directing Short Film - All POV

[Indie-cisive]

Hi Guys,

So I'm about to start shooting my first short film in the next few weeks and I've had something that's been bugging me.

The film is a short horror about someone being held captive, they're tied to a table and can't move.

I've decided to shoot the film all from the captives POV, so the film will be one continuous shot (Not one take though). This is, in part, due to budget restrictions, it will allow me to shoot the film on almost no budget as the only thing we will need is the bad guy in shot and a few audio bits happening off screen.

Has anyone shot like this before and can give me some advice on making it look good?

Do you think a continuous POV shot should be used or is horror more effective when multiple angles are used?

 

[AcousticAl]

Do you think a continuous POV shot should be used or is horror more effective when multiple angles are used?

It’s an interesting idea! Honestly, the only way to know if it works is to try it. A couple of thoughts come to mind for me. These are simply my own perspective and in no way intended to be taken as any kinds of “rules”:

First, less is more in creating fear. I like the Hitchcock mentality that what you don’t see is more frightening than what you do see. You’re constraining the viewer’s perspective, which gives you lots of room to play with that idea.

Second, it may be worth looking at a single take. It’s ambitious, and it requires lots of planning and rehearsal, but since you’re locking the viewer into the victim’s POV, where else are you going to go? Of course, creative edits like momentary blackouts or closing eyes can be used to stitch together alternate takes, so maybe a single, continuous take isn’t necessary if you plan for those.

Third, if it were me shooting this, I’d use a wider angle. Get just a little barrel distortion. Bending the edges of the image can be disorienting and can enhance the anxiety. It means you have to plan very carefully for the edges of the frame since more will be seen, but it can be an effective perspective.

If it were more than a short, I’d caution against this idea just because the viewer would be locked into the same place for way too long. It would become either boring or simply too much to handle. But if you keep it to just a few minutes, you may be able to give the viewer a tense and uncomfortable viewing experience that they’d be willing to experience.

 

[directorik]

Has anyone shot like this before and can give me some advice on making it look good?

Do you think a continuous POV shot should be used or is horror more effective when multiple angles are used?

I've never tried it. I, personally, don't like POV movies. But "should be
used"? It's a great challenge so there is no "should be used" in this.
If you pull it off you will have succeeded in the challenge. If it doesn't
work you will have learned a valuable lesson.

I once tried a horror short that took place entirely in a closet. It worked.

I look forward to seeing it! When are you shooting it?

 

[Indie-cisive]

First, less is more in creating fear. I like the Hitchcock mentality that what you don’t see is more frightening than what you do see. You’re constraining the viewer’s perspective, which gives you lots of room to play with that idea.

This is exactly what I was aiming for when I thought of shooting it like this, I want to give the viewer a very uncomfortable experience. I hope that I can get the audio to a high enough standard that it will be genuinely unsettling when the bad guy is whispering in the victims ear.

Second, it may be worth looking at a single take. It’s ambitious, and it requires lots of planning and rehearsal, but since you’re locking the viewer into the victim’s POV, where else are you going to go? Of course, creative edits like momentary blackouts or closing eyes can be used to stitch together alternate takes, so maybe a single, continuous take isn’t necessary if you plan for those.

I've been thinking about this quite a bit, I think it might be best to do cuts as a one take for my first proper short film might be a bit too ambitious. To cover up the edits I've been thinking, as there's only one light source I could have that flicker and use the darkness to cover the different takes. It will mean that I can only do that when the bad guy isn't in front of the camera.

Third, if it were me shooting this, I’d use a wider angle. Get just a little barrel distortion. Bending the edges of the image can be disorienting and can enhance the anxiety. It means you have to plan very carefully for the edges of the frame since more will be seen, but it can be an effective perspective.

I'm on the fence about the wide angle lens. I'm leaning towards it though as I think it would help to be able to see that little bit more of the bad guy as he walks around the victim. Could really add to the claustrophobic feeling.

I've never tried it. I, personally, don't like POV movies. But "should be
used"? It's a great challenge so there is no "should be used" in this.
If you pull it off you will have succeeded in the challenge. If it doesn't
work you will have learned a valuable lesson.

I once tried a horror short that took place entirely in a closet. It worked.

I look forward to seeing it! When are you shooting it?

I see your point, might as well just give it a go, if it doesn't work, it was a lesson. Better to do it on a zero budget production than on one with a larger budget.

I'd love to see that closet film!

