Dubbing is the best as an art form when it focuses on itself as little as possible.

Ironically, it is well-known for voiceovers - or synchronized artists - whose voices have become the biggest sound in Europe's battles using artificial intelligence technology in film and television production.

On April 1, several leading voice artists in Germany, including actors who provide German voices for Ben Affleck, Angelina Jolie and Spongebob Squarepants, released a video that spreads to warn them of dangers in their work, their work suffered the rise of the film and was raised by robotic artificial sounds.

Dubbing from all over Europe also has similar alarms. More than 215,000 people have signed an online petition called #TouchePasmavf (Don't Touch My Dubbing), launched by French performing artists and voiceover association Les Voix in conjunction with SFA, warning that synchronized artists “work with highly talented writers and technicians who work together to build a world of quality with them in danger”. AI terms - preventing cloning or reuse or performing actors without clear agreements and compensation - are a key part of the new national contract of the Italian voiceover association Anad, and the Spanish voiceover was used as a role model when they negotiated with Studios and Studers with their own agreements.

The pushback successfully derailed some of the highly anticipated AI-DUBs. Online anger forces German streamer Magentatv to remove Polish crime series murderTwo days after its premiere on February 1, its German version was created in AI Assist of Israeli startup Deepdub. Brit Group Elevenlabs plans to use AI clones from late actor Alain Dorval, whose Gravelly Gallic has been the voice of Sylvester Stallone for decades armora new Stallone movie. After the industry’s backlash, Amazon is eager to announce that it will hire an actual person to sync.

In 2023, during Hollywood actor strikes, the AI ​​dispute is the main point of the debate. However, it seems that Europe will avoid similar conflicts of using artificial intelligence in the entertainment industry for some time. In the United States, most of the creatives who use work on the basis of work dominate, and it is understandable that being cautious about the replacement of AI tools is understandable. In contrast, the European industry is dominated by small and medium-sized production companies, moms and mini groups that see a lot of potential upside in AI.

In March, three industry veterans: former Studiocanal CEO Didier Lupfer, Ex-TF1 executive executive Eduva Boccon-Gibod and Tech Innovator Tariq Krim founded the media company, which aims to "turn the film industry completely by integrating AI into every stage of the creative process." In April, production giant Fremantle My father's shadow Premiered at this year’s Cannes Film Festival, with Imaginae Studios following the example, an independent AI tag aimed at “using the power of artificial intelligence to serve and support its creative talent, pushing production boundaries and driving innovation in storytelling.”

"If you look at the absorption of AI in our industry, it doesn't have a membership like technophobia or hate AI," said Charlotte Lund Thomsen, legal counsel for the Global Manufacturers Association.

Even the union joined. The German Actors Union, BFFS and union group Verdi signed a collective bargaining agreement that came into effect on March 1 with the German producers’ alliance to create a clear guardrail for the use of AI in filmmaking. The agreement states that it was signed by Wiebke Wiesner, deputy director of the Producers Alliance, “without any paralyzed strikes, just like other countries.”

In terms of legislation, Europe also appeared several miles before the United States. In August 2024, the EU passed the AI ​​Act, the world's first law aimed at regulating artificial intelligence technology. Audio and deep video must be clearly identified in addition to the need for tags (images created or manipulated by AI) - The law states that technology companies must comply with Europe's 2019 Copyright Act, which allows copyright holders to have exclusive rights to authorize or prohibit their works and require the use of "reasonable and appropriate online use" to use their works online. The 2019 law also gives each copyright holder the right to opt out to prevent its material from being used entirely online or specifying what purpose and purpose.

However, the AI ​​Act includes a big vulnerability that allows for "text and data mining" exemptions for education, research or journalism purposes. Dubbing and other European creatives believe that vulnerabilities allow robots to strip their content. On March 28, 15 cultural organizations and groups representing screenwriters, musicians and authors, including FIAPF, warned that the latest draft of the Code of Practice, the Guide to Implementation of the AI ​​Act, “constitutes legal uncertainty, misunderstanding of EU copyright law and weakens obligations in the AI ​​Act.” They claimed that the draft poses a “systemic risk” for creatives in Europe.

Thomson fears that the world's largest AI companies can use loopholes in the AI ​​Act to collect a large amount of intellectual property to conquer pirated websites for copyrighted movies, music or books. The draft only prohibits the use of "famous pirated sites" for data waste. "But we know these sites change every day," she said.

The draft Code of Practice requires model providers to comply with copyright laws in data mining without having to specify what “reasonable” might constitute, and set the standard of lower transparency requirements as transparency.

“The principle that really put my hair in the footsteps is to limit transparency reports to the highest list of resources that make up 5% to 10% of the AI ​​model,” Thomson said. “So, basically, that means 90% or our membership is still a black hole if they use their work.”

As of August 2, most AI bills will be legally enforceable. If the legal gap before this was not closed, the voice behind Europe's creative sector fears that AI might tear down its claimed revolutionary market.

"It's not about stopping AI, but about making sure there are elements that allow the market for AI to grow," said Benoît Ginisty, managing director of FIAPF. "If you want to grow for the (entertainment) sector and the economy as a whole, the only way is to ensure the legal framework to allow the licensing market to grow."

A version of the story first appeared on May 7 of the Hollywood Reporter magazine. To receive magazines, click here to subscribe.