美国版权与人工智能报告

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

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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

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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

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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.,MelissaHeikkilä,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

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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

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RandyTravis,whohaslimitedspeechfunctionsincesufferingastroke,wasabletousegenerativeAItoreleasehisfirstsonginoveradecade

.15

Atthesametime,abroadrangeofactualorpotentialharmsarisingfromunauthorizeddigitalreplicashasemerged.Acrossthecreativesector,thesurgeofvoiceclonesandimage

generatorshasstokedfearsthatperformersandotherartistswillloseworkorincome

.16

Therehavealreadybeenfilmprojectsthatusedigitalreplicaextrasinlieuofbackgroundactors

,17

andsituationswherevoiceactorshavebeenreplacedbyAIreplicas

.18

Withinthemusicindustry,concernshavebeenraisedthattheuseofAIinsoundrecordingscouldleadtothe“lossof

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