I was planning to shoot at the end of the month but with it being so close to Christmas it may be better to wait until January.

 

[indietalk]

I think there should be a reason for it. Ask yourself, why is this POV important the whole time? What message am I trying to get across? What feelings am I trying to evoke from the audience? Or is this simply a stylistic choice to try to stand out?

 

[indietalk]

Things to think about:
1. Your lead actor will never been seen unless there's a mirror or phone scene.
2. It could become tiresome/boring.
3. It could become nauseating (the one camera movement over and over moving with his/her head).
4. The story could suffer because of a gimmick.

 

[Indie-cisive]

I think there should be a reason for it. Ask yourself, why is this POV important the whole time? What message am I trying to get across? What feelings am I trying to evoke from the audience? Or is this simply a stylistic choice to try to stand out?

To be completely honest it was initially budget that forced the camera angle, but as I started writing it I figured that I could use that limited angle to highlight the terror of the situation, I think it brings about the feeling of entrapment a bit more if the viewer is in the same situation as the victim.

Things to think about:
1. Your lead actor will never been seen unless there's a mirror or phone scene.
2. It could become tiresome/boring.
3. It could become nauseating (the one camera movement over and over moving with his/her head).
4. The story could suffer because of a gimmick.

1. The lead actor in this is the bad guy really. I'm going to be recording the victims lines in a studio and adding them in after. This may be a stupid idea.
2. It very well could, I'm hoping the short run time will prevent this.
3. I don't have an answer for this, hopefully it doesn't happen. Though if it makes everyone sick then I'm using it in the marketing! In all seriousness though, I'm hoping that I can limit any camera movements down to when she's struggling, this will keep the camera static for 75% of the short.
4. Again, to be honest, there's not a great deal of story, this short is not gonna win any awards for complex or even memorable stories. I was watching a horror film that was a load of rubbish, thought "It can't be that hard to create something that can invoke fear and/or disgust" so I gave it a shot. It might not be any better, but even if one bit makes someone scared then it will be worth it!

There's definitely a couple of points there that I hadn't thought of though so thank you!

 

[CelticRambler]

It will mean that I can only do that when the bad guy isn't in front of the camera.

For the flickering lights, yes ... maybe; but there are other techniques you can use, starting with the bad guy coming up right in front of the camera, blacking out the victim's view for a split second. Similarly, he could cover her face with a towel/bag/scarf as part of his threatening/tormenting behaviour.

 

[ShortFilmSensei]

There is a youtube celebrity who was able to pull off a really good style of POV.

Its a youtube original and the creator Markiplier made it. Search for it if you are interested. For free, you could watch A Date with Markiplier for another POV video.

If you are doing POV, I think you should physically show the victims' hands tied. It would increase the intensity of the the scene and raise the stakes. Gives the audience SOMETHING to attach feeling to, otherwise it will just feel like the victim IS a camera.

For transitions, you could have actual BLINKING on the lens. This gives you room to play. You could have water splashed on the victims face as another transition. Head pushed downward, a smack to the face. On and on. There are so many ways to fool a transition, especially POV style.

You just need something that will take up the entire lens in the shot, to "blind" the audience as you change things around.

Hell, even a sack over the camera can fool us into thinking the victim is blinded and binded.

Edit:

If you do these kinds of transitions, just know that your auto settings should be off. Covering the lens of a camera with auto settings on could cause it to flip out and start questioning its own existence as a camera.

 

[mlesemann]

start questioning its own existence as a camera.

 

[Shizik]

I don't think you should ask someone that. If you feel pov works for you, it works with your budget, it works with your schedule, you should definitely go with pov. The only way to see if the film is great and not boring is to shoot the film and see it for yourself. Sill there are some things to consider. Like does pov work for the story? Start changing the story to serve your pov. Make up a twist, i dunno, something like, in the end of the film show us that the bad guy and main character are the same person. And the whole story was main character running from himself, from his own fears. Any way, you will never know if you don't try.

 

[indietalk]

It's true, confident filmmakers just go for it. And they will often be told they are crazy are going to regret something. Those that know the risk, know the reward. If it pays off is the question.

If you are asking it usually means you are not confident, but also, this can be because you are new to filmmaking in general and need some help. That's what we're here for. So ask away, but stay confident!

 

[Indie-cisive]

There is a youtube celebrity who was able to pull off a really good style of POV.

