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unitedstatescopyrightoffice
CopyrightandArtificialIntelligence
Part1:DigitalReplicas
AREPORTOfThEREgisTEROfcOPyRighTsjuly2024
unitedstatescopyrightoffice
CopyrightandArtificialIntelligence
Part1:DigitalReplicas
AREPORTOfThEREgisTEROfcOPyRighTsjuly2024
ABOUTTHISREPORT
ThisReportbytheU.S.CopyrightOfficeaddressesthelegalandpolicyissuesrelatedtoartificialintelligence(“AI”)andcopyright,asoutlinedintheOffice’sAugust2023Noticeof
Inquiry(“NOI”).
TheReportwillbepublishedinseveralParts,eachoneaddressingadifferenttopic.ThefirstPartaddressesthetopicofdigitalreplicas—theuseofdigitaltechnologytorealistically
replicateanindividual’svoiceorappearance.SubsequentPartswillturntootherissuesraisedintheNOI,includingthecopyrightabilityofworkscreatedusinggenerativeAI,trainingofAImodelsoncopyrightedworks,licensingconsiderations,andallocationofanypotentialliability.Tolearnmore,visit/AI.
ABOUTTHEU.S.COPYRIGHTOFFICE
TheU.S.CopyrightOfficeisthefederalagencychargedbystatutewiththe
administrationofU.S.copyrightlaw.TheRegisterofCopyrightsadvisesCongress,providesinformationandassistancetocourtsandexecutivebranchagencies,andconductsstudieson
nationalandinternationalissuesrelatingtocopyright,othermattersarisingunderTitle17,andrelatedmatters.TheCopyrightOfficeishousedintheLibraryofCongress.Itsmissionis“to
promotescreativityandfreeexpressionbyadministeringthenation’scopyrightlawsandby
providingimpartial,expertadviceoncopyrightlawandpolicyforthebenefitofall.”Formoreinformation,visit.
FOREWORDFROMTHEREGISTEROFCOPYRIGHTS
Therecentemergenceofsophisticatedgenerativeartificialintelligence(“AI”)models
availableforusebyconsumersconstitutesamajorleapforwardintechnology.Itpresentsbothexcitingopportunitiesandcomplexchallengesforsocietyasawhole,whichhavecapturedtheattentionofpolicymakersaroundtheworld,aswellasthepressandthepublic.
Oneoftheareasaffectedisintellectualproperty.Copyrightissuesinparticularhaverisentotheforefront,duetotheirvisibility,immediacy,andrelevancetotheaverageperson.Bythefallof2022,millionsofAmericanswereutilizinggenerativeAIsystemsandservicestoproduceanastonishingarrayofexpressivematerial,includingvisualart,text,andmusic.
Almostweekly,tremendousstrideshavebeenannouncedinthetechnology’scapabilities.
ArtistshaveharnessedthepowerofAItofindnewwaystoexpressthemselvesandnewwaysofconnectingwithaudiences.Atthesametime,AI-generateddeepfakeshaveproliferated
online,fromcelebrities’imagesendorsingproductstopoliticians’likenessesseekingtoaffectvoterbehavior.Overthepastyearorso,theresultingdebateshaveintensified,with
enthusiasmaboutthepromiseofextraordinarytechnicalpotentialtemperedbyconcernabouttheimpactonindividuals’livelihoodsandreputations.
AIraisesfundamentalquestionsforcopyrightlawandpolicy,whichmanyseeas
existential.TowhatextentwillAI-generatedcontentreplacehumanauthorship?Howdoes
humancreativitydifferinnaturefromwhatAIsystemscangenerate,noworinthefuture?
Whatdoesthismeanfortheincentive-basedfoundationoftheU.S.copyrightsystem?Inwhatwayscanthetechnologyserveasavaluabletooltoamplifyhumancreativityandultimately
promotescienceandthearts?Howdowerespectandrewardhumancreatorswithoutimpedingtechnologicalprogress?
Forcopyright,thisisthelatestchapterinasymbioticrelationshipwithtechnology.
