Morgan Freeman's celebrated baritone has been repurposed for projects the actor has not approved, and he is not happy about it. Freeman called out those unauthorized artificial intelligence-fueled voice clones in a post on X, thanking supporters for alerting him and his management about where AI-replicated versions of his voice have appeared.
“Thank you to my incredible fans for your vigilance and support in calling out the unauthorized use of an A.I. voice imitating me,” Freeman posted, adding hashtags such as “#scam,” “#imitation,” and “#IdentityProtection.”
Thank you to my incredible fans for your vigilance and support in calling out the unauthorized use of an A.I. voice imitating me. Your dedication helps authenticity and integrity remain paramount. Grateful. #AI #scam #imitation #IdentityProtectionJune 28, 2024
Though Freeman doesn't cite it specifically, his post is likely a reference to a new video in a viral TikTok series where an ersatz version of his voice narrates the activities of his “niece,” TikTok user @justinescameraroll, known as Justine.
Her “Day in the Life of a Nepo Niece” videos have collectively amassed over one million views from her 218,6,000 TikTok and 123,000 Instagram followers. She captioned her most recent post, which has the voice clone of Freeman narrating, with, “Uncle Mo has been booked and busy, but I finally got him to narrate my trip!” A post of the video shared on X then reached 16.4 million people and may have prompted Freeman's reaction based on the timing.
Justine later confirmed in a follow-up video that her video did not feature Freeman's real voice, adding, “I was just having a little bit of fun.”
Famous Fakes
The iconic nature of Freeman's voice means there's a lot of interest in imitating it for everything from the social media videos mentioned to full film narrations. ElevenLabs made a voice specifically designed to imitate Freeman. For instance, though the documentary “The Power of Chi” lists Freeman as the narrator, and it's on IMDB that way, Freeman has never even mentioned it. Plus, his voice in the film sounds more than a little off, as you can hear in the link. He might just be phoning it in for a paycheck from the obscure documentary, or it might be AI.
Freeman is far from alone among celebrities concerned about how AI-created versions of their face or voice might be used without their permission. In May, actress Scarlett Johansson voiced her anger upon discovering an OpenAI chatbot that sounded disturbingly similar to her voice. Johansson, who played an AI assistant in the 2013 film Her,found the situation particularly unsettling. OpenAI responded by announcing plans to discontinue the use of the ChatGPT voice that resembled Johansson's, though without admitting any fault.
The same goes for videos, which use deepfakes of celebrities to try and trick people into thinking the famous person endorsed the scam. Tom Hanks has had to alert fans about a deepfake video of himself on social media. So has trusted British consumer advice guide Martin Lewis, who warned of a deepfake video attempting to trick people into sending money for a scam investment.
The rapid advancement of AI has outpaced regulatory measures, leading to situations where individuals' voices and likenesses can be replicated without consent. The concern over AI-generated imitations is not limited to actors. AI music creation startups Suno and Udio are facing a lawsuit from the Recording Industry Association of America (RIAA) and major music labels for copyright infringement.
It makes total sense that Spotify would chase after TikTok.
TikTok is what all the kids are into and so naturally every major brand is out here trying to capture a slice of that highly sought-after market, but Spotify's new redesign featuring videos and a vertical scroll that mimics the wildly-popular social media app prefered by Gen-Z is bound to fail just as certainly as Spotify is bound to try it anyway. We've seen this story play out a thousand times before, and it doesn't get any less sad with repetition.
It's the kind of thing that is so transparently lame that Gen-Z is bound to shrug it off if it doesn't downright laugh at it, and all Spotify is doing in the attempt is risking alienating the people who actually use the music service.
I'm not saying that Spotify cannot try something new, it absolutely should, but let's put the emphasis on new.
Kids aren't going to use a boomer music app
Whether it's Instagram or Spotify, every legacy tech company is pretty much having a midlife crisis right now and buying the proverbial sports car thinking that this is what will make them young and appealing again, and TikTok is absolutely to blame.
