logo
Voice actors push back as AI threatens dubbing industry

Voice actors push back as AI threatens dubbing industry

Japan Today6 days ago
FILE PHOTO: FILE PHOTO: Figurines with computers and smartphones are seen in front of the words "Artificial Intelligence AI" in this illustration taken, February 19, 2024. REUTERS/Dado Ruvic/Illustration/File Photo
By Elizabeth Pineau, Miranda Murray and Dawn Chmielewski
Boris Rehlinger may not turn heads on the streets of Paris, but his voice is instantly recognizable to millions of French filmgoers.
As the French voice of Ben Affleck, Joaquin Phoenix, and even Puss in Boots, Rehlinger is a star behind the scenes — and now he is fighting to keep his craft alive in the age of AI.
"I feel threatened even though my voice hasn't been replaced by AI yet," the actor, who is part of a French initiative, TouchePasMaVF, to protect human-created dubbing from artificial intelligence, told Reuters.
He said there was a team of professionals, including actors, translators, production directors, dialogue adapters and sound engineers, to ensure audiences barely notice that the actor on screen is speaking a different language than they hear.
The rise of global streaming platforms such as Netflix, which relies heavily on dubbing to make global hits such as "Squid Game" and "Lupin", has amplified demand.
Consumer research firm GWI says 43% of viewers in Germany, France, Italy and Britain prefer dubbed content over subtitles.
The market is expected to grow to $4.3 billion in 2025, reaching $7.6 billion by 2033, according to Business Research Insights.
That growth could also amplify demand for the so-far nascent technology-based solutions, with platforms competing for subscribers and revenue, and seeking to win over advertisers from their rivals by emphasising their increasing reach.
But as AI-generated voices become more sophisticated and cost-effective, voice actor industry associations across Europe are calling on the EU to tighten regulations to protect quality, jobs and artists' back catalogues from being used to create future dubbed work.
"We need legislation: Just as after the car, which replaced the horse-drawn carriage, we need a highway code," Rehlinger said.
Worries over technology in the movie industry and whether it will replace the work of humans are not new. AI has been a flashpoint in Hollywood since the labour unrest of 2023, which resulted in new guidelines for the use of the technology.
Netflix co-CEO Ted Sarandos said this month that the company used generative AI to produce visual effects for the first time on screen in the original series "El Eternauta (The Eternaut)".
It has also tested GenAI to synchronise actors' lip movements with dubbed dialogue to improve the viewing experience, according to three sources familiar with the work.
These experiments rely on local voice actors to deliver the lines, rather than use AI to synthetically translate the on-screen performer's voice into another language.
Such a use of AI for dubbing is permitted under the new SAG-AFTRA actors' union contract, which covers voice-over dubbing from foreign languages into English. It also requires that the actor rendering the dubbing service be paid.
Netflix declined to comment on its use of AI in dubbing when asked by Reuters.
INTELLECTUAL PROPERTY
Such test-runs by an industry giant will do little to allay the fears of dubbing actors.
In Germany, 12 well-known dubbing actors went viral on TikTok in March, garnering 8.7 million views, for their campaign saying "Let's protect artistic, not artificial, intelligence".