Throughouthistory,technologicalinnovationhasshapedtheevolutionofcopyrightlawandpolicy,withnewformsofexpression,suchasphotography,motionpictures,andcomputer
programs;newmethodsofcopying,suchasphotocopiersandvideo-cassetterecorders;and
newmeansofdistribution,suchasradio,television,andtheinternet.Inrecentdecades,the
paceofchangehassharplyaccelerated,andtoday’sgenerativeAItoolshavepickeditupevenfurther.Thelate20thcenturysawtheCopyrightActamendedtorespondtothechallengeofdigitalnetworkedtechnology.Historyhasshownthatthecopyrightsystemisresilientand
continuestoevolveasneeded.
Inresponsetotheimportanceandurgencyofthecopyrightissues,inearly2023theCopyrightOfficeinitiatedthestudythatledtothisReport.Ourworkisjustonepartofabroadernationalandglobalconversation.IntheUnitedStates,theBidenAdministration’s
October2023ExecutiveOrderontheSafe,Secure,andTrustworthyDevelopmentandUseof
ArtificialIntelligenceaddresseshowAItechnologiescanbedeployedsafelyandresponsibly
whiletakingintoaccountconcernsaboutfraud,bias,andtransparency,aswellastheimpactonintellectualpropertyrights.Otheragenciesareexaminingissueswithintheirownareasof
jurisdiction,andCongressisdebatingtheneedforlegislation.GovernmentsofothercountriesaresimilarlygrapplingwiththepotentialimpactofAIinallofitsforms.
AswithalloftheCopyrightOffice’sstudies,ouranalysisisguidedbytheConstitutionalgoalofpromotingcreativityinorderultimatelytobenefitthepublic.Thisrequiresan
appropriatebalance,enablingtechnologytomoveforwardwhileensuringthathuman
creativitycontinuestothrive.ItisourhopethatthisReportwillfurtherproductivediscussionsinCongress,thecourts,andtheexecutivebranch,tohelpachievethatbalance.
ShiraPerlmutter
RegisterofCopyrightsandDirectorU.S.CopyrightOffice
PREFACE
Inearly2023,theU.S.CopyrightOfficeannouncedabroadinitiativetoexploretheintersectionofcopyrightandartificialintelligence.
InMarchofthatyear,theOfficereleasedapolicystatementwithregistrationguidanceforworksincorporatingAI-generatedcontent.Overthespringandsummer,wehostedaseriesofonlinelisteningsessions,presentededucationalwebinars,andengagedwithnumerous
stakeholderstoenhanceourunderstandingofthetechnologyandhowitisused,thecopyrightimplications,andthepotentialimpactonbusinessesandindividuals.
TheseactivitiesculminatedinanAugust2023NoticeofInquiry,formallyseekingpublicinputonthefullrangeofcopyrightissuesthathadbeenraised.Inresponse,wereceivedmorethan10,000commentsrepresentingabroadrangeofperspectives,includingfromauthorsandcomposers,performersandartists,publishersandproducers,lawyersandacademics,
technologycompanies,libraries,sportsleagues,tradegroupsandpublicinterestorganizations,andevenaclassofmiddleschoolstudents.Commentscamefromall50statesandfrom67
countries.Thatvaluableandextensiveinput,supplementedbyadditionalOfficeresearchandinformationreceivedfromotheragencies,formsthebasisforthediscussionand
recommendationsinthisReport.
