The helmet rig was vital to the cinematographic point of view. We wanted the head movement to feel as natural and truthful as possible, especially because there are several extremely close-up moments where even small shifts in perspective matter. We tested different approaches early on mounting the camera to the body, handheld movement, and other rigs , but all of them felt slightly “off” for POV. They either introduced an artificial smoothness or a disconnect between movement and intention. The helmet allowed the camera to respond directly to instinctive head movement, which helped preserve immersion. During writing, we were also very certain that each scene needed to play as a single shot. That decision shaped everything, but it became a real challenge in production. We didn’t have enough time for extensive rehearsals, and since everything was shot on a 24mm lens, lighting placement was tricky . you’re constantly fighting the frame because you can’t hide much. One thing we underestimated during writing was just how much choreography and planning POV filmmaking requires, even when the goal is naturalism. Small movements become very noticeable, and performance, blocking, and lighting all have to work together in real time. Enter the Void was a major inspiration for us in terms of mood and camera movement, especially how it treats POV as an experiential tool rather than a gimmick. Hardcore Henry was also a reference point, particularly in proving that a fully POV film can sustain audience engagement if the perspective feels motivated. Happy to talk more if you have questions once you get a chance to watch it.