A petition from the VDS voice actors' association calling on German and EU lawmakers to push AI companies to obtain explicit consent when training the technology on artists' voices and fairly compensate them, as well as transparently label AI-generated content, gained more than 75,500 signatures.
When intellectual property is no longer protected, no one will produce anything anymore "because they think 'tomorrow it will be stolen from me anyway'," said Cedric Cavatore, a VDS member who has dubbed films and video games including the PlayStation game "Final Fantasy VII Remake".
VDS collaborates with United Voice Artists, a global network of over 20,000 voice actors advocating for ethical AI use and fair contracts.
In the United States, Hollywood video game voice and motion capture actors this month signed a new contract with video game studios focused on AI that SAG-AFTRA said represented important progress on protections against the tech.
STUDIOS EXPERIMENT
Some studios are already cautiously exploring AI.
Eberhard Weckerle, managing director of the Neue Tonfilm Muenchen studio, hopes AI and human dubbing can one day coexist.
"The fear is that AI will be used to make something as cheap as possible and then people will say, 'Okay, I'll accept that I'll have poorer quality'. And that would actually be the worst thing that could happen to us," said the sound engineer whose studio worked on the German version of "Conclave" and is currently dubbing Guy Ritchie's new film.
Earlier this year, the German-dubbed version of streaming service Viaplay's Polish crime series "Murderesses" was removed after criticism from viewers about the monotony of its AI-generated dialogue.
The streamer had decided to look into alternative dubbing options due to how prohibitively expensive going through the traditional channels can be in Germany.
The hybrid dubbing, created with Israeli startup DeepDub, used a mix of human and AI voices. DeepDub did not respond to an emailed request for comment.
"We'll continue offering subtitles and reserve dubbing for select content," said Vanda Rapti, the executive vice president of ViaPlay Group, ViaPlay Select & Content distribution.
Despite the disquiet over that series, other potential viewers seem more sanguine. According to GWI, nearly half of viewers said their opinion would not change if they learned that the content they liked was generated by AI.
Some 25% said they would like it slightly less, and only 3% said they would like it much more.
'INTEREST IS HUGE'
Stefan Sporn, CEO of Audio Innovation Lab, which used AI to dub the Cannes Film Festival entry "Black Dog" from Chinese to German, believes AI will reshape, but not replace, voice work.
Humans will always be needed for emotion, scripting, and language nuance, he said, "just not to the same extent".
Audio Innovation Lab's technology alters the original actor's voice to match the target language, aiming for authenticity and efficiency.
"Interest is huge," said Sporn, adding that producers, studios and advertisers all want to know how well it works.
Another startup, Flawless AI, bills itself as an ethical AI company that works with local voice actors and uses its technology to match the on-screen actor's lip movements to the different languages.
"When AI technologies are used in the right way, they are a silver bullet to change how we can film-make in a new way," co-CEO Scott Mann said.
© Thomson Reuters 2025.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Live Jazz in Tokyo: Cécile McLorin Salvant Quartet
Live Jazz in Tokyo: Cécile McLorin Salvant Quartet