unitedstatescopyrightoffice
CopyrightandArtificialIntelligence
Part1:DigitalReplicas
AREPORTOfThEREgisTEROfcOPyRighTsjuly2024
U.S.CopyrightOfficeCopyrightandArtificialIntelligence,Part1:DigitalReplicas
i
TABLEOFCONTENTS
I.INTRODUCTION 1
A.AIandDigitalReplicas 2
B.BackgroundofThisStudy 6
II.PROTECTIONAGAINSTUNAUTHORIZEDDIGITALREPLICAS 8
A.ExistingLegalFrameworks 8
1.StateCommonandStatutoryLaw 8
a)RightofPrivacy 8
b)RightofPublicity 10
c)NewStateRegulationofDigitalReplicas 15
2.FederalLaw 16
a)CopyrightAct 17
b)FederalTradeCommissionAct 17
c)LanhamAct 19
d)CommunicationsAct 20
3.PrivateAgreements 21
B.TheNeedforFederalLegislation 22
1.ShortcomingsofExistingLaws 23
2.CongressionalActivity 24
a)NoAIFRAUDAct 26
b)NOFAKESActDiscussionDraft 28
3.TheContoursofaNewRight 28
a)SubjectMatter 29
b)PersonsProtected 29
c)TermofProtection 30
d)InfringingActs 33
(i)CommercialNatureofUse 34
(ii)KnowledgeStandard 35
(iii)SecondaryLiability 36
e)LicensingandAssignment 39
(i)Duration 41
ii
(ii)InformedConsent 42
(iii)ContractswithMinors 42
f)FirstAmendmentConcerns 43
g)Remedies 47
h)Preemption 48
4.RelationshiptoSection114(b)oftheCopyrightAct 50
III.PROTECTIONOFARTISTICSTYLE 53
IV.CONCLUSION 57
U.S.CopyrightOfficeCopyrightandArtificialIntelligence,Part1:DigitalReplicas
iii
EXECUTIVESUMMARY
ThisfirstPartoftheCopyrightOffice’sReportoncopyrightandartificialintelligence(“AI”
)1
addressesthetopicofdigitalreplicas.FromAI-generatedmusicalperformancesto
robocallimpersonationsofpoliticalcandidatestoimagesinpornographicvideos,aneraof
sophisticateddigitalreplicashasarrived.Althoughtechnologieshavelongbeenavailabletoproducefakeimagesorrecordings,generativeA
I2
technology’sabilitytodosoeasily,quickly,andwithuncannyverisimilitudehasdrawntheattentionandconcernofcreators,legislators,andthegeneralpublic.
AspartofabroadAIInitiative,theCopyrightOfficesoughtcommentsonthese
developments.Weaskedwhetherexistinglawsprovidesufficientprotectionagainst
unauthorizeddigitalreplicasorifnewprotectionisneededatthefederallevel.Inresponse,
numerouscommenterscalledforanewfederallawtoprotectindividualsfromthe
appropriationoftheirpersona.Theyprovidedextensiveinputintothejustificationsforandtheappropriateparametersofsuchalaw.
InthemonthssincetheOffice’sinquirywaslaunched,unauthorizeddigitalreplicas
havecontinuedtomakeheadlines,andhavetriggeredCongressionalactivity.Duringthistime,weanalyzedthecommentsreceived,performedadditionalresearch,andconsultedwithotheragenciesontheirrelevantareasofexpertise.Basedonallofthisinput,wehaveconcludedthatanewlawisneeded.Thespeed,precision,andscaleofAI-createddigitalreplicascallsfor
promptfederalaction.Withoutarobustnationwideremedy,theirunauthorizedpublicationanddistributionthreatensubstantialharmnotonlyintheentertainmentandpoliticalarenas,butalsoforprivateindividuals.
SectionIsummarizesthecontextandhistoryoftheOffice’sstudyofthedigitalreplicasissue.SectionII.Aoutlinesthemainexistinglegalframeworks:staterightsofprivacyand
publicity,includingrecentlegislationspecificallytargetingdigitalreplicas,andatthefederallevel,theCopyrightAct,theFederalTradeCommissionAct,theCommunicationsAct,andtheLanhamAct.
1ForpurposesoftheCopyrightOffice’sReportonCopyrightandArtificialIntelligence,“AI”or“Artificial
Intelligence”isageneralclassificationofautomatedsystemsdesignedtoperformtaskstypicallyassociatedwith
humanintelligenceorcognitivefunctions.ArtificialIntelligenceStudy:NoticeofInquiry,88Fed.Reg.59942,59948(Aug.30,2023)(“NOI”).SeealsoJohnS.McCainNationalDefenseAuthorizationActforFiscalYear2019,Pub.L.
115–232,§238(g)(2),132Stat.1636,1697–98(2018)(defining“artificialintelligence”toincludesystems“developedincomputersoftware,physicalhardware,orothercontextthatsolvestasksrequiringhuman-likeperception,cognition,planning,learning,communication,orphysicalaction”).
2“GenerativeAI”referstoapplicationsofAIusedtogenerateoutputsintheformofexpressivematerialsuchastext,images,audio,orvideo.NOIat59948–49.
