These are the best Voigtländer “cine solutions” when you want low focus breathing, silky long-throw manual focus, gorgeous micro-contrast, and compact, all-metal builds for narrative, doc, weddings, music promos, and travel—and here’s the honest reality: Voigtländer doesn’t make true cine-housed lenses, but many of their mirrorless Nokton/Ultron/APO-Lanthar primes are cine-friendly with de-clickable apertures (on most native E/Z versions), hard stops, excellent markings, and smooth damping; prioritize copies with declick switches, modest breathing, long throws (~180–220°), consistent color (APO-Lanthars match beautifully), and focal lengths that cover wide/normal/portrait, then add standardized step-ups (77/82/95 mm) and 0.8-mod focus gears for rigs. Full-frame wide heroes for establishing shots, blue hour, and stylized motion: 10mm ƒ5.6 Hyper-Wide Heliar and 12mm ƒ5.6/15mm ƒ4.5 Ultra-Wide Heliar (distortion-disciplined ultrawides for sliders/gimbals—use rear/mini NDs), 21mm ƒ1.4 Nokton (speed + character for night streets/interiors), and 21mm ƒ3.5/28mm ƒ2 Color-Skopar (compact, flare-tame options for doc). Normal-range “A-cam” primes with controlled breathing and superb rendering: 35mm ƒ1.2 Nokton (cinematic falloff for handheld narrative), 35mm ƒ2 APO-Lanthar (reference-grade sharpness, ultra-clean CA control), 40mm ƒ1.2 Nokton (buttery pulls, great close-focus), 50mm ƒ1.0 Nokton (dreamy low-light signature with precise throw), and 50mm ƒ2 APO-Lanthar (neutral, color-true master for interviews/product). Tele and macro for portraits/beauty/tabletop: 65mm ƒ2 APO-Lanthar Macro 1:2 (razor micro-contrast, elegant focus roll-off), 75mm ƒ1.9 Ultron (lightweight portrait look with pleasing bokeh), 90mm ƒ2.8 APO-Skopar (compact long with disciplined color), and 110mm ƒ2.5 APO-Lanthar Macro 1:1 (studio-grade detail and velvet mechanics—hero for product/beauty inserts). Range-building for different mounts: on Sony E and Nikon Z you get declick switches and electronic coupling (EXIF + auto magnify) across most modern Voigtländers; Leica M/VM versions adapt well if you want the smallest barrels—just add gears and a sturdy adapter. Practical buyer tips: build a two- or three-prime spine to suit your look—“Speed set” (21/1.4 + 35/1.2 + 50/1.0) for moody night narrative, “APO set” (35/2 + 50/2 + 65/2 + 110/2.5) for commercial/doc color fidelity, or “Travel doc” (15/4.5 + 40/1.2 + 75/1.9) for light rigs; standardize fronts with step-ups (e.g., to 82/95 mm) so one matte box and one high-quality VND (plus a mild 1/8 diffusion if you like halation) covers everything; add 0.8 gear rings, a low-profile rail support for the macros, and mark focus at common actor distances—Voigtländer damping takes marks beautifully. Cine-shooting tips: lock a 180° shutter and ride ND for exposure, use peaking + magnification and tape marks for repeatable racks, pull with wireless FIZ when talent moves fast, and enable IBIS/Active cautiously (disable on sticks to avoid micro-jitters); shade the front element to keep ghosting down, avoid stacking filters, and test breathing/field curvature before principal; for gimbals, favor the lighter Skopars/Ultrons and the 21/1.4/40/1.2 which balance quickly; whether you’re crafting intimate dialogue, handheld vérité, glossy product beauty, or blue-hour city sequences, the best Voigtländer cine approach is a pragmatic hybrid—run their de-clicked, long-throw primes as your “cine glass,” add gears and unified fronts, and you’ll get controlled breathing, painterly color, and focus pulls that feel intentional and cinematic straight off the timeline.