DayofPal—A joint investigation by +972 Magazine, Local Call, Viewfinder, SRF (Switzerland), and The Ferret (Scotland) has revealed that numerous animated videos released by the Israeli army to justify airstrikes in Gaza and other regions have relied heavily on commercially available 3D models, not classified intelligence.
Since the start of the war on October 7, 2023, the Israeli army has significantly increased their use of detailed 3D animations to depict alleged Hamas facilities, tunnels, and command centers, particularly beneath civilian infrastructure like hospitals and schools.
These videos were widely distributed across social media platforms and cited by government officials and international media outlets as evidence for military action.
However, an analysis of 43 such videos found that over half included pre-made digital assets from third-party libraries, video game development packs, or even cultural institutions.
These include storefronts from KitBash3D, models from popular 3D artist Ian Hubert, and photogrammetry scans from the Scottish Maritime Museum.
For example, one animation, which alleged that a Hamas command center existed beneath Gaza’s Al-Shifa Hospital, used fictional shops like “Fabio’s Pizzeria” from a storefront asset pack.
The supposed “command room” had appeared earlier in a different IDF animation, raising further questions about re-used content. No such command center was discovered beneath the hospital during Israel’s November 2023 raid.
Animations were also found to depict entire fabricated environments. In one case, an animation showed missile-laden homes near the Lebanese village of Yater.
Satellite analysis and on-the-ground reporting revealed that no such structures existed in the targeted area. Another video showed the interior of Iran’s Natanz nuclear facility using duplicated digital models from a Patreon asset pack.
Former Israeli soldiers interviewed as part of the investigation said that these animations were produced quickly, often with limited intelligence input.
A team nicknamed the “After Effects Cell”, comprised of a few motion designers and 3D modelers, was tasked with crafting visual narratives that were often embellished to emphasize threat levels.
“If the commander wants more weapon-making machines in the scene, they add them,” one reservist told investigators. Another described the visuals as “sexy and professional,” saying they were used to give the army a polished, tech-savvy appearance.
Though each animation includes a small label reading “illustration,” the meaning of this disclaimer is left vague. Critics say that mainstream media often present the visuals as fact, and their widespread repetition cements the impressions they create, regardless of later verification or disproval.
Several assets in the videos originate from unexpected sources. The Scottish Maritime Museum confirmed that 3D scans from a 2019 boat-building workshop were used in army’s videos depicting missile factories in Syria and Iran.
Though these assets were released under Creative Commons for educational purposes, the museum stated it had no control over their use after publication.
Other models, such as electrical boxes and parking lots from Port Orchard, Washington, came from the work of American 3D artist Ian Hubert.
These have appeared in animations showing targets ranging from Gaza towers to Iranian facilities.
The videos are typically released in tandem with airstrikes or official statements, and are widely shared by the army across social media.
International news outlets like CNN, BBC, and Sky News have broadcast clips from these animations, often without extensive verification due to limited access on the ground.
According to experts, the visual style mimics that of open-source investigative journalism and forensic analysis, giving the appearance of factual reconstruction while actually blending fiction with selective intelligence.
Elizabeth Breiner of Forensic Architecture noted, “These visuals exist in a grey zone between fact and fiction. Their power lies in how long they linger in the public consciousness, even after they’re discredited.”
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