U.S.CopyrightOfficeCopyrightandArtificialIntelligence,Part1:DigitalReplicas
iv
InSectionII.B,weexplainwhyexistinglawsdonotprovidesufficientlegalredressforthoseharmedbyunauthorizeddigitalreplicasandproposetheadoptionofanewfederallaw.Wemakethefollowingrecommendationsregardingitscontours:
?SubjectMatter.Thestatuteshouldtargetthosedigitalreplicas,whethergeneratedbyAIorotherwise,thataresorealisticthattheyaredifficulttodistinguishfrom
authenticdepictions.Protectionshouldbenarrowerthan,anddistinctfrom,thebroader“name,image,andlikeness”protectionsofferedbymanystates.
?PersonsProtected.Thestatuteshouldcoverallindividuals,notjustcelebrities,
publicfigures,orthosewhoseidentitieshavecommercialvalue.Everyoneis
vulnerabletotheharmsthatunauthorizeddigitalreplicascancause,regardlessoftheirleveloffameorpriorcommercialexposure.
?TermofProtection.Protectionshouldendureatleastfortheindividual’slifetime.Anypostmortemprotectionshouldbelimitedinduration,potentiallywiththe
optiontoextendthetermiftheindividual’spersonacontinuestobeexploited.
?InfringingActs.Liabilityshouldarisefromthedistributionormakingavailableofanunauthorizeddigitalreplica,butnottheactofcreationalone.Itshouldnotbe
limitedtocommercialuses,astheharmscausedareoftenpersonalinnature.It
shouldrequireactualknowledgeboththattherepresentationwasadigitalreplicaofaparticularindividualandthatitwasunauthorized.
?SecondaryLiability.Traditionaltortprinciplesofsecondaryliabilityshouldapply.Thestatuteshouldincludeasafeharbormechanismthatincentivizesonlineserviceproviderstoremoveunauthorizeddigitalreplicasafterreceivingeffectivenoticeorotherwiseobtainingknowledgethattheyareunauthorized.
?LicensingandAssignment.Individualsshouldbeabletolicenseandmonetizetheirdigitalreplicarights,subjecttoguardrails,butnottoassignthemoutright.Licensesoftherightsofminorsshouldrequireadditionalsafeguards.
?FirstAmendmentConcerns.Freespeechconcernsshouldexpresslybeaddressedinthestatute.Theuseofabalancingframework,ratherthancategoricalexemptions,wouldavoidoverbreadthandallowgreaterflexibility.
?Remedies.Effectiveremediesshouldbeprovided,bothinjunctivereliefand
monetarydamages.Theinclusionofstatutorydamagesand/orprevailingpartyattorney’sfeesprovisionswouldensurethatprotectionisavailabletoindividualsregardlessoftheirfinancialresources.Insomecircumstances,criminalliability
wouldbeappropriate.
?RelationshiptoStateLaws.Givenwell-establishedstaterightsofpublicityand
privacy,theOfficedoesnotrecommendfullfederalpreemption.Federallawshouldprovideafloorofconsistentprotectionnationwide,withstatescontinuingtobeable
U.S.CopyrightOfficeCopyrightandArtificialIntelligence,Part1:DigitalReplicas
v
toprovideadditionalprotections.Itshouldbeclarifiedthatsection114(b)ofthe
CopyrightActdoesnotpreemptorconflictwithlawsrestrictingunauthorizedvoicedigitalreplicas.
SectionIIIdiscussesprotectionagainstAIoutputsthatdeliberatelyimitateanartist’sstyle.Weacknowledgetheseriousnessofcreators’concernsandidentifylegalremedies
availabletoaddressthistypeofharm.Wedonot,however,recommendincludingstyleinthecoverageofnewlegislationatthistime.
TheOfficeappreciatesandhasbenefittedfromtheextensiveandthoughtfulcommentswereceivedonthisimportanttopic.WeremainavailabletoassistasCongresscontinuesto
considerlegislativesolutions.
