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Then there's the sense of spontaneity the bodycam concept gives this film. Because every turn could reveal a 360 of their surroundings, Christensen can't shoot on a three-walled set. Instead, the whole environment should be film-ready so as not to break the immersion. And that urges the audience on some level to be aware of what might lurk just out of frame. Like Michael Myers hiding in the shadows of a closet, there's the possibility that a new horror is just out of sight. Sometimes, as the officers run, you'll get a flash of a figure, unclear yet unnerving. Other times, all we can see is what's directly ahead of the officer. With a gun extended with one hand and a flashlight in the other, his point of view is reminiscent of first-person shooter games, enhancing the viewer's awareness that while he has a weapon, he too is a target.
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