This paper discusses my commissioned site-specific installation ‘Deep Waters’ (Athanasopoulou, 2020) as an example of an animation practice-as-research where a 360-degrees camera documents a physical space to be translated into a new-yet-known digital place. The notion of the ‘Peripatos’, both as walking and as architecture, is engaged in bodily, locally and metaphorically, and is further informed by the travelling restrictions imposed during the pandemic lockdown of 2020. This digitally transmitted landscape becomes inhabited by 3D animation which re-interprets the original building as an underwater landscape with brand new digital elements that evoke the motion trail of the walker. The project begins with an immersive video camera practice that tests Vilém Flusser’s notion of the ‘dangerous tool’ that is not yet played out, and whose virtualities we do not yet know. JJ Gibson’s notion of a landscape’s ‘affordancies’ lends itself to the way that ‘one sees the environment not just with the eyes but with the eyes in the head on the shoulders of a body that gets about’ (Gibson, 2015: 211). Dwelling further on implications of a practice that enmeshes itself within the post-phenomenological, the camera on a selfie stick which extends from one’s hand can be placed alongside Ernst Kapp’s ‘Organ Projection’, whereby the hand holding the camera also reflects the writing tool echoed within the ‘graphein’ of the cinematograph. The performance of the ‘camera walk’ combines lived and experienced time with the spatial mechanical time of the video camera. The two overlap, their synchronicity an integral part of the process, as the performance is already looking ahead to a future photogrammetry that will derive out of the footage. In this sense, the camera is absorbing the present while also projecting into the future: the performance is a rehearsal of a photogrammetric place-to-be as a stage populated and enlivened by animation.