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It is now possible to take a talking-head style video, and add, delete or edit the speaker’s words as simply as you’d edit text in a word processor. A new deepfake algorithm can process the audio and video into a new file in which the speaker says more or less whatever you want them to. New Atlas reports:

It’s the work of a collaborative team from Stanford University, Max Planck Institute for Informatics, Princeton University and Adobe Research, who say that in a perfect world the technology would be used to cut down on expensive re-shoots when an actor gets something wrong, or a script needs to be changed. In order to learn the face movements of a speaker, the algorithm requires about 40 minutes of training video, and a transcript of what’s being said, so it’s not something that can be thrown onto a short video snippet and run if you want good results. That 40 minutes of video gives the algorithm the chance to work out exactly what face shapes the subject is making for each phonetic syllable in the original script.

From there, once you edit the script, the algorithm can then create a 3D model of the face making the new shapes required. And from there, a machine learning technique called Neural Rendering can paint the 3D model over with photo-realistic textures to make it look basically indistinguishable from the real thing. Other software such as VoCo can be used if you wish to generate the speaker’s audio as well as video, and it takes the same approach, by breaking down a heap of training audio into phonemes and then using that dataset to generate new words in a familiar voice.

After April 15, inmates at the Adult Detention Center in Lowndes County, Mississippi will no longer be allowed to visit with family members face to face. Newton County, Missouri, implemented an in-person visitor ban last month. The Allen County Jail in Indiana phased out in-person visits earlier this year. All three changes are part of a nationwide trend toward “video visitation” services. Instead of seeing their loved ones face to face, inmates are increasingly limited to talking to them through video terminals. Most jails give family members a choice between using video terminals at the jail — which are free — or paying fees to make calls from home using a PC or mobile device.

Even some advocates of the change admit that it has downsides for inmates and their families. Ryan Rickert, jail administrator at the Lowndes County Adult Detention Center, acknowledged to The Commercial Dispatch that inmates were disappointed they wouldn’t get to see family members anymore. Advocates of this approach point to an upside for families: they can now make video calls to loved ones from home instead of having to physically travel to the jail. These services are ludicrously expensive. Video calls cost 40 cents per minute in Newton County, 50 cents per minute in Lowndes County, and $10 per call in Allen County. Outside of prison, of course, video calls on Skype or FaceTime are free.

These “visitation” services are often “grainy and jerky, periodically freezing up altogether,” reports Ars. As for why so many jails are adopting them, it has a lot to do with money. “In-person visits are labor intensive. Prison guards need to escort inmates to and from visitation rooms, supervise the visits, and in some cases pat down visitors for contraband. In contrast, video terminals can be installed inside each cell block, minimizing the need to move inmates around the jail.” The video-visitation systems also directly generate revenue for jails.

What happens when movies can direct themselves? Remember the last time you felt terrified during a horror movie? Take that moment, and all the suspense leading up to it, and imagine it individually calibrated for you. It’s a terror plot morphing in real time, adjusting the story to your level of attention to lull you into a comfort zone before unleashing a personally timed jumpscare.

Or maybe being scared witless isn’t your idea of fun. Think of a rom-com that stops from going off the rails when it sees you rolling your eyes. Or maybe it tweaks the eye color of that character finally finding true love so it’s closer to your own, a personalized subtlety to make the love-struck protagonist more relatable.

You can thank (or curse) 5G for that.

When most people think of 5G, they’re envisioning an ultra-fast, high-bandwidth connection that lets you download seasons of your favorite shows in minutes. But 5G’s possibilities go way beyond that, potentially reinventing how we watch video, and opening up a mess of privacy uncertainties.

“Right now you make a video much the same way you did for TV,” Dan Garraway, co-founder of interactive video company Wirewax, said in an interview this month. “The dramatic thing is when you turn video into a two-way conversation. Your audience is touching and interacting inside the experience and making things happen as a result.” The personalized horror flick or tailored rom-com? They would hinge on interactive video layers that use emotional analysis based on your phone’s front-facing camera to adjust what you’re watching in real time. You may think it’s far-fetched, but one of key traits of 5G is an ultra-responsive connection with virtually no lag, meaning the network and systems would be fast enough to react to your physical responses.

Before you cast a skeptical eye at 5G, consider how the last explosion of mobile connectivity, from 3G to 4G LTE, changed how we consumed video. Being able to watch — and in YouTube’s case, upload — video on a mobile device reimagined how we watch TV and the types of programming that are big business. A decade ago, when Netflix was about two years into its transition to streaming from DVD mailings, its annual revenue $1.4 billion. This year it’s on track for more than 10 times that ($15.806 billion).