There's something about a new app coming on the scene to steal away the hearts and minds and screen time of a highly desirable 12-to-18 demographic to make a legacy app question itself. Apps, like people, hate to feel like the times have passed them by.
I, too, have felt the sting of no longer being the young millennial that seemed to know what all the latest trends were. But the only thing worse than hearing 1996's Doom get called a Boomer Shooter by a 14 year-old is talking to that 14 year-old like I was one of their cohort.
And that's what all these tech companies pivoting to TikTokify themselves are doing, at its core, and kids can sniff the poser stink off the effort from half a world away. Gen Z is wedded to TikTok, and no company is shaking them, no matter how much they try.
Change is good, but not like this
(Image credit: Shutterstock / Ti Vla)
There is absolutely nothing wrong with shaking things up, and redesigns can be great. New UI experiences can streamline a service and give your user base more of what it wants, and there's always the allure of a new look.
Spotify even has a real reason to make needed changes. It's expanded well beyond just being a music streaming app, and UI changes are definitely warranted as a result.
But change has to be driven by need, and an entirely new redesign needs to emerge from the needs of the existing user base, not from an attempt to capture another one entirely. I can tell you that plenty of existing users are going to absolutely hate the new design, and they might head elsewhere. Apple Music isn't pulling this kind of thing.
So all Spotify is doing is risking existing users to dress itself up like the Steve Buscemi meme.
Change needs to come from within if it's going to work
(Image credit: Shutterstock / Chubo – my masterpiece)
The strangest thing about the whole obsession with TikTok is that there are plenty of social media and tech companies that already have incredibly strong brands as it is.
As much as we've tried to get away from it in recent months, there really is nothing like Twitter out there, and Spotify has an equally strong brand ID. Why risk throwing that away just to be a TikTok clone that Zoomers can point at while rolling their eyes from the back seat of the car?
Spotify should work within that structure to find the needed change it will inevitably have to introduce, since that is ultimately what has the best chance of success. No, you might not win over the Gen Z crowd, but Spotify was never going to do that.
Build a strong enough brand and eventually many Gen Zers might end up migrating to Spotify over time when TikTok no longer serves their needs — or when some other upstart app hits the scene and wins over whatever Gen Z's younger siblings are called and TikTok upends its entire interface to chase after that apps audience.
Hopefully, by then, Spotify and other tech brands will have learned to age gracefully like the rest of us.
In Holopresence land you can be two places at once. One is sitting on a director’s chair in front of a green screen, sweating under a half dozen stage lights. The other is half a world away on a semi-translucent screen, addressing an audience who almost believes you’re sitting right there with them.
I walked across midtown Manhattan in the soaking rain to see ARHT Media’s Holopresence experience in person earlier this week. (And with water dripping off my hat and coat, I found myself wishing I’d done this meeting as a hologram.)
To be clear, what ARHT provides is not, technically, a hologram. It’s a canny projection system that employs mostly off-the-shelf technology, a proprietary screen, and special software to make people believe someone is sitting in front of you, as opposed to – in my case – Toronto.
He was never really there
ARHT Media is a Toronto, Canada, telepresence company that just opened its first Holopresence studio in a WeWork building in midtown Manhattan. They invited me for a look.
As I walked into the WeWork space, basically a vast, mostly unfurnished office floor, I was greeted by ARHT Media SVP Terry Davis and company CEO Larry O’Reilly, who was standing off to the side looking at his phone. O’Reilly looked a little odd, as though he was standing before a bright light that I couldn’t see. Suddenly he abruptly dematerialized and was gone — my first experience with this Holopresence technology.
I wanted to try this for myself, but before anyone could transform me into a Holopresence, Davis walked me through the technology's fundamentals.
“We’re a projection system,” Davis told me. Gesturing toward the cube-like set up in a semi-darkened space on the far side of a cavernous WeWork room, where O’Reilly had “stood” just moments ago, Davis explained that the entire system is portable and “breaks down into a couple of duffle bags. We go anywhere in the world.”