Its a youtube original and the creator Markiplier made it. Search for it if you are interested. For free, you could watch A Date with Markiplier for another POV video.

If you are doing POV, I think you should physically show the victims' hands tied. It would increase the intensity of the the scene and raise the stakes. Gives the audience SOMETHING to attach feeling to, otherwise it will just feel like the victim IS a camera.

For transitions, you could have actual BLINKING on the lens. This gives you room to play. You could have water splashed on the victims face as another transition. Head pushed downward, a smack to the face. On and on. There are so many ways to fool a transition, especially POV style.

You just need something that will take up the entire lens in the shot, to "blind" the audience as you change things around.

Hell, even a sack over the camera can fool us into thinking the victim is blinded and binded.

Edit:

If you do these kinds of transitions, just know that your auto settings should be off. Covering the lens of a camera with auto settings on could cause it to flip out and start questioning its own existence as a camera.

I'm familiar with Markiplier but I can't say I've watched much of his stuff, will definitely have to check that out though.

I like the idea of showing the hands, my issue would be keeping it looking natural, going to be using a 5D MkII so it's going to be a challenge having it move around a lot and still be at a natural looking height for it to be POV. Unless I'm overthinking that one? I can always give it a shot and see how it looks because I like the idea, it will definitely make it better if I can pull it off.

I like the idea of a sack over the head, at the moment the film just starts in total darkness so this could be a bit more dramatic.

Also that edit cracked me up!

I don't think you should ask someone that. If you feel pov works for you, it works with your budget, it works with your schedule, you should definitely go with pov. The only way to see if the film is great and not boring is to shoot the film and see it for yourself. Sill there are some things to consider. Like does pov work for the story? Start changing the story to serve your pov. Make up a twist, i dunno, something like, in the end of the film show us that the bad guy and main character are the same person. And the whole story was main character running from himself, from his own fears. Any way, you will never know if you don't try.

I don't think POV harms the story, as I said before the story isn't really what I'm doing this for, I know that sounds bad, but this is just a little shock horror piece to get some experience making films (and I'd really like it to scare some people)

It's true, confident filmmakers just go for it. And they will often be told they are crazy are going to regret something. Those that know the risk, know the reward. If it pays off is the question.

If you are asking it usually means you are not confident, but also, this can be because you are new to filmmaking in general and need some help. That's what we're here for. So ask away, but stay confident!

Yeah I mainly asked so I could see if there was anything I was missing or if anyone had a really strong reason that I shouldn't do it. I've got some handy tips/ideas from here that will improve it so it's been worth it.

 

[Shizik]

You should check out "Hardcore Henry". It's a film by Russian filmmaker Ilya Naishuller. Two hours of pov. It's crazy ) He also shot a video called "Bad motherfucket" in 2013 and a video for the band called The weeknd. He is a master of pov directing.

 

[Scoopicman]

I'm hoping that I can limit any camera movements down to when she's struggling, this will keep the camera static for 75% of the short.

That would be really boring - a mostly static P.O.V. movie. I would suggest movement, strapped to a real actor's head, so they can see their legs, hands, look at their surroundings, when the killer is out of the room, etc. Perhaps there is a sharp piece of metal, just out of reach, which could cut the rope. This way, the character has a goal, when the killer is gone.

I like the idea of showing the hands, my issue would be keeping it looking natural, going to be using a 5D MkII so it's going to be a challenge having it move around a lot and still be at a natural looking height for it to be POV.......I like the idea of a sack over the head, at the moment the film just starts in total darkness so this could be a bit more dramatic.

For this kind of scenario, I would use my GoPro, as opposed to my Black Magic or HVX. I would strap it to the actor's head, in 4K mode. You can crop in, later, if you like. The point of view would be totally dependent on where the actor was looking, just like it would be in such a situation. The killer could enter the room, then lean in really close to the camera. It would all be in focus. P.O.V. shots are typically wide angle. Of course, with a GoPro, I would use Narrow or Linear modes. On any other camera, those would be wide.

I would set up a secondary source to record the audio.

 

[Scoopicman]

You should check out "Hardcore Henry". It's a film by Russian filmmaker Ilya Naishuller. Two hours of pov. It's crazy ) He also shot a video called "Bad motherfucket" in 2013 and a video for the band called The weeknd. He is a master of pov directing.

Great example. Amazing P.O.V.s in that. I just looked up which camera was used on HARDCORE HENRY. It was the GoPro 3, mounted to the actor's head.

