Ocean Documentary: Makers Keep Murky Footage to Prove Reality

The creators of the new Blue Planet series have intentionally kept cloudier and less polished clips in the final cut. This decision aims to reassure audiences that the footage is authentic. The move comes as artificial intelligence makes it easier to create convincing fake videos.

The new installment arrives nearly a decade after Blue Planet II highlighted plastic pollution. It follows the original series by twenty-five years. The BBC Studios natural history unit promises more animal behavior and advanced technology. The production includes what is described as the world's first underwater CCTV camera. The team has nicknamed this device the stonefish cam.

Camera screens have become much sharper since the first series aired. However, the spread of AI influenced the visual style of the new program. The team opted for a more organic look to stand out. Executive producer Elizabeth White stated that AI makes the team want to be even more authentic. She noted that the deep ocean animals are probably more remarkable than AI could imagine. White emphasized that everything shown is completely real.

In the past, the editing team might have removed sequences with lots of plankton in the water. They could have also framed out a boat or a buoy. Poor water conditions used to be a reason to reject a shot entirely. Now, such details are kept in the final product. White said the team is really leaning into that authenticity. She expects they will use even murkier imagery as AI technology continues to grow.

At a recent press screening, Jack Bootle made a specific assurance to journalists. He is the BBC's head of specialist factual commissioning. Bootle stated that no generative AI was used in this series. He confirmed that not a single frame is artificial. He described the project as real photography. Bootle also noted that viewers might feel they have seen it all before. He said this new series is bursting with novel behavior.

The program features several new animal sightings. One scene shows dolphins using sea sponges to block holes in coral. They use this method to trap fish. This behavior was recorded using the underwater CCTV developed by producer Yoland Bosiger. Other scenes include a grouper communicating with another species of fish. Viewers will also see 200,000 crabs lining up in formation to feed. Sea urchins appear using shells as sun hats.

Filming took four years across five oceans. Series producer Lara Bickerton said the team continually innovated. They built a mini-dome camera to follow an octopus. They also created a deep-sea selfie stick. Camera operators wore leg-mounted scooters to capture immersive diving footage. Lasers were used to film animals in the deep sea. The series also looks at threats to the ocean and its resilience.

One episode shows how warmer seas are killing sea anemones. These anemones are the homes of clownfish. The fish are seen trying to repair their damaged homes. The theme of plastics from the second series continues with a story on pollutants. White mentioned that the new episode covers forever chemicals as well.

Director Yoland Bosiger said David Attenborough was very much involved in the process. He is one hundred years old and made changes to the scripts. White said Attenborough has not lost his curiosity. He is still excited when shown new footage. White declined to comment on how the BBC's recent cost-cutting drive might affect the unit's reputation. She did note that the series saved money by using more local crews on location than in previous entries. The series begins on Sunday 1 November on BBC1 and iPlayer.