When a narrator looks into the lens, he is directly interacting with the audience. The camera should either remain stationary in front of the speaker, or move on a dolly or steadicam alongside him as he walks and talks. Unlike objective shots, where the actor must avoid the lens at all costs, the narrator must look directly into the lens to make "eye contact" with the audience. When editing this kind of scene, never change camera angles until you are ready to revert to an objective sequence. News programs frequently use this angle when shooting their newscasters and reporters, as do films with a narrator, such as "Fiddler on the Roof."
When portraying a character who is mentally or physically unstable, a subjective camera may give the audience a glimpse into his mind. Shoot the actor first, preferably in a medium shot or close-up. This shot should communicate the type and degree of his instability; for example, a staggering drunk or a hysterical woman. Shoot what he sees from his perspective, using camera motion, focus, light or colors in unusual ways. For example, a shot that goes in and out of focus may mimic a person who is about to lapse into unconsciousness. An unsteady shot that tilts one way then another gives the impression the person is intoxicated or dizzy.
A point-of-view, or POV, shot allows the audience to see through a character's eyes. To connect the shot with a particular character, always shoot a close-up of the actor looking at something, then cut to what she sees. This kind of shot should always mimic the person's position in relationship to the object. For example, if the actor looks up at the clock, the clock must be shot from a slightly low angle. If the character sees an island from a rocking boat, the shoreline should move up and down in the matching POV shot.
A camera is rarely used in place of a character, but when it is, the effect may be striking. This kind of subjective camera angle makes the audience become the actor. Viewers see what she sees, moves how she moves and experience the direct gaze of other actors. However, this technique should be used with caution because it may be an uncomfortable experience for some viewers. It also can be difficult to shoot, as everything must happen in a single take. One example of this technique is "Lady in the Lake," in which the audience takes on the persona of Detective Marlowe.