{"id":11783,"date":"2026-09-17T05:03:13","date_gmt":"2026-09-17T03:03:13","guid":{"rendered":"https:\/\/www.brokenmount.com\/bm\/2026\/09\/17\/how-to-turn-the-camera-into-a-character\/"},"modified":"2026-09-17T05:03:13","modified_gmt":"2026-09-17T03:03:13","slug":"how-to-turn-the-camera-into-a-character","status":"publish","type":"post","link":"https:\/\/www.brokenmount.com\/bm\/2026\/09\/17\/how-to-turn-the-camera-into-a-character\/","title":{"rendered":"How to Turn the Camera Into a Character"},"content":{"rendered":"<div><img decoding=\"async\" src=\"https:\/\/nofilmschool.com\/media-library\/how-to-turn-the-camera-into-a-character.jpg?id=67778227&amp;width=1245&amp;height=700&amp;coordinates=0%2C358%2C0%2C17\"><\/p>\n<p>In <em><em>Who\u2019s Watching<\/em><\/em>, writer-director Tim Kasher turns the camera itself into a storytelling device, blending found footage, surveillance imagery, documentary-style filmmaking, and traditional narrative filmmaking.<\/p>\n<p>The idea for this unique approach was originally conceived in 2010 around a conversation he had about \u201cfound footage fatigue.\u201d<\/p>\n<p>The film evolved into a genre experiment that required Kasher and cinematographer Brian Sowell to build distinct visual perspectives for its characters, utilizing multiple cameras, lenses, lighting approaches, and even a custom camera helmet.<\/p>\n<p>Kasher explains, \u201cWe wanted the different perspectives to FEEL like they were being created by different people, despite it almost always being Brian Sowell shooting. In this sense, Brian became an actor of sorts, as his camera became the first-person vessel for certain actors in certain scenes.\u201d<\/p>\n<p>In this interview, Kasher discusses the technical and creative choices behind <em><em>Who\u2019s Watching<\/em><\/em>, the challenges of executing an ambitious concept on a limited budget, and how camera language became an essential part of the film\u2019s horror.<\/p>\n<p><em><em>Who\u2019s Watching<\/em><\/em> is being released on September 18th, 2026. Details on where you can watch are <a href=\"https:\/\/linktr.ee\/whoswatching\" target=\"_blank\"><u>here<\/u><\/a>.<\/p>\n<p>Let&#8217;s dive in.<\/p>\n<p class=\"shortcode-media shortcode-media-youtube\"> <span class=\"rm-shortcode\" data-rm-shortcode-id=\"34d02bc8e16c6a33af3c23a39863b768\" style=\"display:block;position:relative;padding-top:56.25%;\"><iframe loading=\"lazy\" frameborder=\"0\" height=\"auto\" lazy-loadable=\"true\" scrolling=\"no\" src=\"https:\/\/www.youtube.com\/embed\/zc74__1FTFg?rel=0&amp;start=2\" style=\"position:absolute;top:0;left:0;width:100%;height:100%;\" width=\"100%\"><\/iframe><\/span> <small class=\"image-media media-caption\" placeholder=\"Add Photo Caption...\">&#8211; YouTube<\/small><small class=\"image-media media-photo-credit\" placeholder=\"Add Photo Credit...\"><a href=\"https:\/\/www.youtube.com\/watch?v=zc74__1FTFg&amp;t=2s\" target=\"_blank\">www.youtube.com<\/a><\/small><\/p>\n<hr>\n<p><strong>No Film School: Tim, what first drew you to filmmaking, and when did you realize this was a medium you wanted to pursue seriously?<\/strong><\/p>\n<p><strong>Tim Kasher:<\/strong> I\u2019ve been wanting to tell stories for about as long as I can remember. Seeing <em><em>ET<\/em><\/em> as a 7-year-old was the most profound moviegoing experience of my life. I cried the entire film, tears of sadness, sure, but mostly tears of joy. It truly overwhelmed me; I walked away wanting to be a part of it. Being a filmmaker became my lifelong dream, and I found music as a more immediate release for storytelling and expression.<\/p>\n<p><strong>NFS: How has your background in music influenced the way you approach filmmaking?<\/strong><\/p>\n<p><strong>TK:<\/strong> I tend to have a difficult time with this sort of self-examination: how am I influenced? We\u2019re influenced by everything; I\u2019m being influenced by this question somehow, I\u2019m sure, but I can\u2019t claim to know how. Is that too obtuse? Ha, yes. But there\u2019s a point there: we are constantly taking on influence, just walking through this life. I\u2019ve had folks tell me they can tell I\u2019m a musician by the way I edit, and that makes a ton of sense to me. Some have recognized my musical style in the odd cuts I make, and that is enlightening to me as well. I agree with them, but hadn\u2019t made that connection until confronted with it.