U.S.CopyrightOfficeCopyrightandArtificialIntelligence,Part1:DigitalReplicas
1
I.INTRODUCTION
InAprilof2023,anewsongfeaturingthevoicesofDrakeandTheWeeknddrewoverfifteenmillionviewsonsocialmediaandsixhundredthousandlistensonSpotify
.3
Yetneitherartistwasawareofthesongbeforeitsrelease,becausethevocalswereunauthorized,AI-
generatedreplicas
.4
Theviralhit“HeartonMySleeve,”commonlyreferredtoasthe“FakeDrake”song,isahigh-profileexampleofaburgeoningsubgenreofsoundrecordingsusinggenerativeAI
system
s5
tocreatevocalsthatcanpassforthoseofafavoriteartist
.6
Vocaltracksaremerelyoneformofincreasinglyrealisticreplicasofindividuals’voices,images,andartisticstyles
.7
Ina
shortperiodoftime,generativeAItechnologyhasbecomesosophisticated,andsoaccessible,thatminimalexpertiseisrequiredtorapidlyproducesuchreplicas
.8
Onsocialmediaandotherinternetplatforms,theirvolumehasskyrocketed
.9
3BillDonahue,FakeDrake&TheWeekndSong—MadeWithAI—PulledFromStreamingAfterGoingViral,BILLBOARD(Apr.17,2023),
/pro/fake-ai-drake-the-weeknd-song-pulled-streaming/
.
4ColinStutz,TheFakeDrakeAISongEarnedMillionsofStreams—ButWillAnyoneGetPaid?,BILLBOARD(Apr.19,2023),
/pro/fake-drake-ai-song-earned-millions-streams-get-paid/
.
5An“AISystem”isasoftwareproductorservicethatsubstantiallyincorporatesoneormoreAImodelsandis
designedforusebyanend-user.NOIat59948;seealsoJamesM.InhofeNationalDefenseAuthorizationActforFiscalYear2023,Pub.L.117–263,§7223(4)(A),136Stat.2395,3669(2022)(defining“artificialintelligencesystem”as“any
datasystem,software,application,tool,orutilitythatoperatesinwholeorinpartusingdynamicorstaticmachinelearningalgorithmsorotherformsofartificialintelligence”).
6JoeCoscarelli,AnA.I.HitofFake‘Drake’and‘TheWeeknd’RattlestheMusicWorld,N.Y.TIMES(Apr.19,2023),
/2023/04/19/arts/music/ai-drake-the-weeknd-fake.html
.
7See,e.g.,MelissaHeikkil?,ThisArtistIsDominatingAI-GeneratedArt.AndHe’sNotHappyAboutIt,MITTECH.REV.
(Sept.16,2022),
/2022/09/16/1059598/this-artist-is-dominating-ai-generated-art
-
and-hes-not-happy-about-it/;JaneFriedman,IWouldRatherSeeMyBooksGetPiratedThanThis(Or:WhyGoodreadsandAmazonAreBecomingDumpsterFires),JANEFRIEDMANBLOG(Aug.20,2023),
/i-would-rather
-see-my-books-pirated/.
8SeeFederalTradeCommission(“FTC”)CommentsSubmittedinResponsetoU.S.CopyrightOffice’sAug.30,2023,NoticeofInquiryat2(Oct.30,2023)(“FTCInitialComments”)(“AlthoughpolicymakershavedebatedthedisruptivepotentialofAIfordecades,thepaceofthetechnology’sdevelopmentandrollouthasacceleratedinrecentyears...
.”);Fast,Relax,&TurboModes,MIDJOURNEY,
/docs/fast-relax
(“WaittimesforRelaxare
dynamicbutgenerallyrangebetween0–10minutesperjob....TurboModeisavailableforsubscriberswhowant
extremelyquickimagegeneration....JobsruninTurbomodegenerateuptofourtimesfaster....”)(lastvisitedJuly21,2024);KarenX.Cheng(@karenxcheng),INSTAGRAM(Apr.11,2022),
/p/CcN5nBSpO9W/
(demonstratinghowtogenerateanimageinsecondsusingDALL·E).
9E.g.,DonPhilmlee,PracticeInnovations:Seeingisnolongerbelieving—theriseofdeepfakes,THOMSONREUTERS(July18,2023),
/en-us/posts/technology/practice-innovations-deepfakes/
.
