Redefining What a New Anamorphic Cinema Lens Maker Looks Like
Glaswerk Optics is a cinema lens manufacturer focused on high‑end 2x anamorphic cinema lenses built from proprietary designs, signalling a shift toward new players who treat anamorphic glass not as rehoused relics but as modern, purpose‑built optical tools for premium production workflows. Co‑founders David Kellermann and Viola Evang moved from small commercial shoots into lens engineering when a client arrived with a box of old projection lenses and a vague request: make them usable. Initial experiments with existing lens cells and variable diopters revealed too many compromises, prompting the decision to develop original optics instead of modifying legacy designs. Founded in 2018, Glaswerk has spent years refining its ONE and ONE+ prime sets for the 2x anamorphic format, aiming squarely at full‑frame, premium optical glass that can stand beside established names rather than sit beneath them on price or performance.
From Projection Lenses to Ground‑Up Engineering
Glaswerk’s path highlights how difficult it is for a new manufacturer to enter the world of anamorphic cinema lenses. After rejecting the idea of simple rehousing, Kellermann, by his own account, fell into a “rabbit hole” of optical research, convinced that if lenses are “just glass and mechanics,” then both could be redesigned to higher standards. Banks and venture capital firms were wary of a project with thin margins and long timelines, so early funding relied on a guaranteed bank loan plus a German investment structure that let outside backers share profit and loss without ownership. The first prototype appeared at Cine Gear Expo in 2019, assembled hours before departure, after one supplier delivered aspherical elements out of spec. According to Glaswerk, optics development tends to take double or triple initial time and cost estimates, a warning to anyone considering building premium optical glass from scratch.
Designing the ONE and ONE+ for the 2x Anamorphic Format
Rather than chase lower price brackets, Glaswerk committed to a fully high‑end 2x anamorphic format line that covers full‑frame and VistaVision sensors. The ONE prime set currently spans 32mm to 100mm, with a 180mm T2.8 in development, each lens weighing around five kilograms. That weight comes from a decision not to vignette the light path, preserving consistent, nearly circular bokeh all the way to the frame edges and avoiding the cat’s eye effect that many anamorphic cinema lenses display. Optical design, led by Dr. Christoph Horneber and later joined by a second team under Dr. Elisabeth Siebert, focused heavily on bokeh behaviour; Glaswerk says bokeh optimisation now represents roughly half of total design time, alongside resolution and MTF work. Two variants, ONE and the flare‑heavier ONE+, use coating control to tune flare and ghosting while maintaining the same core optical layout and mechanics.
A Networked Approach to Premium Optical Glass Manufacturing
Instead of building a large in‑house engineering team, Glaswerk coordinates a network of specialists across optics, mechanics, and electronics. Horneber’s group, known for work on the Leica Noctilux, handles optical design plus stray‑light and ghost simulations, while mechanical design comes from engineers experienced in demanding lithography and other precision optomechanical fields. A Berlin‑based team develops the electronics and PCB for integrated lens metadata, aligning the lenses with contemporary workflows that expect accurate data on set and in post. Manufacturing for the premium optical glass and mechanics takes place mainly in Germany and Switzerland, reflecting the company’s decision to accept higher production costs in exchange for repeatable quality. The result is a boutique but highly technical operation that mirrors larger cinema lens manufacturers in capability, while remaining small enough to tailor‑engineer features like metadata and flare behaviour for the specific demands of 2x anamorphic cinematography.
Competing With ZEISS and the New Anamorphic Ecosystem
Glaswerk’s emergence happens alongside new offerings from long‑established players, underlining how lively the market for anamorphic cinema lenses has become. ZEISS’s Horizon Anamorphic series, for example, covers 35mm to 200mm with full‑frame 2x anamorphics that mix a pronounced oval bokeh and stretched depth with an integrated motorised system for focus and iris, plus a look‑tuning back element that alters sharpness and contrast with an eight‑screw swap. Where ZEISS leans on a neutral baseline look and deep integration into lens control ecosystems, Glaswerk doubles down on strong optical character, bokeh control and a handcrafted feel. Both approaches answer the same demand: filmmakers who want distinctive anamorphic images and reliable data for complex productions. The arrival of a new cinema lens manufacturer like Glaswerk suggests that 2x anamorphic format work is no longer niche; it is an expanding segment where both heritage brands and startups see room to grow.