Metropolis Japan

time6 hours ago

  • Metropolis Japan

Live Jazz in Tokyo: Cécile McLorin Salvant Quartet

After her sold-out performance at the Cotton Club last year, Cécile McLorin Salvant—a leading voice in contemporary jazz—returns to Blue Note Tokyo for the first time in seven years. A three-time Grammy Award winner for Best Jazz Vocal Album, she was also nominated in two categories at this year's Jazz Journalists Association Awards. Born in Miami to a Haitian father and a French mother, Cécile gained international recognition at age 21 after winning the Thelonious Monk Competition. For this Tokyo performance, she appears in a quartet with her longtime collaborator Sullivan Fortner, along with Yasushi Nakamura and Kyle Poole, both active members of the New York jazz scene. Blue Note is welcoming her powerful return to Japan. Members Cécile McLorin Salvant Sullivan Fortner Yasushi Nakamura Kyle Poole Showtimes First showing: Open at 5pm, starting at 6pm Second showing: Open 7:45pm, starting at 8:30pm Cécile McLorin Salvant will be performing on the 20th, 21st and 22nd.

What to stream: Eddie Murphy and Pete Davidson team up and 'King of the Hill' and 'Wednesday' return
What to stream: Eddie Murphy and Pete Davidson team up and 'King of the Hill' and 'Wednesday' return

Japan Today

time20 hours ago

  • Japan Today

What to stream: Eddie Murphy and Pete Davidson team up and 'King of the Hill' and 'Wednesday' return

