Technical Details
Focal Lengths
| 16 | 25 | 50 | 75 |
|---|
| f/2 | f/1.4 | f/1.9 | f/2.8 |
| 0.30m | 0.30m | 0.50m | 0.80m |
| 180g | 220g | 280g | 350g |
| 49 | 52 | 52 | 67 |
| 92° | 64° | 35° | 23° |
| ◀━━━━━▶ | ◀━━━▶ | ◀━▶ | ◀▶ |
C-Mount · 16mm/S16 · Vintage · 8-12 Blades
The Cine-Xenar series included focal lengths from 13mm to 150mm, with the standard focal lengths of 16mm f/2, 25mm f/1.4, 50mm f/1.9, and 75mm f/2.8 being the most widely adopted. The optical design consists of four lenses in three groups, with a front and rear cemented lens group. The minimum focusing distance is typically 0.3 meters, and the filter diameter ranges from 40.5mm to 67mm depending on the focal length. The lenses feature C-mount threads (1" x 32 TPI) and mechanical iris diaphragms with 8-12 blades for smooth bokeh characteristics.
History & Development
Schneider developed the first Cine-Xenar in 1952 in response to the growing 16mm market for documentaries and industrial productions. The construction was based on the successful Xenar design for 35mm cameras but was optimized for the specific demands of cinematography. A revised version followed in 1965 with improved multi-layer coatings and a more precise mechanical construction. Production ended in 1978 as Schneider focused on more modern zoom lenses and larger film formats.
Practical Use in Film
Cine-Xenar lenses shaped the look of many European documentaries in the 1960s and 70s, including works by Klaus Wildenhahn and Erwin Keusch. The 25mm f/1.4 version became standard for handheld shots with Bolex H16 cameras, while the 75mm f/2.8 was valued for portraits and compressed perspectives. The moderate sharpness at wide apertures produced a characteristically soft, organic look that was particularly advantageous in available light situations. When stopped down to f/5.6, the lenses achieved their optimal sharpness with excellent edge resolution.
Comparison & Alternatives
Compared to contemporary Zeiss lenses or French Angénieux optics, Cine-Xenar lenses offered a warmer color character and less contrasty rendering. Modern alternatives such as Zeiss Super 16 or Cooke S4/i lenses significantly surpass them in sharpness and mechanical precision, but cannot reproduce the characteristic vintage look. For historically authentic productions or a deliberately analog aesthetic, original Cine-Xenar lenses are still used today on digital cameras with 16mm sensors, though their low light performance necessitates modern LED lighting.
