With the 4k rushes shot S-log on a Sony F5, the first challenge to overcome was that all the footage was upside-down! Director And Hutch’s vision for the video was to have continuous takes shot ‘in the round’ with the camera rotating 360 degrees in the centre of the studio with the talent following the lens around as the camera rotated. To achieve this the camera was mounted on an inverted DJI Ronin gimbal on a tripod. This gave the DOP, Jack Webber smooth wireless remote control of the camera with the ability to control the speed and direction of the rotation. A remote follow focus was used on the carl zeiss prime lenses, it was a tricky day for the focus puller with all the movement of the camera and talent whilst shooting with a shallow depth of field.
To avoid having to use a processor hungry motion flip across all the footage whilst editing, I used the display preferences on the preview/output monitor to rotate the output 180 degrees and then nested the final edit in a new sequence and added the 180 rotation DVE to the master clip.
We shot the video 4k in order to give us the flexibility in post to be able to crop into shots, which worked well and definitely helped give more options for the edit.