The cube that “virtual you” beam in and out from consists of poles, black curtains on the back and sides, and a special screen stretched across the front. Unlike a standard movie screen, this one is a nylon-like mesh with a high-gain reflective coating. “It’s transparent and reflective at the same time,” explained Davis.
Aside from ARHT’s matrixed software (handling multi-channel communication for various holopresences in real-time), the screen is the company’s only other piece of proprietary technology. Still, it is effective.
Behind the screen, I note a few props, including a pair of plants and some floor lighting. These and the distance to the back curtain create the illusion of a depth of field behind a Holopresence. “You have to have a certain degree of depth of field in order for your brain and eyes to perceive that parallax,” said Davis.
A world of Holograms
AHRT is by no means the only company creating virtual people for events, concerts, panels, exhibits, and families. There’s Epic HoloPortl, for example. It has white, booth-like boxes, called PORTLs, in which people appear to materialize. The effect is arresting. Davis, while not wanting to criticize Epic HoloPortls, called them “white coffins with no depth of field.”
He also noted that his product can accommodate multiple people from multiple locations on one screen, while PORTL fits one in a box.
Plus there’s the portability factor. A Holopresence system, which would include the screen, curtain, poles, an off-the-shelf projector (they were using a Panasonic DLP for my demonstration), and microphones and speakers, can fit in a large bag. It’s not clear how portable the PORTL boxes are.
Still, on the other side of a Holopresence presentation is someone sitting in front of a green, black, or white screen. They’re mic-ed-up, facing a camera, and, in my case, hunkered down under substantial lighting. Meaning that for a live Holopresence event, there are always two sides to the technology equation.
Davis told me that the technology they use to create these hologram-like presences is not much different than what we’ve seen with virtual Michael Jackson in Concert or Tupac Shakur at Coachella. In those instances, the projection was from the ground up to a reflective surface that bounces it off a giant screen. Holopresence’s projector is outside the curtained area, facing the screen.
Lance Ulanoff and ARHT CEO Larry O’Reilly (beaming in) (Image credit: Future)
Most of ARHT Media’s clients are businesses, enterprises, and billionaires (there was an Antarctic yacht cruise where people like Malcolm Gladwell beamed in to talk to a select audience). Davis described multiple panels where they beamed people in from around the world. Back at each of their studios, panelists are surrounded by screens that stand in place of other panelists. If someone is seated to the left of you, that’s where the screen will be. They even try to accommodate height differences. If the speaker on the left is much short than you or, say, on a different level on the stage, they adjust the screen height accordingly. A feed of the audience is usually placed in front of the speaker. What they see is holo-panelists looking back and forth at other holo-panelists.
To accommodate large panels or events with large audiences, ARHT offers a range of screen sizes that can be as small as 5 feet and as large as, well, a stage.
ARHT does have some consumer impact. During COVID travel restrictions, the company helped a bridesmaid in England virtually attend a wedding in America. In New Jersey’s Hall of Fame, the company has built a kiosk where visitors can “speak” to life-sized video versions of Bon Jovi and Little Steven.
Still, ARHT is not priced for your average consumer. A single-person Holopresence can run you $ 15,000. For more people on the screen, it could cost as much as $ 30,000.
Beaming in
Lance Ulanoff in ARHT studio becoming a Holopresence (Image credit: Future)
After a power outage at the Toronto headquarters (no amount of tech magic can overcome a lack of electricity), we finally got ARHT’s CEO back for a quick virtual chat. The roughly 6ft tall O’Reilly looked solid. As we talked and he reiterated many of the points Davis and I covered, I found myself focusing on the image quality. Dead-on, it was perfect. From O’Reilly’s white hair down to his shoes, he appeared to be standing before me (on a slightly raised stage). I shifted to the left and right and found the effect holding up pretty well. Davis claims the projection doesn’t flatten out until you hit between 120 -to-140-degree off-axis. I’d argue the viewport is a bit narrower.
