Apple Immersive documentary Top Dogs brings you up close with spectacular champion breeds, but traditional filmmaking choices keep the immersion from taking Best in Show.
Apple Immersive Video is particularly well suited for narrative documentary content. It can give visitors virtual access to real, visually stunning moments in behind-the-scenes experiences and destinations that most of us will not be able to physically visit in our lifetime. The forced perspective of the 180-degree format also offers a familiar entry point for acclaimed directors accustomed to crafting video content for traditional flat screens.
What Is Apple Immersive Video?
The Apple Immersive Video format is 180° stereoscopic 3D video with 4K×4K per-eye resolution, 90FPS, high dynamic range (HDR), and spatial audio. It’s typically served with higher bitrate than many other immersive video platforms.
We highly praised Apple Immersive Video in our Vision Pro review. It’s not possible to cast or record Apple Immersive Video though, so you’ll have to take our word for it unless you have access to a Vision Pro.
Paired with Apple TV’s reputation for visually polished and compelling storytelling, I went into the two Top Dogs Apple Immersive episodes with high expectations. But narrative and compelling visuals were not enough to create quality immersion. My role in the world of Top Dogs remained undefined, and certain creative choices gave me reason to…paws. It did not fully consider how experiencing the benefits of immersion inside a headset should feel different from simply watching a story unfold on a screen.
Spectacular dogs and clear storytelling.
The behind-the-scenes access that gets you up close to some incredible dogs makes this worth stepping into. I found myself face to face with breeds I have only ever seen on screens or in photos, and others I had never encountered before, each impeccably groomed and styled for the spotlight. The sheer range of dogs and their personalities is striking. They are the undeniable stars, and the stereoscopic depth brought me closer to these dogs than a traditional screen ever could.
The narrative also worked well. In just a combined thirty three minutes, I walked away with a clear understanding of how this renowned competition works. I learned what judges evaluate and gained insight into different aspects of the events. Participants are introduced cleanly. Stakes are easy to follow. Despite the short runtime, nothing feels rushed.
In many ways, I felt closer to this world than I would through a traditional screen. But getting close is not the same as feeling fully present within it.
Proximity is not the same as presence
Across both episodes, I kept returning to one question: who am I supposed to be here? Given Apple TV’s storytelling pedigree and the immersive potential of Apple Vision Pro, I expected Top Dogs to place me unmistakably inside its world rather than remind me at times that I was still watching from constantly shifting camera positions that were often stationary and sometimes moving speedily. My sense of embodiment wavered as scale and perspective changed without explanation or logic. Quick cuts shifted me from floating down an aisle of Dalmatians at eye level with their handlers, to sitting close-up at eye level with dogs, to looking up at handlers.
As a visitor to the documentary, I also did not feel like my presence was intended to be acknowledged. Those being interviewed spoke to an off-camera interviewer and avoided glancing into the lens, a choice typical of traditional flat-screen content. The only characters that seemed to recognize my presence on occasion were some of the dogs who took momentary interest in the camera. Locking eyes with Australian Shepherd Viking, 2024 Best in Show winner, was memorable. I impulsively shifted back when another dog jumped to the camera for a kiss. More moments like this would have helped with the sense of presence.
Traditional film language can limit immersion.
Directed and narrated by BAFTA and Peabody winner John Dower in his first immersive documentary, Top Dogs reflects a filmmaker clearly comfortable with traditional documentary language. But immersive storytelling demands intention around experience, not just storytelling.
The flyball competition segment showed what worked. The camera remained steady and well positioned as if I was watching from the sidelines. It gave me enough time to take in the space and choose where to look. The more time I had to notice details within the scene, the more immersed I felt. As the dogs sprinted back and forth, I turned my head naturally to follow them. The action defined my movement in the world. In contrast to many other moments in Top Dogs, this moment allowed me to feel confident in my spectator perspective, and present.
Framing and editing choices, however, often reflected traditional documentary grammar in ways that weakened immersion. Action and even faces were occasionally partially cropped within the 180 degree frame. Extreme close ups that might feel intimate on a flat screen felt odd and uncomfortable in headset. Photos appeared floating in black backgrounds rather than integrated into the environment. On screen text reinforced the sense of watching a framed production rather than being there. The quick cuts also shifted me between locations and perspectives without spatial grounding or transition of any sort. I would have liked to see more movement from the dogs and less movement from the camera.
When traditional documentary grammar dominates, the headset begins to feel optional. At several points, I found myself toggling from full Immersive Video to the windowed view to avoid some creative choices that felt jarring when fully immersed. I also found myself wondering why this was not simultaneously released as Apple TV content for more people to see it outside headset, given how closely its film language already aligns with traditional screens.