New Orleans legend Big Freedia returning with a new gospel album and the acting trio of Eddie Murphy, Pete Davidson and Keke Palmer teaming up for the armored truck action comedy 'The Pickup' are some of the new television, films, music and games headed to a device near you. Also among the streaming offerings worth your time, as selected by The Associated Press' entertainment journalists: The animated 'King of the Hill' returns after a 15-year pause, the first half of season two of 'Wednesday' lands on Netflix appropriately on Wednesday and the 'Welcome to Wrexham' spinoff 'NECAXA' premieres with Eva Longoria. New movies to stream from Aug 4-10 — Eddie Murphy and Pete Davidson are armored truck drivers coerced into a heist in the action comedy 'The Pickup.' Keke Palmer plays the criminal mastermind who disrupts their routine drive. Eva Longoria, Andrew Dice Clay and Marshawn Lynch co-star in the movie, which made headlines during its Atlanta production after several crew members were injured in a collision during the shoot. It streams on Prime Video on Aug. 6. — Filmmaker Osgood Perkins' latest horror 'The Monkey' will be streaming on Hulu starting Thursday. The follow-up to his breakout hit 'Longlegs' was inspired by a 1980 Stephen King story. Theo James plays twin brothers whose lives turn to chaos when a demonic toy monkey stars causes deaths around them. In her review for The Associated Press, Jocelyn Noveck wrote that it felt 'uneven.' She added that, 'surely there will be an audience for the creatively rendered gore. The rest of us may feel left with a witty, visually arresting, highly inventive quasi-mess on our hands.' — If you haven't had enough Pedro Pascal this year, he's a key part of Anna Boden and Ryan Fleck's 'Freaky Tales,' streaming on HBO Max on Friday, Aug. 8. The anthology action comedy follows four interconnected stories in Oakland, California, in 1987. Before the film's Sundance debut in 2024, Boden told the AP that 'It's a movie lover's movie … It has one foot in reality and then one foot just launches off into fantasy.' — AP Film Writer Lindsey Bahr New music to stream — New Orleans legend Big Freedia, the queen of bounce music (and a notable Beyoncé collaborator, lest anyone forget the zeitgeist-shifting 'Renaissance' ), is back with a new album. But 'Pressing Onward' is new territory for the artist. It's her first gospel album and it still manages to induce as much booty-shaking as ever before. The difference this time is that her vibrant sonic celebrations are all about faith. Start with 'Holy Shuffle' featuring Billy Porter or 'Sunday Best' with Tamar Braxton. It's good for the soul. — For several years now, one of the most exciting names in heavy rock music has been BABYMETAL, Japanese kawaii metal trio that marries pop idol culture with chugging riffs, full-throated vocals, blast beats and bilingual lyricism. They've inspired fanfare across the globe, and on Friday, they'll release their fifth studio album, 'METAL FORTH.' It features guest spots from Poppy, Spiritbox and Rage Against the Machine's Tom Morello. Clearly, it's not for the faint of heart. — AP Music Writer Maria Sherman New series to stream — Would you believe it's been 15 years since 'King of the Hill' went off the air? The animated comedy returns Monday with a new 14th season on its new home, Hulu. All 10-episodes drop at once for bingeing. The show picks up give or take 10 years after the events of season 13. Hank and Peggy are both retired after returning from Saudi Arabia, where Hank had been working. Their kids are now grown. Adjusting to life as retirees and in the current political climate in America presents challenges for the couple. — Another long wait comes to an end Wednesday when the first half of season two of 'Wednesday' premieres on Netflix. The show follows teen Wednesday Addams (played by Jenna Ortega) as she studies at a boarding school called Nevermore Academy. Ortega's deliciously deadpan delivery earned her an Emmy Award nomination for her work on Season 1. Catherine Zeta-Jones and Luis Guzmán play Wednesday's parents, Morticia and Gomez. — Seth Rogen and Rose Byrne proved that yes, men and women can be just friends in the first season of their Apple TV+ comedy called 'Platonic. ' The codependent buddies, Will and Sylvia are back with a new season on Wednesday. We meet them again and Will is engaged to his boss — who doesn't like Sylvia. And Sylvia is planning their wedding. Will is struggling to open his bar and Sylvia's event-planning business has yet to take off. — More than two years ago, AMC Networks pulled the plug on its sci-fi comedy 'Demascus ' as a cost-cutting measure even though production was already completed. Tubi has rescued the show, starring Okieriete Onaodowan, and it premieres Thursday. It's about a man who begins using an experimental technology that allows him to experience different timelines of his life. — The 'Outlander' prequel 'Outlander: Blood of my Blood' debuts on Starz on Friday, Aug. 8. It's about the parents of Claire and Jamie from 'Outlander.' Unlike its predecessor, 'Blood of my Blood' does not have source material by author Diana Gabaldon but its showrunner Matthew B. Roberts also works on 'Outlander' and is very familiar with the lore. The cast is already filming a second season. It streams on the Starz App or through platforms like Hulu and Prime Video. — The 'Welcome to Wrexham' spinoff "NECAXA ' premieres Thursday on FX on Hulu. After their success owning the Welsh soccer team Wrexham AFC, Ryan Reynolds and Rob McElhenney join Eva Longoria and buy a stake in a Mexican club, NECAXA, 'It's more than winning games. We're gonna win hearts. We're gonna inspire pride. We're gonna empower the team,' Longoria says in the trailer. — Alicia Rancilio New video games to play — The Mafia series from 2K Games has moved from 1930s Chicago to 1940s New York to 1960s New Orleans, but now it's going back in time and space. Mafia: The Old Country aims to deliver an origin story of sorts, traveling to 1900s Sicily. Enzo Favara is a young man who's suffered a rough childhood, and he is hoping to improve his status by working for the Torrisi crime family. That means pulling off heists, punching out rivals and killing anyone who might threaten the Don. The cars may be slower and the weapons may not be as slick, but if you're bummed out about having to wait for the next Grand Theft Auto, you might want to spend some time with the original gangsters. It arrives Friday, Aug. 8, on PlayStation 5, Xbox X/S and PC. — Lou Kesten © 2025 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed without permission.

