Point-of-view shot

The camera is positioned at the side of a subjective player—whose viewpoint is being depicted—so that the audience is given the impression they are standing cheek-to-cheek with the off-screen player.

Dick Barrymore, an early action filmmaker akin to Warren Miller,[4] experimented with film cameras and counter weights mounted to a helmet.

Numerous companies have developed successful POV designs, from laparoscopic video equipment used inside the body during medical procedures, to high tech film and digital cameras mounted to jets and employed during flight, or on helmet based systems used by cinematographers.

The technology has had issues with usability, combining lenses with microphones with batteries with recording units; all connected using spidery cables, which proved cumbersome in use when compared to the quality of the end content.

[6][7][8] In making 1927's Napoléon, director Abel Gance wrapped a camera and much of the lens in sponge padding so that it could be punched by other actors to portray the leading character's point of view during a fist fight, part of a larger snowball fight between schoolboys including young Napoleon.

[10][clarification needed] In Dr. Jekyll and Mr. Hyde (1931), director Rouben Mamoulian uses a beginning point-of-view shot.

Enter the Void (2009) by Gaspar Noé is shot from the first-person viewpoint, although in an unusual way, since most of the movie involves an out-of-body experience.

The action film Hardcore Henry (2015) consists entirely of POV shots, presenting events from the perspective of the title character, in the style of a first-person shooter video game.

Nearly the entire film Maniac is shot from the murderer's point of view, with his face being shown only in reflections and occasionally in the third person.

The documentary I Didn't See You There (2022) is shot from the physical perspective of director Reid Davenport, largely from his electric wheelchair.