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The Czinger 21C is a 3D-printed hypercar made in Los Angeles by Czinger Vehicles.
““ The SF coating gives you that vintage feel in the bokeh and flares without sacrificing detail. The softness and roundness is evident and plays such a big role with digital sensors. It's really a perfect blend of everything you could ask for out of anamorphic glass.””Rob Russell, DOP
Lens/Camera Information
Lens series: Anamorphic/i SF 2x
Focus lengths: 40mm, 50mm, 75mm, 100mm
Non Cooke lenses: Angenieux Optimo Anamorphic A2S Uncoated 30-72mm,
Zeiss Ultra Prime 14mm, 20mm, 32mm
Original Aspect Ratio: 2.4:1
Camera: Arri Alexa Mini
Format: Digital
Rental Company: BECiNE https://becine.com/
Director of Photography: Rob Russell http://www.robrusselldp.com
Agent: Artistry http://www.Artistry.net
Instagram: https://www.instagram.com/robrusselldp/
Production Information
Production: Czinger 21C Debut
Director: Jeremy Heslup
Producers: Bonnie Gallanter, Travis Dowell
Colourist: Parker Jarvie
Production Company: Valkyr Productions https://www.valkyrproductions.com/
Post Production Company: Company 3 https://www.company3.com/artists/parker-jarvie/
Awards:
International Motor Film Awards Best Cinematography 2020
DOP Rob Russell on his lens choice:
“We chose the Cooke Anamorphic SF Primes on this project for several reasons. The Czinger 21C is the first car of its kind, utilizing cutting edge 3D printing technology, and is designed and built in California. It was important to Director Jeremy Heslup that the photography would have a new age, high detail feel to match the car while keeping a romantic softness that played with our beautiful locations in California. Having used the Cooke’s previously I knew that they would be a good fit. It’s kind of the best of both worlds because you get the optical quality on the edges at wide focal lengths that you would expect from a higher-end set of anamorphic glass, but they also retain a certain amount of softness/beauty on a digital sensor. The SF coating gives you that vintage feel in the bokeh and flares without sacrificing detail. We mostly employed the 40mm and 50mm and often shot the car very close up, which would only work on anamorphic glass that performs so well around the edges. The softness and roundness is evident and plays such a big role with digital sensors. It’s really a perfect blend of everything you could ask for out of anamorphic glass.”
