Robin, I'm slightly acquainted with closeup photography and photomacrography. That's why I asked what magnifications you'd be working at.

I'm slightly acquainted with high performance macro lenses from microscope manufacturers and merchant lens makers' microscopy divisions. I even have a few and sometimes use them. The only way to get any DoF at all at high magnification is to use confocal techniques, also called focus stacking. The conditions needed for this to work are stringent; the approach seems poorly suited to cinematography.

I'm slightly acquainted with process lenses that stop down to tiny apertures, have some and use 'em, but never stopped 'way down. The loss of image quality isn't worth the gain.

Ain't no magic bullets. The closest one can come to what you want on a budget is a split diopter. For cinema applications these are a little limiting, won't permit the pans shown in the video.

Re loss of image quality on stopping down, here's an exercise for you: pick a magnification, calculate DoF for it given a circle of confusion that makes sense in your work and a range of effective apertures. Then calculate the diffraction limit given effective aperture. You'll find that there's a limiting aperture; stopping down beyond it will give a diffraction blur circle large than the circle of confusion. H. Lou Gibson published the calculations and pictures showing the effect in Kodak Publications N-12B Photomacrography and N-16 Close-up Photography and Photomacrography. They're scary books.

Practically no one outside of Hollywood can afford the gear the studios use and, usually, rental houses own. That includes most, if not all, of the posters on this forum.

Troll? Me? Nah, I don't post with the intention of getting strangers to fight. The word you want to use is curmudgeon.