Throughout his over 40-year career in the entertainment industry, Thomas R. Moore has been engaged in the task of picture editing for various television shows. His process would typically involve condensing hours of footage into the initial cut of an episode within a span of approximately ten days. He would then spend an additional two to three weeks vetting and implementing feedback from varying team members such as the director, producers, and the network itself. Once one episode was satisfactorily refined, he would receive raw footage for the next episode to start the cycle anew. This process would cycle through to the end of a television season, often involving collaborative work with other editors.
Mr. Moore’s concerns regarding the growing influence of Artificial Intelligence (AI) in his line of work are shared by many other industry professionals. Based on multiple dialogues with diverse roles in Hollywood, there’s a prevalent apprehension that AI technology could gradually replace human labor. Most of the concerned personnel belong to the International Alliance of Theatrical Stage Employees (IATSE), a labor union responsible for negotiating AI usage safeguards.
Despite the mounting worries, IATSE recently approved a contract with a large approving vote that allows studios to mandate the use of AI technologies – a development that echoed the fears harbored by Mr. Moore and his contemporaries. Some labor analysts are of the view that with a prevailing industry downturn, the safeguarding measures negotiated by the union, such as regular AI-related dialogue with studios, might be the best achievable prospective outcome.
Union leaders concede that preventing the incorporation of AI technologies in Hollywood tasks is likely impossible. At a town hall discussion, regarding the contract that covers a vast range of roles, including make-up artists, set designers, lighting technicians, and camera operators, the union president suggested members to adapt positively. The failure to establish stricter regulations for AI application is seen by Mr. Moore and others as an ominous sign with potential implications extending beyond Hollywood.
The entertainment industry’s history is intertwined with incessant technological advancements, and editors, like other roles, have been no exception to this paradigm shift. Sound editors, for example, had traditionally manually spliced alternative soundbites to eliminate unwanted noises from dialogues. About a decade and a half ago, this changed with software from a company named iZotope, which made it possible to omit unwanted sounds without the previous method of splicing.
A seasoned sound editor, who chose to remain anonymous, opined that despite the reduced craftsmanship due to this software, it indeed made the task more efficient. The human touch was still essential, however. An editor’s refined acumen was still crucial to remove just the right amount of noise for maintaining dialogue authenticity while avoiding distraction. But now, next-generation AI tools have emerged which can largely mirror the tasks of sound editors with minimal need for their refined skills.
Similar trends of AI’s encroachment on human-effort are visible in other areas of the movie industry. Artists have reported the increased usage of AI-powered illustrations at work. Tyler Perry, a renowned actor and filmmaker, publicly admitted to preferring AI over makeup artists for two of his upcoming films.
The members of IATSE express a hopeful desire that their union would emulate the Hollywood writers union which secured specific protections during a five-month strike last year. The writers succeeded in prohibiting mandatory use of AI programs for scripts and outlines and enacting strict staffing and duration rules to limit job losses. However, the recent IATSE agreement didn’t include these safeguards.
The new IATSE contract doesn’t have any obligation against requiring workers to contribute input that may eventually make union members disposable. The contract affirmatively allows studios to direct employees to utilize AI systems. Workers are concerned this may motivate studios to hire less human labor as they realize the increased productivity that AI tools can bring.
A lot of the contract’s AI stipulations, such as promising future negotiations on AI impact, are merely procedural. They don’t bind studios to any definite commitments like preserving any minimum number of jobs. A spokesperson from IATSE pointed out that many other economic factors also influence employment in the industry rather than just AI. The latest contract does mandate routine meetings between the union and individual studios, which could serve as a platform to further develop policy.
It is apparent that the leadership of IATSE is not ignorant to its members’ anxiety concerning AI. At a town hall meeting discussing the new contract, Cathy Repola, the executive director of the editor’s local, admitted the impact of AI would be unprecedented. However, some members of the Animation Guild fear that these AI provisions might have complicated their negotiations.
Navigating these complexities is difficult as this pattern bargaining can set precedents for other negotiations within the industry. Or as Brandon Jarratt, a member of guild’s board and its AI task force, puts it – the crux of the matter boils down to the ability to apply the appropriate leverage and pressure. Amid these grave concerns, they all continue to strive for the best possible outcome in these challenging times.