Blue Planet III proves its ocean footage is authentic

BBC said the series was made without generative AI, and imperfect shots were kept for the sake of authenticity. New technologies helped capture rare behaviors of marine animals.

Blue Planet III puts authentic footage first

David Attenborough returns as narrator for Blue Planet III, the latest installment in BBC’s long-running nature documentary series. He turned 100 in 2026.

Filming took place amid growing doubts about the authenticity of images: it is increasingly difficult for viewers to tell whether they were captured by a camera or created with generative AI. According to Jack Bootle, head of commissioning for BBC’s factual department, these concerns influenced the team’s approach to underwater filming.

At a press screening, Bootle said that generative AI was never used in making the series—there is not a single image created this way, and every scene was filmed photographically. The Guardian reported this.

Executive producer Elizabeth White said the team is now more willing to leave shots in the film even when they do not look perfect. In her view, the spread of AI does not diminish the value of filming; on the contrary, it strengthens the drive for authenticity.

From imperfections to proof of reality

In the past, large amounts of plankton or other causes of poor visibility could be reasons to leave a scene out of the film. As White explained, the crew might change the composition to hide a boat or buoy, or discard a shot because the water conditions were unsuitable. Now, such imperfections are more often left on screen: the team deliberately emphasizes the naturalness of what is happening.

New ways to observe marine life

Bootle notes that Blue Planet III is full of animal behaviors that were previously little known. Nature filmmaking has reached such a level that viewers may feel they have already seen everything. That is why the team used specialized equipment to capture rare events.

Work on the series lasted four years and spanned five oceans. A miniature dome camera was developed to film octopuses, while a kind of “selfie stick” was used for deep-sea filming. Lasers were used to illuminate animals in the dark. Camera operators were assisted by scooters strapped to their legs, allowing them to move faster underwater. The team also used drones capable of operating above the water’s surface and remote cameras designed for extended use.

One of the key devices was the “stonefish camera.” BBC calls it the world’s first underwater CCTV camera. It was developed by producer-director Yolande Bosiger. The device captured dolphins using sea sponges: they use them to block holes in coral where fish hide, helping them catch their prey.

Other episodes show a grouper interacting with a fish of another species, and around 200,000 crabs gathering in a particular formation to feed. Cameras also captured sea urchins shielding themselves from the sun’s rays with shells.

The series also features a scene of penguin behavior reminiscent of the iguana-and-snakes sequence from Planet Earth II.