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    It seems like everything coming out of siggraph is terrifying now.

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      They really skipped over the limitations though, I didn’t catch how long training takes and I would like to have seen some more examples of where is struggles, but I expect more of this is in the paper.

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      I was watching Rogue One and saw Grand Moff Tarkin, the commander of the Death Star, portrayed by the same actor as in A New Hope. What I found surprising is he looked exactly the same despite 39 years separating the two movies. It turned out the original actor passed away in 1994 and he was recreated using a computer! WIRED published a short video about that.

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        The ability of the system to mimic the quality of the target video (like with the Reagan example) is really surprising. I wonder how long it’ll be until this sort of tech can be done in real-time.

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          After long thought - being initially excited, I’ve ended up coming full circle to disgust.

          This started when I almost bought tickets to the Maria Callas holographic performance but stopped myself just in time, after thinking about the ethical issues - and that effect on this would have on the arts.

          How would you feel as an artist, if your “real” performances were always second best to a flawless computer generated performance?

          How would you feel if you had to compete against ‘perfect’ performance by others who have been dead for decades?

          Who ultimately profits from this technology and at what cost?

          There is also the issue of consent and artistic integrity - that the artist should be the one who decides their roles, not their overseers or the company that holds their current contract. (The first third of the film ‘The Congress’ explores some these very issues.)

          After some contemplation, I’ve decided that I simply can never support these efforts.

          Maybe I’m the minority here, but I find almost all film and TV produced during or after the 1980’s to be insufferable and it’s because, in my opinion, computer graphics have replaced, poorly, the art of set design, casting, costuming, etc. The result has been nearly 40 years films that lack integrity and and are plagued by hollow performances. The majority of films I can enjoy are those from the 1930s to the 1950s.

          I’ll guess I’ll stick with the operas (the real ones).

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            I, too, do not want to support or encourage artists by paying for recordings of their works.

            The flip side is that I’m more inclined than I used to be to pay for tickets for live shows, and happily buy over-priced merchandise while I’m there.

            Watching a close friend work her ass off to grow a spare electronic keyboard into a whole touring band helped me change in this way, too.