<\/p>\n<p class=\"shortcode-media shortcode-media-rebelmouse-image\"> <img decoding=\"async\" alt=\"\" class=\"rm-shortcode\" data-rm-shortcode-id=\"9c8c1b9ff67bda0c4a88ad18cd1177b9\" data-rm-shortcode-name=\"rebelmouse-image\" id=\"1a89a\" loading=\"lazy\" src=\"https:\/\/nofilmschool.com\/media-library\/who-s-watching.jpg?id=67778229&amp;width=980\"> <small class=\"image-media media-caption\" placeholder=\"Add Photo Caption...\">&#8216;Who&#8217;s Watching&#8217; <\/small><small class=\"image-media media-photo-credit\" placeholder=\"Add Photo Credit...\">Credit: Dark Sky Films<\/small><\/p>\n<p><strong>NFS: Of all the stages of filmmaking\u2014from writing to production to post\u2014which feels the most intuitive to you as a storyteller?<\/strong><\/p>\n<p><strong>TK:<\/strong> Oh wow, lots to think about. I suppose those initial kernels of ideas and expression that occur during writing- that\u2019s what I connect to the most. Very raw, unfiltered storytelling in just writing it down while you\u2019re alone. I love that part &#8211; the writing &#8211; so much, even if it can feel like such a slog at times. The production part is daunting; I tend to feel inexperienced, and damn it is such an intense rollercoaster ride. I just try my damnedest to stay on top of everything, and thankfully I\u2019ve been capable. But being a director is a means to an end for me; I feel like a storyteller at my core, and being a director comes with a lot of technicality. Don\u2019t get me wrong, it\u2019s terribly, terribly thrilling, and I ADORE watching actors bring the script to life. WHAT A DREAM. But there is so much on the line during production; it\u2019s a bit tough for me to \u2018enjoy\u2019 it when I\u2019m in the throes of the production. But as soon as it\u2019s over, I want to start again. I love roller coasters!<\/p>\n<p>I\u2019m going loooong on this question, and haven\u2019t reached post. Editing brings the production back to core writing; I really enjoy editing. As many have said, that\u2019s where the story is being told, and it\u2019s so true. So I love that; I love the small victories of properly assembling a scene.<\/p>\n<p class=\"shortcode-media shortcode-media-rebelmouse-image\"> <img decoding=\"async\" alt=\"\" class=\"rm-shortcode\" data-rm-shortcode-id=\"23f4bb14e669c3d64fe81f32802b5812\" data-rm-shortcode-name=\"rebelmouse-image\" id=\"ccce9\" loading=\"lazy\" src=\"https:\/\/nofilmschool.com\/media-library\/who-s-watching.jpg?id=67778233&amp;width=980\"> <small class=\"image-media media-caption\" placeholder=\"Add Photo Caption...\">&#8216;Who&#8217;s Watching&#8217; <\/small><small class=\"image-media media-photo-credit\" placeholder=\"Add Photo Credit...\">Credit: Dark Sky Films<\/small><\/p>\n<p><strong>NFS: What was the initial idea that sparked <\/strong><em><strong><em>Who\u2019s Watching<\/em><\/strong><\/em><strong>, and what made you want to explore it as a horror film?<\/strong><\/p>\n<p><strong>TK:<\/strong> The initial idea for <em><em>Who\u2019s Watching<\/em><\/em> was actually more of a technical idea. I wrote the first draft WAY back in 2010 when articles were being written about \u2018found footage fatigue\u2019. It had me thinking about the genre, and that\u2019s when I first came up with these \u2018meta\u2019 ideas of blending found footage with narrative storytelling and <em><em>omniscient<\/em><\/em> storytelling, and that\u2019s when these ideas first surfaced. From there, I needed a story to build around, and I realized I wanted something based around stalking and\/or surveillance since I wanted to tell a story both WITH and ABOUT cameras. I\u2019m not in love with stalking as a genre, but it\u2019s such a core fundamental of existence, as scary as that sounds. It\u2019s raw storytelling of <em><em>WANTING. <\/em><\/em>Yikes. That is certainly horrific. Thus, the idea became a horror script.