As we conversed, though, I experience another key part of ARHT’s Holopresence secret sauce: latency. The conversation between the two of us was free-flowing. Even when we did a counting test (we counted to ten with each of us alternating numbers), there was, perhaps, a sub-second delay.
To achieve this effect, ARHT uses low packet bursting transmission to create a smooth, conversational experience between people in Hong Kong and Australia or a reporter in New York City and a CEO in Toronto.
(Image credit: Future)
One thing I noted throughout the demo were the references to Star Trek transporter technology. There was even a screen in the space showing a loop from the original Star Trek series where the team beams down to an alien planet. When you start a Holopresence experience, people “beam in” with a very Star Trek-like graphic flourish and sound effect. I asked O’Reilly if he's a Star Trek fan and what he thought about the connection. He didn’t answer directly and instead pointed out how the sound and graphics are completely customizable.
Finally, it was my turn. I sat in the green screen space and tried to look like I wasn’t about to experience a lifetime dream of mine. My beam-in moment was, initially, a little underwhelming. I couldn’t see myself; the Holopresence space was across the room.
When it was over, I walked over, and Davis replayed my big moment. Seeing myself teleport into the room like a bald Captain Kirk was everything I hoped it would be.
In Holopresence land you can be two places at once. One is sitting on a director’s chair in front of a green screen, sweating under a half dozen stage lights. The other is half a world away on a semi-translucent screen, addressing an audience who almost believes you’re sitting right there with them.
I walked across midtown Manhattan in the soaking rain to see ARHT Media’s Holopresence experience in person earlier this week. (And with water dripping off my hat and coat, I found myself wishing I’d done this meeting as a hologram.)
To be clear, what ARHT provides is not, technically, a hologram. It’s a canny projection system that employs mostly off-the-shelf technology, a proprietary screen, and special software to make people believe someone is sitting in front of you, as opposed to – in my case – Toronto.
He was never really there
ARHT Media is a Toronto, Canada, telepresence company that just opened its first Holopresence studio in a WeWork building in midtown Manhattan. They invited me for a look.
As I walked into the WeWork space, basically a vast, mostly unfurnished office floor, I was greeted by ARHT Media SVP Terry Davis and company CEO Larry O’Reilly, who was standing off to the side looking at his phone. O’Reilly looked a little odd, as though he was standing before a bright light that I couldn’t see. Suddenly he abruptly dematerialized and was gone — my first experience with this Holopresence technology.
I wanted to try this for myself, but before anyone could transform me into a Holopresence, Davis walked me through the technology's fundamentals.
“We’re a projection system,” Davis told me. Gesturing toward the cube-like set up in a semi-darkened space on the far side of a cavernous WeWork room, where O’Reilly had “stood” just moments ago, Davis explained that the entire system is portable and “breaks down into a couple of duffle bags. We go anywhere in the world.”
The cube that “virtual you” beam in and out from consists of poles, black curtains on the back and sides, and a special screen stretched across the front. Unlike a standard movie screen, this one is a nylon-like mesh with a high-gain reflective coating. “It’s transparent and reflective at the same time,” explained Davis.
Aside from ARHT’s matrixed software (handling multi-channel communication for various holopresences in real-time), the screen is the company’s only other piece of proprietary technology. Still, it is effective.
Behind the screen, I note a few props, including a pair of plants and some floor lighting. These and the distance to the back curtain create the illusion of a depth of field behind a Holopresence. “You have to have a certain degree of depth of field in order for your brain and eyes to perceive that parallax,” said Davis.
A world of Holograms
AHRT is by no means the only company creating virtual people for events, concerts, panels, exhibits, and families. There’s Epic HoloPortl, for example. It has white, booth-like boxes, called PORTLs, in which people appear to materialize. The effect is arresting. Davis, while not wanting to criticize Epic HoloPortls, called them “white coffins with no depth of field.”
He also noted that his product can accommodate multiple people from multiple locations on one screen, while PORTL fits one in a box.