Netflix is now using generative AI – but it risks leaving viewers and creatives behind
Netflix is now using generative AI – but it risks leaving viewers and creatives behind

Japan Today

time4 days ago

  • Japan Today

Netflix is now using generative AI – but it risks leaving viewers and creatives behind

By Edward White Netflix's recent use of generative AI to create a building collapse scene in the sci-fi show "El Eternauta" (The Eternaut) marks more than a technological milestone. It reveals a fundamental psychological tension about what makes entertainment authentic. The sequence represents the streaming giant's first official deployment of text-to-video AI in final footage. According to Netflix, it was completed ten times faster than traditional methods would have allowed. Yet this efficiency gain illuminates a deeper question rooted in human psychology. When viewers discover their entertainment contains AI, does this revelation of algorithmic authorship trigger the same cognitive dissonance we experience when discovering we've been seduced by misinformation? The shift from traditional CGI (computer-generated imagery) to generative AI is the most significant change in visual effects (VFX) since computer graphics displaced physical effects. Traditional physical VFX requires legions of artists meticulously crafting mesh-based models, spending weeks perfecting each element's geometry, lighting and animation. Even the use of CGI with green screens demands human artists to construct every digital element from 3D models and programme the simulations. They have to manually key-frame each moment, setting points to show how things move or change. Netflix's generative AI approach marks a fundamental shift. Instead of building digital scenes piece by piece, artists simply describe what they want and algorithms generate full sequences instantly. This turns a slow, laborious craft into something more like a creative conversation. But it also raises tough questions. Are we seeing a new stage of technology – or the replacement of human creativity with algorithmic guesswork? "El Eternauta's" building collapse scene demonstrates this transformation starkly. What would once have demanded months of modeling, rigging and simulation work has been accomplished through text-to-video generation in a fraction of the time. The economics driving this transformation extend far beyond Netflix's creative ambitions. The text-to-video AI market is projected to be worth $1.77 billion by 2029. This reflects an industry looking to cut corners after the streaming budget cuts of 2022. In that year, Netflix's content spending declined 4.6%, while Disney and other major studios implemented widespread cost-cutting measures. AI's cost disruption is bewildering. Traditional VFX sequences can cost thousands per minute. As a result, the average CGI and VFX budget for U.S. films reached $33.7 million per movie in 2018. Generative AI could lead to cost reductions of 10% across the media industry, and as much as 30% in TV and film. This will enable previously impossible creative visions to be realized by independent filmmakers – but this increased accessibility comes with losses too. The OECD reports that 27% of jobs worldwide are at 'high risk of automation' due to AI. Meanwhile, surveys by the International Alliance of Theatrical Stage Employees have revealed that 70% of VFX workers do unpaid overtime, and only 12% have health insurance. Clearly, the industry is already under pressure. Power versus precision While AI grants filmmakers unprecedented access to complex imagery, it simultaneously strips away the granular control that defines directorial vision. As an experiment, film director Ascanio Malgarini spent a year creating an AI-generated short film called "Kraken" (2025). He used AI tools like MidJourney, Kling, Runway and Sora, but found that 'full control over every detail' was 'simply out of the question'. Malgarini described working more like a documentary editor. He assembled 'vast amounts of footage from different sources' rather than directing precise shots. And it's not just filmmakers who prefer the human touch. In the art world, studies have shown that viewers strongly prefer original artworks to pixel-perfect AI copies. Participants cited sensitivity to the creative process as fundamental to appreciation. When applied to AI-generated content, this bias creates fascinating contradictions. Recent research in Frontiers in Psychology found that when participants didn't know the origin, they significantly preferred AI-generated artwork to human-made ones. However, once AI authorship was revealed, the same content suffered reduced perceptions of authenticity and creativity. Hollywood's AI reckoning Developments in AI are happening amid a regulatory vacuum. While the U.S. Congress held multiple AI hearings in 2023, no comprehensive federal AI legislation exists to govern Hollywood's use. The stalled U.S. Generative AI Copyright Disclosure Act leaves creators without legal protections, as companies deploy AI systems trained on potentially copyrighted materials. The UK faces similar challenges, with the government launching a consultation in December 2024 on copyright and AI reform. This included a proposal for an 'opt-out' system, meaning creators could actively prevent their work from being used in AI training. The 2023 Hollywood strikes crystallised industry fears about AI displacement. Screenwriters secured protections ensuring AI cannot write or rewrite material, while actors negotiated consent requirements for digital replicas. Yet these agreements primarily cover the directors, producers and lead actors who have the most negotiating power, while VFX workers remain vulnerable. Copyright litigation is now beginning to dominate the AI landscape – over 30 infringement lawsuits have been filed against AI companies since 2020. Disney and Universal's landmark June 2025 lawsuit against Midjourney represents the first major studio copyright challenge, alleging the AI firm created a 'bottomless pit of plagiarism' by training on copyrighted characters without permission. Meanwhile, federal courts in the U.S. have delivered mixed rulings. A Delaware judge found against AI company Ross Intelligence for training on copyrighted legal content, while others have partially sided with fair use defenses. The industry faces an acceleration problem – AI advancement outpaces contract negotiations and psychological adaptation. AI is reshaping industry demands, yet 96% of VFX artists report receiving no AI training, with 31% citing this as a barrier to incorporating AI in their work. Netflix's AI integration shows that Hollywood is grappling with fundamental questions about creativity, authenticity and human value in entertainment. Without comprehensive AI regulation and retraining programs, the industry risks a future where technological capability advances faster than legal frameworks, worker adaptation and public acceptance can accommodate. As audiences begin recognizing AI's invisible hand in their entertainment, the industry must navigate not just economic disruption, but the cognitive biases that shape how we perceive and value creative work. Edward White is a PhD Candidate in Psychology, Kingston University, London. The Conversation is an independent and nonprofit source of news, analysis and commentary from academic experts. External Link © The Conversation

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store