<\/p>\n<p><strong>NFS: Was there a particular scene or sequence that was especially challenging to pull off from a directing standpoint?<\/strong><\/p>\n<p><strong>TK:<\/strong> Yes, lots of them!! This is a difficult film to chat about without spoilers, so I\u2019ll just say this story was a bit too high concept for our low budget. We could\u2019ve used B units, to be sure!! I\u2019m speaking obscurely now, but there are many, many scenes that needed to be shot multiple times from multiple perspectives\u2026 and we shot each of them individually, recreating each scene over again.<\/p>\n<p class=\"shortcode-media shortcode-media-rebelmouse-image\"> <img decoding=\"async\" alt=\"\" class=\"rm-shortcode\" data-rm-shortcode-id=\"ba08c2794f1fd5ced79d7791ab0bc591\" data-rm-shortcode-name=\"rebelmouse-image\" id=\"fd5eb\" loading=\"lazy\" src=\"https:\/\/nofilmschool.com\/media-library\/who-s-watching.jpg?id=67778231&amp;width=980\"> <small class=\"image-media media-caption\" placeholder=\"Add Photo Caption...\">&#8216;Who&#8217;s Watching&#8217; <\/small><small class=\"image-media media-photo-credit\" placeholder=\"Add Photo Credit...\">Credit: Dark Sky Films<\/small><\/p>\n<p><strong>NFS: What camera package did you use on <\/strong><em><strong><em>Who\u2019s Watching<\/em><\/strong><\/em><strong>, and what made it the right choice for the film?<\/strong><\/p>\n<p><strong>TK:<\/strong> Our DP, Brian Sowell, used the Sony FX6 for the bulk of the film. We play with different perspectives in the film, which demanded different \u2018looks\u2019, so he also used an anamorphic lens for sections of the film. A Sony Handycam and a Sigma FP were also used. I can\u2019t speak for Brian, but these different cameras were essential for creating different feels for the different perspectives. Also, nothing was too bulky, so we could get into tighter spaces &#8211; the crew even developed a \u2018camera helmet\u2019 that Zachary Ray Sherman wore for certain surveillance scenes!<\/p>\n<p><strong>NFS: Did you have a particular visual style or camera language in mind when deciding how to shoot the film, and were there any films or filmmakers that inspired the look?<\/strong><\/p>\n<p><strong>TK:<\/strong> We wanted the different perspectives to FEEL like they were being created by different people, despite it almost always being Brian Sowell shooting. In this sense, Brian became an actor of sorts, as his camera became the first-person vessel for certain actors in certain scenes. We discussed at length how the different characters would have their own cinematic approaches and would try to implement those ideas into their scenes. We tried to maintain a reverence for these different perspectives, asking ourselves how <span style=\"box-sizing: border-box; margin: 0px; padding: 0px;\"><em>this <\/em>character would<\/span> shoot this scene. How would <em><em>that <\/em><\/em>character shoot another scene? It was a fun exercise. Sadly, I can\u2019t recall what some of our touchstones were for the look and feel of the shoot, but I do take influence from Michael Haneke for this film; I like his approach overall, and I\u2019m sure the surveillance shots were influenced by his work.<\/p>\n<p><strong>NFS: Did you have a specific lighting philosophy going into the production, or did the lighting evolve based on each location and scene?<\/strong><\/p>\n<p><strong>TK:<\/strong> Similar to the different approaches for shooting\/cameras, we discussed how things would be lit more and less for the differing perspectives. We worked with Jake Basnett, a total professional and a great fella to work with. We didn\u2019t get into the weeds as much with lighting choices, but as some of the film is more of a documentary style, that would always affect how Jake would light the scene, vs \u2018omniscient\u2019 scenes that were more of a classic narrative feature approach.