First-Person Perspective in Film and the Importance of POV

In our digital age, the term "POV" is arguably more recognized and part of everyday vocabulary than it was 10 to 15 years ago. With first-person POV stunt videos populating internet feeds from GoPro’s mounted onto a helmet, to widespread use of internet slang, seen frequently on platforms like Instagram Reels and TikTok, where phrases like "POV: when you forget to order fries" have become commonplace. 

“From my point of view, the Jedi are evil!” - Anakin Skywalker. 

However, when it comes to storytelling, and in our case, visual storytelling, there’s another form of point of view to consider: the narrative perspective through which we experience the character’s story. 

Understanding POV 

All films, television shows, and animated cartoons present their stories from a specific point of view, typically that of the lead character/s. As the plot unfolds and new information is learned, the audience's understanding deepens.

However, if this point of view shifts during the story, it can dramatically alter the narrative or the audience’s perception of it. A prime example of this is David Fincher’s “Gone Girl.” The film takes a sharp turn midway through, as the perspective shifts to another character, completely reframing the story and how we, as viewers, interpret the events. 

Or perhaps let’s look at “Shutter Island “(spoilers ahead). The film follows a detective named Teddy Daniels as he investigates a remote asylum. However, if we were to follow the point of view of one of the doctors, it would be obvious that the entire plot is a ruse, and Teddy is, in fact, Andrew Laeddis, a patient of the asylum who is part of an elaborate exercise.

POV in Action 

Let's create a theoretical sequence for our example. This scene is going to take place in a hospital room, and unfortunately in this room, the patient is in a coma. At the foot of the patient's bed, there is a doctor and a nurse, but they are in a heated argument. 

The doctor and nurse argue about whether to use a controversial procedure that could save the man's life. However, the nurse disagrees with him, suggesting that it's not worth the risk for both the patient's health and the hospital's license. Hidden within the natural shadows of the room is also the patient's daughter, and at this moment, the nurse has not noticed her.

Now, if the camera captures the doctor and the nurse in the same frame, and the editing provides equal time to each character as they argue their points, the scene remains objective. The audience sees this interaction without visual bias, as the camera maintains neutrality and allows us to observe both perspectives equally.

Yet, if we start shifting the camera to focus primarily on the doctor, rather than relying on reactionary edits of the nurse, and instead when we do cut, we move towards a shot of the daughter looking at the doctor within the sequence, the scene becomes slightly subjective. 

This change now directs the audience's perspective towards the doctor's point of view, subtly suggesting that we should align with the doctor's stance over the nurse. In this instance, choosing where to focus can shape how the audience interprets the scene, influencing alignment with certain characters. 

Within storytelling, these perspectives can be categorized into the following categories. 

First-Person Point of View (Subjective)

In our initial example, we noted that the second illustration would paint a subjective point of view. Now, an entirely subjective shot would be seen only from the Doctor’s eyes, and this is rarely used (outside of those awesome Red Bull videos of course) in film. 

This is because the first-person point of view is subjective and highly restrictive. What the audience sees is limited entirely to what the primary character sees, creating a direct but narrow lens through which the story unfolds. Because of these limitations, this point of view is rarely used in films, as it presents several creative and technical challenges.

Why don't we see full-scale films or television shows presented entirely from a POV perspective, as if we, the viewers, are also the characters? While this approach has been attempted a handful of times—such as in the feature film “Hardcore Henry” or the POV sequence in the video game adaptation of “Doom” (a callback to the typical gameplay perspective)—there are several reasons why this style isn’t more common.

First, from a narrative perspective, everything in the story must occur within the character's point of view. This means no action can happen outside the character's eyes at any given moment. This restriction creates significant storytelling challenges, forcing all events and information within a constrained angle or frame. This limitation often results in a very contrived narrative structure.

From a technical perspective, human vision naturally includes a slight bobbing motion when we walk. If this motion were replicated in a film, it could disengage viewers who find shaky cam footage uncomfortable. On the other hand, if the motion were smoothed out, it would look unnatural and artificial, further disrupting immersion.

Lastly, using a disembodied voice to represent the character's inner thoughts or dialogue can feel awkward from an audio standpoint. Viewers might need help to connect with the character, as the voice lacks the physical presence typically associated with on-screen protagonists.

Third-Person Limited Point of View

This point of view is objective, presenting the action from the perspective of an impartial observer. It allows the audience to watch the scene unfold without bias or influence, offering a clear and accurate depiction of events in real-time.

A typical example of this perspective could be two over-the-shoulder shots capturing a conversation between a couple — or former couple — in a diner. This narrative style is widely used in most television and film, providing a balanced and discreet way to tell a story.

This perspective is referred to as "limited" because, within the film's environment, we are only privy to the emotions and thought processes of a select few characters rather than every character within the story world.

You could argue that the third-person limited point of view is the natural choice when it comes to filmmaking because the audience is restricted from knowing everything happening in the film. Relying on a selected character’s perception allows filmmakers to employ twists, surprises, tension, and moments of horror.

But more importantly, it’s the most realistic form of perspective. Selecting only a small group of characters to reveal the plot resembles how we experience real life. We are fed information moments at a time, never knowing what is considered omniscient knowledge, which leads us to the next perspective.

Omniscient Point of View (Objective)

The third and final type of POV is the Omniscient POV, an objective-based perspective. Through this POV, the audience is privy to what characters are thinking and what is to come next, often requiring a voiceover or, at the very least, visual graphics to convey the information. An omniscient narrator can tell a story without being tied to any single character’s perspective.

A superb example of this technique can be found in Hugh Ross's narration in “The Assassination of Jesse James by the Coward Robert Ford.” As an unnamed narrator, Ross provides story and character insights that extend far beyond the scenes on-screen. His narration helps establish key character elements and sets the film's tone far more efficiently than what could be conveyed through visuals alone.

One of the more notable examples of the Omniscient POV comes from the 2000s “Desperate Housewives”. The narrator, Mary Alice Young, is a character who dies at the very start of the series. Despite her death, she recounts and presents the story as an all-knowing figure, offering insights and recaps without actively participating in the events.

How to establish POV in your videos

So, what exactly do we do with this information? At first glance, it might seem somewhat obvious—of course, a film has to be presented from a point of view. But the actual value of this knowledge lies in understanding how to frame your shots, block your scenes, and establish the mise-en-scène effectively. 

Without fully grasping the character's point of view within a shot or scene, you might find that something feels off despite having a talented actor, top-notch camera equipment, and a skilled team to bring your film to life.

Often, the problem is not a lack of talent or visual quality but that the point of view hasn’t been properly established. As highlighted in the hospital sequence example earlier, creating a compelling scene can come down to small yet crucial decisions, such as emphasizing one character through editing or framing another character’s reactions more prominently as events unfold. These subtle choices help shape the audience’s experience and emotional engagement, ensuring the scene resonates as intended.

Establishing a point of view is not something you want to leave until you're on location with your cast and crew, as it can be time-consuming. Instead, work on defining the point of view, for the characters or the film as a whole, during the storyboard phase.

As a practical exercise, consider importing your storyboards as JPEGs into a video editing tool like WeVideo. This allows you to experiment with framing and shot composition in advance, giving you a clearer idea of how the scenes will play out before you begin filming.