Fulldome edition · Coming soon
The ocean does not fit inside a screen.
In a dome, it does not have to.
The VR edition of Presence places one viewer inside the reef. The fulldome edition places an entire audience inside it.
Filmed underwater in 360° across San Andrés and Providencia, Presence is being reauthored as a shared immersive film for planetariums and dome theatres. Coral, sharks, schools of fish, open water and the smallest movements of marine life extend across the architecture of the room.
This is not a flat nature film projected onto a curved surface. It is an environment captured without a conventional front, edge or frame—and rebuilt for collective immersion.
- Approximately 9 minutes
- 360° underwater source cinematography
- Fulldome edition in development
- English, French and Spanish editions planned
The VR edition places one person inside the reef. The fulldome edition places the entire room inside it.
A native immersive space
Underwater, there is no front of the stage
There is no natural front underwater. There is no stable horizon, no edge to the environment and no single direction in which life occurs.
That spatial quality makes the dome more than an alternative distribution format. It gives the film a collective architectural form.
A school of fish can move across the theatre. A shark can alter the scale of the entire room. A coral landscape can remain present long enough for different members of the audience to discover different details.
In a flat film, the ocean remains in front of the audience. In the dome, the ocean becomes the room.
360° source material
The film originates in spherical underwater cinematography rather than conventional flat footage artificially stretched across a dome.
Sustained observation
Longer compositions give the audience time to examine the environment instead of being pushed rapidly from subject to subject.
Collective discovery
The audience shares the same space while remaining free to notice different details within it.
Architectural scale
The dome allows distance, animal movement, open water and reef structure to be experienced at a scale that cannot be reproduced on a standard screen.
Reauthored for the theatre
The fulldome edition is not a technical conversion
Presence is being rebuilt for the visual and spatial conditions of a shared dome. The objective is not to reproduce the headset experience exactly. It is to preserve the film’s central quality—being present inside a living environment—while creating a version that belongs to the dome.
360° · Source frames
Drag to look around
2 / 4
- Composition and orientation
- Audience gaze
- Shot duration
- Transitions between environments
- Titles and subtitles
- Narration placement
- Spatial and multichannel sound
- Collective pacing
- Beginning and exit sequences
For programmers
A short work with multiple programming possibilities
At approximately nine minutes, Presence is designed to be substantial enough to establish an emotional and spatial progression while remaining flexible for institutional programming.
Standalone immersive short
A focused fulldome encounter presented as its own scheduled experience.
Curated double bill
Paired with another ocean, biodiversity, Earth-science or environmental film.
Live introduction or discussion
Presented with an educator, filmmaker, scientist, diver or local conservation voice.
School and family programming
Integrated into an ocean-literacy, ecology or environmental-learning session.
Fulldome and immersive-film festivals
Presented as a work of spatial documentary cinema.
Museum and science-centre events
Included in exhibitions, evening programming, conferences or special public events.
Future anthology
As additional Azul Vivo chapters are completed, several works may later be assembled into a longer thematic programme.
Why Presence
A reef film built around what audiences notice
Presence does not move through a catalogue of species or use constant narration to explain every image. Its story is constructed through attention.
The audience first encounters the reef through its most immediate forms: coral, large animals, open space and schools of fish. As the film continues, attention moves toward quieter activity—the movement of marine plants, distant fish, small organisms and life that only becomes visible when the audience is given time to remain.
The work begins with spectacle and gradually changes the meaning of observation. It does not ask the audience to admire the reef from a distance. It asks them to inhabit it long enough for the reef to stop feeling like scenery.
A film with a place behind it
The fulldome edition can be presented as more than a visual encounter. Optional curator and education material will situate Presence within the Seaflower Biosphere Reserve and support programming around coral ecology, protected areas, climate resilience, marine culture and community stewardship.
- Short curator introduction
- Post-screening discussion
- Ocean-literacy school programme
- Scientist or local-expert presentation
- Conservation and restoration event
- Caribbean culture and environment programme
- Paired Earth-science or biodiversity screening
Early presenting venues
Help shape the first fulldome presentation
Azul Vivo is inviting a limited group of planetariums, dome theatres, museums and science centres to express interest in the first fulldome edition. Participation does not provide editorial control over the documentary.
- Private work-in-progress previews
- Programming and operational feedback
- Discussion of audience context
- Technical delivery consultation
- Education-programme development
- Consideration for initial presentations
- Possible co-presentation or commissioning discussions
Curator inquiry
Tell us about your venue. Technical fields are optional—you can contact the project before consulting technical staff.