5G’s mobility can bring video experiences to new locations. Spare gives the example straight out of Minority Report, of entering a Gap retail store and being greeted by name. But taken further, the store could develop a three-dimensional video concierge for your phone — a pseudo-hologram that helps you find what you’re looking for. With 5G’s ability to make virtual and augmented reality more accessible, you could get a snapshot of what an outfit might look like on you without having to try it on.

Where things get crazy — and creepy — is imagining how 5G enables video to react to your involuntary cues and all the data you unconsciously provide. A show could mimic the weather or time of day to more closely match the atmosphere in real life.

For all the eye-popping possibilities, 5G unleashes a tangle of privacy questions. 5G could leverage every piece of visual information a phone can see on cameras front and back in real time. This level of visual imagery collection could pave the way for video interaction to happen completely automatically.

It’s also a potential privacy nightmare. But the lure of billions of dollars have already encouraged companies to make privacy compromises.

And that may make it feel like your personalized horror show is already here.

Minutes after a police officer shot Philando Castile in Minnesota, United States, a live video was published on Facebook of the aftermath. Castile was captured in some harrowing detail and streamed to Facebook by his girlfriend Diamond Reynolds, using the live video tool on her smartphone. She narrates the footage with a contrasting mix of eerie calm and anguish. But the video was removed from Facebook due to, as company says, a “technical glitch.” The video has since been restored, but with a “Warning — Graphic Video,” disclaimer.

Now an article has come out commenting on how Facebook has become the “de-facto platform” for such “controversial” videos, and that there’s a pattern in these so called glitches–as they happen very often time after “questionable content” is streamed.

It has long been obvious to anyone paying attention that Facebook operates various nefarious controls over all aspects of how information is displayed and disseminated on their network, not just with advertising and the filter bubble:

“As Facebook continues to build out its Live video platform, the world’s most popular social network has become the de-facto choice for important, breaking, and controversial videos. Several times, Facebook has blocked political or newsworthy content only to later say that the removal was a “technical glitch” or an “error.” Nearly two-thirds of Americans get their news from social media, and two thirds of Facebook users say they use the site to get news. If Facebook is going to become the middleman that delivers the world’s most popular news events to the masses, technical glitches and erroneous content removals could be devastating to information dissemination efforts. More importantly, Facebook has become the self-appointed gatekeeper for what is acceptable content to show the public, which is an incredibly important and powerful position to be in. By censoring anything, Facebook has created the expectation that there are rules for using its platform (most would agree that some rules are necessary). But because the public relies on the website so much, Facebook’s rules and judgments have an outsized impact on public debate.”

Make note of the screen culture symptoms: lack of linear narrative, increase in speed, shorter attention span, skimming, less engagement with content/meaning, “efficiency”, increase in scatterbrain, etc. Also, the descriptions about how this behaviour effects the perception of reality.

“I watch television and films in fast forward. This has become increasingly easy to do with computers (I’ll show you how) and the time savings are enormous. […] I started doing this years ago to make my life more efficient.

[…]

As I’ve come to consume all my television on my computer, I’ve developed other habits, too. I don’t watch linearly anymore; I often scrub back and forth to savor complex scenes or to skim over slow ones. In other words, I watch television like I read a book. I jump around. I re-read. Sometimes I speed up. Sometimes I slow down.

I confess these new viewing techniques have done something strange to my sense of reality. I can’t watch television in real-time anymore. Movie theaters feel suffocating. I need to be able to fast-forward and rewind and accelerate and slow down, to be able to parcel my attention where it’s needed.

[…]

We risk transforming, perhaps permanently, the ways in which our brains perceive people, time, space, emotion. And isn’t that marvelous?”

Apple has been awarded a patent for a system that prohibits smartphone users from taking photos and videos inside music venues or movie theatres, etc.

“It outlines a system which would allow venues to use an infrared emitter to remotely disable the camera function on smartphones. According to the patent, infrared beams could be picked up by the camera, and interpreted by the smartphone as a command to block the user from taking any photos or videos of whatever they’re seeing. The patent also outlines ways that infrared blasters could actually improve someone’s experience at a venue. For example, the beams could be used to send information to museum-goers by pointing a smartphone camera at a blaster placed next to a piece of art.”

“The patent also raises questions about the sort of power that this technology would be handing over to people with more nefarious intentions. Its application might help police limit smartphone filming of acts of brutality, or help a government shut off filming in certain locations.”