U.S.CopyrightOfficeCopyrightandArtificialIntelligence,Part1:DigitalReplicas
2
A.AIandDigitalReplicas
ThisReportusestheterm“digitalreplica”torefertoavideo,image,oraudiorecordingthathasbeendigitallycreatedormanipulatedtorealisticallybutfalselydepictanindividual.A“digitalreplica”maybeauthorizedorunauthorizedandcanbeproducedbyanytypeofdigitaltechnology,notjustAI.Theterms“digitalreplicas”and“deepfakes”areusedhere
interchangeably
.10
Digitalreplicasmayhavebothbeneficialandharmfuluses.Onthepositiveside,theycanserveasaccessibilitytoolsforpeoplewithdisabilities
,11
enable“performances”bydeceasedornon-touringartists
,12
supportcreativework
,13
orallowindividualstolicense,andbe
compensatedfor,theuseoftheirvoice,image,andlikeness
.14
Inonenotedexample,musician
10Althoughtheterm“deepfake”isoftenassociatedwithunauthorizedordeceptiveuses,especiallyinexplicit
imagery,seeinfranotes22–23,somedictionarydefinitionsarebroader.Seedeepfake,MERRIAM-WEBSTERDICTIONARY,
/dictionary/deepfake
(“animageorrecordingthathasbeenconvincinglyalteredandmanipulatedtomisrepresentsomeoneasdoingorsayingsomethingthatwasnotactuallydoneorsaid”)(lastupdatedJuly20,2024);deepfake,CAMBRIDGEDICTIONARY,
/us/dictionary/english/deepfake
(“avideoorsoundrecordingthatreplaces
someone'sfaceorvoicewiththatofsomeoneelse,inawaythatappearsreal”).Inpopularmediatoo,thetermhasbeenusedtodescribeauthorizedusesaswellasmaliciousones.SeeNileshChristopher&VarshaBansal,Indian
VotersAreBeingBombardedWithMillionsofDeepfakes.PoliticalCandidatesApprove,WIRED(May20,2024),
/story/indian-elections-ai-deepfakes/
(“Politiciansareusingaudioandvideodeepfakesofthemselvestoreachvoters—whomayhavenoideathey’vebeentalkingtoaclone.“).
11E.g.,PressRelease,OfficeofCongresswomanJenniferWexton,WextonSharesVideoDebutingNewAIVoice
Model(July10,2024),
/news/documentsingle.aspx?DocumentID=952
(“Today,
CongresswomanJenniferWexton(D-VA)sharedavideodebutinganewArtificialIntelligence-generatedmodelofhervoiceasitwasbeforebeingimpactedbyherProgressiveSupranuclearPalsy(PSP)condition.”).
12UniversalMusicGroup(“UMG”),CommentsSubmittedinResponsetoU.S.CopyrightOffice’sAug.30,2023,NoticeofInquiryat5–6(Oct.30,2023)(“UMGInitialComments”);seealsoEliasLeight,WillAIBeUsedtoRaiseMusiciansFromtheDead?,BILLBOARD(Nov.29,2023),
/pro/ai-bring-back-dead-artists
-musicians-estate-managers/.
13See,e.g.,LetterfromMotionPictureAssociation(“MPA”),SummaryofExParteMeetingonMay13,2024RegardingtheOffice’sAIStudy,toU.S.CopyrightOffice2(May20,2024)(“MPAhighlightedtheimportanceofthisissuetoourmembers,giventheubiquityofdepictionofindividualsindocudramas,biopics,andsimilarworks.Andwearguedthatuseofdigital-replicatechnologyissimplyanevolutionofthetypeoftechnologyourmembershavelongusedtomakeactorsmorecloselyresemblethepeopletheyportray,includingmake-upandprosthetics.”).
14See,e.g.,AmericanAssociationofIndependentMusic(“A2IM”)etal.,ReplyCommentsSubmittedinResponsetoU.S.CopyrightOffice’sAug.30,2023,NoticeofInquiryat1–2(Dec.6,2023)(“A2IM-RecordingAcademy-RIAAJointReplyComments”);WilliamMorrisEndeavorEntertainment,LLC(“WME”),CommentsSubmittedinResponsetoU.S.CopyrightOffice’sAug.30,2023,NoticeofInquiryat2(Oct.30,2023)(“WMEInitialComments”).