Here's a pic from that BAD MOTHER... that you mentioned:

 

[Alcove Audio]

You may want to watch Episode 10, Season 7 of M*A*S*H called "Point Of View." It follows a soldiers, private Rich, POV from his wounding on the battlefield to his helicopter transport, into pre-op, then surgery and bulk of the show is his experience in recovery. He cannot speak (until the end of the episode) because he has a throat injury. The cuts are all as he drifts in and out of consciousness. I know you are going for a one set project, but it may give you some ideas.

I would suggest that you have someone speak his dialog live on the set; it will sound much more natural. Your sound design is going to be crucial (as we've discussed in your other thread). The ambient atmosphere will provide your victim - and your audience - with a sense of place. What is nearby? Trains? Traffic? Is it in the country? A factory? A warehouse? A basement with noisy pipes? Properly used these sounds can be used to amp up the tension. They can also give structure to the passage of time, as well as possibly providing "cover" for violent activities.

 

[Indie-cisive]

That would be really boring - a mostly static P.O.V. movie. I would suggest movement, strapped to a real actor's head, so they can see their legs, hands, look at their surroundings, when the killer is out of the room, etc. Perhaps there is a sharp piece of metal, just out of reach, which could cut the rope. This way, the character has a goal, when the killer is gone.



For this kind of scenario, I would use my GoPro, as opposed to my Black Magic or HVX. I would strap it to the actor's head, in 4K mode. You can crop in, later, if you like. The point of view would be totally dependent on where the actor was looking, just like it would be in such a situation. The killer could enter the room, then lean in really close to the camera. It would all be in focus. P.O.V. shots are typically wide angle. Of course, with a GoPro, I would use Narrow or Linear modes. On any other camera, those would be wide.

I would set up a secondary source to record the audio.

You're not wrong. I've been thinking about using a go pro since I came up with the idea, it does make the most sense. I'm sure someone that I know has one that I can borrow for a weekend. It will make my shoot a bit more complicated but I think it will make a much better pay off at the end.

I'm planning on using a separate device for audio, going to rent some decent sound equipment for the weekend.

You may want to watch Episode 10, Season 7 of M*A*S*H called "Point Of View." It follows a soldiers, private Rich, POV from his wounding on the battlefield to his helicopter transport, into pre-op, then surgery and bulk of the show is his experience in recovery. He cannot speak (until the end of the episode) because he has a throat injury. The cuts are all as he drifts in and out of consciousness. I know you are going for a one set project, but it may give you some ideas.

I would suggest that you have someone speak his dialog live on the set; it will sound much more natural. Your sound design is going to be crucial (as we've discussed in your other thread). The ambient atmosphere will provide your victim - and your audience - with a sense of place. What is nearby? Trains? Traffic? Is it in the country? A factory? A warehouse? A basement with noisy pipes? Properly used these sounds can be used to amp up the tension. They can also give structure to the passage of time, as well as possibly providing "cover" for violent activities.

I'll take a look at that, the more inspiration the better.

I hadn't really given the ambient sound much thought but it could make a massive difference. I'd love to have the sound of trains thundering past with some dust falling from the ceiling, maybe a bit cliché but I think it would look really good on camera with the right lighting.

 

[indietalk]

One idea would be a plan B in advance. Get some extra shots and if the POV the "whole time" is not what you anticipated, you have them. Storyboard it 2 ways. It would not be hard to get all the shots you need since the POV is literally one set-up. Sure it's more production but not to the point of it equaling two. Just an idea.

 

[GOLDENMORAL CINEMAS]

The POV, using GoPro, seeing hands and recording dialogue on set instead of in another studio is a great idea all up! But what of the goals? If the character is trapped on top of a table, is it the goal to escape? Or is the goal to beg the villain for life. Maybe there is a sharp object nearby and the person tries escaping when the villain is gone-but the villain comes in and catches the person. So the escape attempt fails-making it an interesting ending of “failure“ to escape. There are many ways to take a story. On another Thread there was talk of “what if you take away all the props, locations and affects and just acted the story on a stage with normal clothes and all, would the story still stand out. Or will there be nothing interesting once all the sets and props are gone?” So just remember that.
This is what a friend once told me to have in a story.
“Past, present, future.”
Whats happened in the past to cause what’s happening now? And whatever events are predicted to come in the future...twist.
so yea, remember, the element of past, present and future is very important.