AI plundering scripts poses 'direct threat' to
UK screen sector, says BFI
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Artificial intelligence companies are plundering
130,000 film and TV scripts to train their
models in a raid on copyrighted material that
poses a "direct threat" to the future of the UK
screen sector, according to the British Film
Institute.
In a wide-ranging report analysing the benefits
and threats posed by AI to the UK's film, TV,
video game and visual special effects
industries, the BFI also raises fears that
automation will eliminate the entry-level jobs
that bring in the next generation of workers.
It says the "primary issue" facing the GBP 125bn
industry is the use of intellectual property
(IP) to train generative AI models without
payment to, or permission from, rights holders.
The UK creative industries want to see an "opt-
in" regime, forcing AI companies to seek
permission and strike licensing deals before
they can use content, and the government is
currently in the process of considering what
legislation to put in place.
"AI offers significant opportunities for the
screen sector such as speeding up production
workflows, democratising content creation and
empowering new voices," said Rishi Coupland,
director of research and innovation at the BFI.
"However, it could also erode traditional
business models, displace skilled workers, and
undermine public trust in screen content."
While the report acknowledges the technological
benefits of AI - such as being able to de-age
actors and improving the authenticity of
accents, as was used controversially in Adrien
Brody's Oscar-winning film The Brutalist - it
also cites fears of job losses.
Tasks such as writing, translation and some
technical visual effects and character animation
can now be automated, "prompting fears of
obsolescence among professionals" amid concerns
that AI could take over the jobs once done by
the sector's youngest workers.
"AI's ability to automate tasks raises fears of
job losses, particularly for junior or entry-
level positions," the report says. "Training and
upskilling are seen as essential to prepare the
workforce for AI integration."
However, the report, published in partnership
with Goldsmiths, Loughborough and Edinburgh
universities, warns of a "critical shortfall" in
AI training provision.
"AI education in the UK screen sector is
currently more 'informal' than 'formal'," the
report says. "And many workers - particularly
freelancers - lack access to resources that
would support them to develop skills
complementary to AI."
More than 13,000 creative technology companies
are based in the UK, including more than 4,000
businesses focused on applying emerging
technologies across film, games and other
creative subsectors.
London is the world's second largest hub after
Mumbai for visual effects professionals
globally, home to leading businesses including
Framestore, whose credits include Avengers:
Endgame and the BBC's adaptation of His Dark
Materials.
The report also acknowledges that AI is likely
to significantly benefit the industry by
lowering barriers for creators "regardless of
budget or experience".
"This could empower a new wave of British
creators to produce high-quality content with
modest resources," it says.
The 45-page report makes nine recommendations
including establishing a market for IP licensing
and training, the development of "market-
preferred, culturally inclusive AI tools" and
more investment in the sector and skills
training.
The report was also produced in conjunction with
the CoStar Foresight Lab, the GBP 75.6m national
network of laboratories that is developing new
technology for the industry.
"AI offers powerful tools to enhance creativity,
efficiency, and competitiveness across every
stage of the production workflow," said Jonny
Freeman, director of CoStar. "From script
development and pre-production planning, through
on-set production, to post-production and
distribution. However, it also raises urgent
questions around skills, workforce adaptation,
ethics and sector sustainability."
Last week, the BBC director general and the boss
of Sky criticised proposals to let tech firms
use copyright-protected work without permission,
while Lisa Nandy, the culture secretary, tried
to reassure the creative industry that it would
not be harmed by future AI legislation.
"We approach you with no preferred option in
mind," she said, delivering a keynote speech at
the Deloitte Enders conference. "We are a Labour
government, and the principle [that] people must
be paid for their work is foundational. You have
our word that if it doesn't work for the
creative industries, it will not work for us."
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