U.S.CopyrightOfficeCopyrightandArtificialIntelligence,Part1:DigitalReplicas
3
RandyTravis,whohaslimitedspeechfunctionsincesufferingastroke,wasabletousegenerativeAItoreleasehisfirstsonginoveradecade
.15
Atthesametime,abroadrangeofactualorpotentialharmsarisingfromunauthorizeddigitalreplicashasemerged.Acrossthecreativesector,thesurgeofvoiceclonesandimage
generatorshasstokedfearsthatperformersandotherartistswillloseworkorincome
.16
Therehavealreadybeenfilmprojectsthatusedigitalreplicaextrasinlieuofbackgroundactors
,17
andsituationswherevoiceactorshavebeenreplacedbyAIreplicas
.18
Withinthemusicindustry,concernshavebeenraisedthattheuseofAIinsoundrecordingscouldleadtothe“l(fā)ossof
authenticityandcreativity”anddisplacementofhumanlabor
.19
Numerouscommenters,
15DylanSmith,RandyTravisHarnessesAItoReleaseHis‘FirstNewMusicinMoreThanaDecade’–AnotherSongIs
AlreadyBeingCreated,DIGIT.MUSICNEWS(May6,2024),
/2024/05/06/randy-travis
-new-song.
16See,e.g.,ScreenActorsGuild-AmericanFederationofTelevisionArtists(“SAG-AFTRA”),CommentsSubmittedinResponsetoU.S.CopyrightOffice’sAug.30,2023,NoticeofInquiryat4(Oct.30,2023)(“SAG-AFTRAInitial
Comments”);WritersGuildofAmerica(“WGA”),CommentsSubmittedinResponsetoU.S.CopyrightOffice’sAug.30,2023,NoticeofInquiryat2–3(Oct.30,2023)(“WGAInitialComments”);ChristiCarras,WhichEntertainmentJobsAreMostLikelytoBeDisruptedbyAI?NewStudyHasAnswers,L.A.TIMES(Jan.30,2024),
/entertainment-arts/business/story/2024-01-30/ai-artificial-intelligence-impact-report
-
entertainment-industry;SamO’brien,AiArt:WhySomeArtistsAreFuriousAboutAI-ProducedArt,IEEECOMPUT.SOC’Y(Nov.29,2023),
/publications/tech-news/trends/artists-mad-at-ai
;Ari’sTake,IsAIMusic
TakingRoyaltiesFromMusiciansandComposers?—TheNewMusicBusinessPodcast,YOUTUBE,at20:57(Jan.17,2024),
/watch?v=3I9dnxzjEzg
.
17JeremyDick,DisneyGetsRoastedfor‘Creepy’AIExtrasinDisney+MoviePromPact,CBR(Oct.12,2023),
/disney-prom-pact-ai-actors/
;seealsoBobbyAllyn,MovieExtrasWorryThey'llbeReplacedbyAI.HollywoodIsAlreadyDoingBodyScans,NPR(Aug.2,2023),
/2023/08/02/1190605685/
.Aswe
discussbelow,therehavebeenstepstakentoaddresstheseconcernsthroughprivateandcollectivebargainingagreements.SeeinfraSectionII.A.3.
18See,e.g.,FTCInitialComments,Attach.at37(statementofTimFriedlander,Nat’lAss’nofVoiceActors);CadeMetz,WhatDoYouDoWhenA.I.TakesYourVoice?,N.Y.TIMES(May16,2024),
/2024/05/16/technology/ai-voice-clone-lawsuit.html
;EdNightingale,Baldur’sGate3ActorsRevealtheDarkerSideofSuccessFuelledbyAIVoiceCloning,EUROGAMER(Apr.12,2024),
/baldurs-gate-3-actors-reveal-the-darker-side-of-success-fuelled-by-ai-voice-cloning
(addressingconcernsbyvideogamevoiceactors).
19See,e.g.,CVLECONOMICS,FUTUREUNSCRIPTED:THEIMPACTOFGENERATIVEAIONENTERTAINMENTINDUSTRYJOBS39–40(Jan.2024),
/wp-content/uploads/2024/01/Future-Unscripted-The-Impact-of-Generative
-Artificial-Intelligence-on-Entertainment-Industry-Jobss-1.pdf(“Withthecapabilitytorecreatemelodiesand
replicatemusicians’voicesconvincinglyandquickly,itis
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