Plus there’s the portability factor. A Holopresence system, which would include the screen, curtain, poles, an off-the-shelf projector (they were using a Panasonic DLP for my demonstration), and microphones and speakers, can fit in a large bag. It’s not clear how portable the PORTL boxes are.
Still, on the other side of a Holopresence presentation is someone sitting in front of a green, black, or white screen. They’re mic-ed-up, facing a camera, and, in my case, hunkered down under substantial lighting. Meaning that for a live Holopresence event, there are always two sides to the technology equation.
Davis told me that the technology they use to create these hologram-like presences is not much different than what we’ve seen with virtual Michael Jackson in Concert or Tupac Shakur at Coachella. In those instances, the projection was from the ground up to a reflective surface that bounces it off a giant screen. Holopresence’s projector is outside the curtained area, facing the screen.
Lance Ulanoff and ARHT CEO Larry O’Reilly (beaming in) (Image credit: Future)
Most of ARHT Media’s clients are businesses, enterprises, and billionaires (there was an Antarctic yacht cruise where people like Malcolm Gladwell beamed in to talk to a select audience). Davis described multiple panels where they beamed people in from around the world. Back at each of their studios, panelists are surrounded by screens that stand in place of other panelists. If someone is seated to the left of you, that’s where the screen will be. They even try to accommodate height differences. If the speaker on the left is much short than you or, say, on a different level on the stage, they adjust the screen height accordingly. A feed of the audience is usually placed in front of the speaker. What they see is holo-panelists looking back and forth at other holo-panelists.
To accommodate large panels or events with large audiences, ARHT offers a range of screen sizes that can be as small as 5 feet and as large as, well, a stage.
ARHT does have some consumer impact. During COVID travel restrictions, the company helped a bridesmaid in England virtually attend a wedding in America. In New Jersey’s Hall of Fame, the company has built a kiosk where visitors can “speak” to life-sized video versions of Bon Jovi and Little Steven.
Still, ARHT is not priced for your average consumer. A single-person Holopresence can run you $ 15,000. For more people on the screen, it could cost as much as $ 30,000.
Beaming in
Lance Ulanoff in ARHT studio becoming a Holopresence (Image credit: Future)
After a power outage at the Toronto headquarters (no amount of tech magic can overcome a lack of electricity), we finally got ARHT’s CEO back for a quick virtual chat. The roughly 6ft tall O’Reilly looked solid. As we talked and he reiterated many of the points Davis and I covered, I found myself focusing on the image quality. Dead-on, it was perfect. From O’Reilly’s white hair down to his shoes, he appeared to be standing before me (on a slightly raised stage). I shifted to the left and right and found the effect holding up pretty well. Davis claims the projection doesn’t flatten out until you hit between 120 -to-140-degree off-axis. I’d argue the viewport is a bit narrower.
As we conversed, though, I experience another key part of ARHT’s Holopresence secret sauce: latency. The conversation between the two of us was free-flowing. Even when we did a counting test (we counted to ten with each of us alternating numbers), there was, perhaps, a sub-second delay.
To achieve this effect, ARHT uses low packet bursting transmission to create a smooth, conversational experience between people in Hong Kong and Australia or a reporter in New York City and a CEO in Toronto.
(Image credit: Future)
One thing I noted throughout the demo were the references to Star Trek transporter technology. There was even a screen in the space showing a loop from the original Star Trek series where the team beams down to an alien planet. When you start a Holopresence experience, people “beam in” with a very Star Trek-like graphic flourish and sound effect. I asked O’Reilly if he's a Star Trek fan and what he thought about the connection. He didn’t answer directly and instead pointed out how the sound and graphics are completely customizable.
Finally, it was my turn. I sat in the green screen space and tried to look like I wasn’t about to experience a lifetime dream of mine. My beam-in moment was, initially, a little underwhelming. I couldn’t see myself; the Holopresence space was across the room.
When it was over, I walked over, and Davis replayed my big moment. Seeing myself teleport into the room like a bald Captain Kirk was everything I hoped it would be.
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