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Although the tactile world of tapestries contrasts with the almost instantly generated images of some digital technologies, textiles still have an irreplaceable place in their family tree. In the middle of the 19th century, Ada Lovelace "programmed" Babbage's Analytical Machine (inspired by the punched cards of the jacquard machine), i.e. the first software ever. And the pixel with its texture resembles one weft on a vertical warp so far. While filming a film about a tapestry factory, I was looking for ways to present not only the craftsmanship of tapestry makers linked to the intuition of hands and eyes, but mainly the materiality of tapestries and film technology. In my work, I alternate observational passages with visual immersion, induced using various procedures: handmade film, liquid light technique, images generated by AI and such images that arose from the creative dialogue of different materials, especially recording media. The key aspect was how to achieve the effect of presence through the materiality and physicality of the digital camera medium, which is primarily representative. The topic is based in my doctoral project, in which I investigate creative methods and materiality in the author's documentary film. I combine creative practice and interviews with creators with theoretical reflection (Jussi Parikka, Bernd Herzogenrath, Miroslav Petříček).