Perhaps ironically, this project was in production in conjunction to A False Date, both of which feature false sets. For this one in particular, we utilized a gimbal for a majority of the scene, as I had transposed the shot-list from our director's mood board to aim for a different feeling from that of the commercialized segments, as the latter is strictly on a tripod.
My contributions for this project included pre-production planning, video editing, and VFX. The most challenging clip was the second to last shot of the project, because while we wanted the dolly-zoom effect, the raw footage proved to be unsuitable on its own. The end result leans heavily on a certain style in order to sell the effect.