{"id":27881,"date":"2023-07-25T10:57:46","date_gmt":"2023-07-25T09:57:46","guid":{"rendered":"https:\/\/research.reading.ac.uk\/research-blog\/?p=27881"},"modified":"2023-07-25T11:11:27","modified_gmt":"2023-07-25T10:11:27","slug":"actors-worried-about-use-of-ai","status":"publish","type":"post","link":"https:\/\/research.reading.ac.uk\/research-blog\/2023\/07\/25\/actors-worried-about-use-of-ai\/","title":{"rendered":"Actors are really worried about the use of AI by movie studios \u2013 they may have a point"},"content":{"rendered":"

Film and television actors in the US\u00a0came out on strike<\/a>\u00a0on July 14, causing Hollywood productions to shut down. The action has also had an impact on US films shooting in the UK: director Tim Burton\u2019s Beetlejuice 2\u00a0has \u201cpaused\u201d<\/a> and the production of Deadpool 3, filming at Pinewood Studios with stars Ryan Reynolds and Hugh Jackman, has been stood down.<\/p>\n

\"\"<\/p>\n

The dispute is about remuneration for actors, very few of whom enjoy the high income of Hollywood stars. But an additional argument between the union, SAG-AFTRA, and film producers is\u00a0about the use of artificial intelligence (AI)<\/a>. Actors are fearful of the impact of AI on their careers.<\/p>\n

When they perform on film sets, their image and voice are digitally recorded at extremely high resolution, providing producers with huge amounts of data. Actors are concerned the data can be reused with AI. New processes such as machine learning \u2013 AI systems that improve with time \u2013 could turn an actor\u2019s performance in one movie into\u00a0a new character for another production<\/a>, or for a video game.<\/p>\n

Actors feel an urgent need to control how AI manipulates their image. The union president,\u00a0Fran Drescher, says<\/a>: \u201cWe are all in jeopardy of being replaced by machines.\u201d But how realistic are these fears?<\/p>\n

\u2018Synthetic media\u2019<\/h2>\n

When we talk about the use of AI in film and television, there are multiple techniques under development. We categorise these as \u201csynthetic media\u201d. This covers processes such as\u00a0deepfakes<\/a>, voice cloning, visual effects (VFX) created using AI, and completely synthetic image and video generation.<\/p>\n

I have written before about deepfakes for The Conversation,\u00a0pointing out the benefits<\/a>\u00a0as well as dangers. For screen actors, deepfakes are one of the most vivid threats.<\/p>\n

This is because, since machine learning took off, Hollywood stars including Scarlett Johansson and Gal Gadot have found their faces deepfaked into porn movies. This is a major gender-based issue: it\u2019s almost always female actors whose images are manipulated and used in this way.<\/p>\n

We tend to think of artifical intelligence as omnipotent. But my research has found that\u00a0integrating deepfakes<\/a>\u00a0into the language of cinema and TV drama is difficult. Certain shot types are easy, such as front-on long shots, but asking the AI to produce a profile shot tests the algorithm to its limit.<\/p>\n

Industry research and development (R&D) programmes such as Disney Research have invested a huge amount of effort into\u00a0perfecting deepfake techniques<\/a>. But no one has yet produced an easy way to swap an actor\u2019s face into any shot size or angle that the director chooses, with convincing, high-definition results.<\/p>\n

Background actors<\/h2>\n

The actors\u2019 union, SAG-AFTRA, is particularly concerned about background actors \u2013 or \u201cextras\u201d \u2013 being\u00a0exploited by producers using AI manipulation<\/a>. In the union\u2019s\u00a0special agreement for background actors<\/a>, which lists the additional payments that they should receive, there is currently nothing stated about the AI use of recorded footage \u2013 the arrival of new technology necessitates a negotiated deal with the producers.<\/p>\n

The Alliance of Motion Picture and Television Producers (AMPTP)\u00a0claims to have made<\/a>\u00a0a \u201cgroundbreaking AI proposal which protects performers\u2019 digital likenesses, including a requirement for (a) performer\u2019s consent for the creation and use of digital replicas or for digital alterations of a performance\u201d.<\/p>\n

However, the actors\u2019 union boss\u00a0Duncan Crabtree-Ireland retorted<\/a>: \u201cThey proposed that our background performers should be able to be scanned, get paid for one day\u2019s pay, and their companies should own that scan \u2013 their image, their likeness \u2013 and should be able to use it for the rest of eternity in any project they want, with no consent and no compensation.\u201d<\/p>\n

Ethical dimension<\/h2>\n

This month, I\u00a0convened a meeting<\/a>\u00a0at the University of Reading, in which academics, stakeholders and creative producers came together to discuss the issues of AI in screen production. We have formed the\u00a0Synthetic Media Research Network<\/a>, a group that wants to see strong ethics built into the exciting new opportunities that AI brings to the screen industries.<\/p>\n

Philosophers, lawyers, ethicists and trade unionists joined the discussion, because establishing a values-based system for how AI can change performers\u2019 images and identities is a fundamental issue for the film and TV industries.<\/p>\n

When I talked to Liam Budd, national officer for the UK actors union, Equity, he said: \u201cIf you\u2019re going to exploit our members\u2019 work using AI tech, you have to get consent from them and many members won\u2019t want to.\u201d Currently, there is no nationally agreed system regulating how performers give consent for the use of AI on their image.<\/p>\n

Actors will want to be persuaded that the extra pay they receive makes it worthwhile \u2013 or they want the right to opt out on a job-by-job basis. The current situation is that actors feel obliged to sign away their rights \u201cin all media\u201d and \u201cin perpetuity\u201d.<\/p>\n

Dr Mathilde Pavis<\/a>, an expert on AI rights and intellectual property, says: \u201cYou can\u2019t ask all of this from people without either remuneration or something in return, and at the moment that\u2019s being added on to their contracts without more given in return.\u201d The lack of agreed terms has led to Equity launching a campaign called\u00a0Stop AI Stealing the Show<\/a>.<\/p>\n

Last week, the union also held rallies in\u00a0Manchester and London<\/a>\u00a0in support of their striking counterparts in the US. When they began a similar scale of dispute in 1980, actors stopped work for three months. Brian Cox, star of Succession, thinks that the strike may last until the end of the year.<\/p>\n

Actors are angry that their system of payment has not caught up with the streaming era, with Netflix, Amazon and Disney repeat\u00a0screening their work<\/a>\u00a0while paying little in the way of royalties.<\/p>\n

But fear is the stronger emotion here: AI is a new technology that sparks deep and legitimate fears for screen actors. Will they be \u201creplaced by machines\u201d as the union president has said? Unless they can be reassured about their future, American actors will not be returning to the studios soon.<\/p>\n

\n

This article is republished from\u00a0The Conversation<\/a>\u00a0under a Creative Commons Licence.<\/p>\n

Dominic Lees<\/strong> is an Associate Professor in Filmmaking at the University of Reading.<\/p>\n","protected":false},"excerpt":{"rendered":"

Film and television actors in the US\u00a0came out on strike\u00a0on July 14, causing Hollywood productions to shut down. 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