日本成人影像產業近年開始嘗試將AI技術運用於影像製作，其中最受討論的是「將女主角臉部AI化」的做法。整體而言，這類技術大致可以分為兩種主要類型：一種是完全以人工智慧打造的虛擬角色，另一種則是利用AI對真人演員進行臉部處理或再創作。

其中最具代表性的案例之一，是被稱為「世界首位AI AV女優」的木花愛（Kihana Ai）。這個角色於2023年底正式推出，設定為一名由人工智慧創造的虛擬成人女演員。不過在實際製作過程中，拍攝時仍然會由真人女演員完成所有表演與互動場景，之後再透過AI濾鏡與臉部生成技術，將虛擬角色「木花愛」的臉部影像覆蓋在真人演員的臉上。由於臉部是完全由AI生成，畫面呈現通常非常精緻且一致，也避免真人演員隨時間產生外貌變化的問題。

除了這類「全虛擬角色」的模式之外，部分日本片商也開始嘗試把AI技術應用在真人女演員身上，形成各種新的影像企劃。例如知名片商Moodyz曾推出過一個話題作品，讓女優美園和花與自己的「AI換臉分身」同時出現在同一部作品中，透過數位合成技術創造出「兩個美園和花同台演出」的視覺效果。這種做法主要是利用AI進行臉部建模與替換，再透過後期合成完成畫面。

另一個引發討論的案例來自知名女優上原亞衣。她曾利用AI技術打造所謂的「22 歲AI偶像版本」，將目前的影像透過人工智慧演算回復成早年巔峰時期的容貌形象。這種做法本質上是一種「AI回春」或數位復刻技術，試圖讓觀眾看到不同年齡版本的同一位演員。

此外，在影像後製層面，AI也被用來進行一些細節修正。例如透過影像生成技術移除演員身上的刺青，或調整皮膚與外觀細節，使畫面更符合市場偏好與發行需求。

不過，這類技術同時也引發不少爭議。部分女優曾公開表示，某些片商在沒有充分溝通的情況下使用AI對她們的臉部資料進行二次創作，甚至用於新的影片內容，讓當事人感到權益與尊嚴受到侵犯。例如美園和花就曾批評過相關做法，認為演員應該對自己的影像使用方式擁有更明確的控制權。

除了產業內部的爭議外，也出現跨國層面的隱憂。有報導指出，一些中國企業曾試圖購買或收集日本女優的臉部資料作為AI訓練素材，這也引發關於肖像權、版權與個人資料外洩的討論。隨著AI影像技術快速進步，日本成人影像產業未來如何在技術創新與演員權益之間取得平衡，已成為業界與法律層面需要面對的重要議題。

In recent years, Japan’s adult video industry has indeed begun experimenting with the use of AI technology in video production, particularly in the form of AI-generated or AI-modified faces for female performers. Broadly speaking, these applications can be divided into two main categories: fully virtual AI performers and AI face processing applied to real actresses.

One of the most widely discussed examples is Kihana Ai, who has been described as the “world’s first AI AV actress.” The character officially debuted in late 2023 and is presented as a virtual performer created using artificial intelligence. In practice, however, the filming process still involves a real actress performing all scenes and interactions. After filming, AI filters and facial generation technology are used in post-production to overlay the virtual face of “Kihana Ai” onto the real performer’s face. Because the face is entirely AI-generated, the visual appearance can be highly refined and consistent, and it avoids the natural aging that occurs with real actors.

In addition to fully virtual characters, some Japanese studios have begun applying AI technology directly to real actresses in various creative ways. For example, the well-known studio Moodyz once produced a project in which actress Kazuka Misono appeared alongside an “AI face-swapped version” of herself. Through digital compositing and facial modeling technology, the production created the visual effect of “two versions of the same actress” appearing in the same scene.

Another example that attracted attention involves the famous former AV actress Aoi Uehara. She used AI technology to create a so-called “22-year-old AI idol version” of herself. This technique digitally reconstructs her earlier appearance, effectively restoring her image to the look she had during the peak of her career. In essence, this approach uses AI as a form of digital rejuvenation or visual recreation.

AI is also being used in post-production for more subtle visual adjustments. For instance, some productions employ AI tools to remove tattoos from performers’ bodies or modify certain visual details so that the final footage better matches market preferences.

However, the use of these technologies has sparked considerable controversy. Some actresses have publicly criticized studios for using AI to create derivative content from their facial data without sufficient communication or consent. They argue that such practices can undermine performers’ dignity and control over their own image. For instance, Kazuka Misono has spoken out about concerns that actresses should have clearer authority over how their likeness is used.

Beyond industry disputes, there are also international concerns. Reports have suggested that some companies in China have attempted to purchase or collect facial data from Japanese actresses as training material for AI systems. This has raised serious discussions about image rights, copyright protection, and personal data privacy. As AI video technology continues to advance rapidly, how the Japanese adult entertainment industry balances technological innovation with performers’ rights is likely to become an increasingly important legal and ethical issue.