<\/p>\n<p class=\"shortcode-media shortcode-media-rebelmouse-image\"> <img decoding=\"async\" alt=\"\" class=\"rm-shortcode\" data-rm-shortcode-id=\"507514ea98f77ef43a5d00bd729a1a4b\" data-rm-shortcode-name=\"rebelmouse-image\" id=\"c5e1b\" loading=\"lazy\" src=\"https:\/\/nofilmschool.com\/media-library\/tim-kasher.jpg?id=67778228&amp;width=980\"> <small class=\"image-media media-caption\" placeholder=\"Add Photo Caption...\">Tim Kasher <\/small><small class=\"image-media media-photo-credit\" placeholder=\"Add Photo Credit...\">Credit: John Sturdy <\/small><\/p>\n<p><strong>NFS: What advice would you give to an emerging filmmaker who has written their first feature and is trying to figure out how to actually get it made?<\/strong><\/p>\n<p><strong>TK:<\/strong> Um, this is a less popular opinion in some circles, but I like to write things that can be pivoted to a micro-budget, assuming I can\u2019t find funding. If you write a dinosaur movie, you\u2019re gonna need dough. So\u2026 I don\u2019t write dinosaur movies. I like to come up with \u2018high concept \/ low budget ideas\u2019, stories that could really pop on screen but don\u2019t require a lot of funding. I always want to feel like there is <em><em>some<\/em><\/em> way to get to that first day of production, even if you have to lean on your own resources.<\/p>\n<p><strong>NFS: What do you think is the biggest misconception people have about what it takes to direct an <\/strong><strong>independent feature?<\/strong><\/p>\n<p><strong>TK:<\/strong> Feature filmmaking is certainly a beast, one hell of a mountain to climb, but it doesn\u2019t have to be as daunting as all that. I shot my first feature out of my apartment for 35K, and looking back, I bet I could\u2019ve managed it for even half that cost. But that\u2019s getting VERY cheap\u2026 but we see it every year, don\u2019t we? Micro-budget films that make an impact. That could be you!!!<\/p>\n<\/div>\n<p>Author: Jason Hellerman<br \/>\nThis article comes from <i>No Film School<\/i> and can be <a href=\"https:\/\/nofilmschool.com\/whos-watching-movie\" target=\"_blank\"><b>read on the original site.<\/b><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>In Who\u2019s Watching, writer-director Tim Kasher turns the camera itself into a storytelling device, blending found footage, surveillance imagery, documentary-style filmmaking, and traditional narrative filmmaking.&hellip;<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_customify_content_layout":"","_customify_sidebar":"","_customify_page_header_display":"","_customify_disable_header":"","_customify_disable_header_top":"","_customify_disable_header_main":"","_customify_disable_header_bottom":"","_customify_disable_page_title":"","_customify_disable_content_vertical_padding":"","_customify_disable_footer_top":"","_customify_disable_footer_main":"","_customify_disable_footer_bottom":"","_customify_breadcrumb_display":"","_customify_header_transparent_display":"","footnotes":""},"categories":[35],"tags":[38,37,43,42,39,40,44,41,36],"class_list":["post-11783","post","type-post","status-publish","format-standard","hentry","category-video-news","tag-editing","tag-film","tag-guide","tag-info","tag-news","tag-tips","tag-topics","tag-tricks","tag-video"],"rttpg_featured_image_url":null,"rttpg_author":{"display_name":"Brokenmount","author_link":"https:\/\/www.brokenmount.com\/bm\/author\/sysop\/"},"rttpg_comment":0,"rttpg_category":"<a href=\"https:\/\/www.brokenmount.com\/bm\/category\/video-news\/\" rel=\"category tag\">Video and Film News<\/a>","rttpg_excerpt":"In Who\u2019s Watching, writer-director Tim Kasher turns the camera itself into a storytelling device, blending found footage, surveillance imagery, documentary-style filmmaking, and traditional narrative filmmaking.&hellip;","_links":{"self":[{"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/posts\/11783","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/comments?post=11783"}],"version-history":[{"count":0,"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/posts\/11783\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/media?parent=11783"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/categories?post=11783"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/tags?post=11783"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}