flare in backlight without harsh reflections and compress skin tones into a warm, analog look. The workflow required precise exposure metering, as the lenses quickly "blew out" when overexposed.
In contrast to the technically more perfect Zeiss Standard Speeds, Kinoptik lenses offer less sharpness but significantly more character. Modern alternatives like the Cooke S4/i or Leica Summilux-C achieve similar warmth, but without the typical optical aberrations. Kinoptiks are suitable for period films, dramas, and atmospheric scenes, while Zeiss lenses are preferred for action and VFX-heavy productions. Today, original Kinoptik sets trade for €45,000-€60,000.
Ich schätze Kinoptiks für ihre organische Bildsprache – sie geben mir 80% der Schärfe moderner Objektive, aber mit einer Seele, die digital schwer zu replizieren ist. Bei T2.3 wird das Bokeh cremig und die Hauttöne bekommen diesen warmen Kodak-Look, den Coloristen heute mühsam nachbauen müssen. Allerdings muss ich bei Weitwinkel-Aufnahmen die Randunschärfe einkalkulieren.
Kinoptiks transportieren sofort eine nostalgische, leicht melancholische Stimmung – perfekt für Charakterstudien oder Filme, die in den 70ern spielen. Die weiche Zeichnung lässt Schauspieler organischer wirken und schafft emotionale Nähe zum Publikum. Bei harten, modernen Stoffen würde ich sie jedoch meiden, da sie zu sehr nach "Kunstfilm" aussehen.
Ein Kinoptik-Set kostet mich 800-1.200 Euro Tagesmiete – deutlich mehr als Standard-Objektive, aber weniger als aktuelle Premium-Linsen. Dafür spare ich in der Post, da der Look in-Camera entsteht und weniger Grading benötigt. Bei internationalen Koproduktionen sind sie schwer verfügbar, da nur wenige Verleiher sie führen.
1. Zu welchem Department gehört „Kinoptik"?
2. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
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