{"id":4850,"date":"2026-08-02T16:04:35","date_gmt":"2026-08-02T16:04:35","guid":{"rendered":"https:\/\/silvybrand.com\/?p=4850"},"modified":"2026-08-02T16:04:35","modified_gmt":"2026-08-02T16:04:35","slug":"pippa-seedance-artist-royalties","status":"publish","type":"post","link":"https:\/\/silvybrand.com\/?p=4850","title":{"rendered":"Is paying artists enough to convince them to embrace AI?"},"content":{"rendered":"


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Illustrators have spent years sounding the alarm about generative artificial intelligence startups training their models on artists\u2019 work without permission. They\u2019ve pointed out how the practice is tantamount to theft, and in response, many gen AI boosters have argued<\/a> that it\u2019s necessary for the technology\u2019s evolution. This has led to contentious legal battles<\/a>, but it\u2019s also given rise to a new wave of AI startups<\/a> like Pippa that market their services as being more ethical than the competition.<\/p>\n<\/div>\n

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Like most companies selling access to text-to-video models, Pippa\u2019s main product is short bursts of user-generated footage that can be cobbled together to tell visual stories. But what sets Pippa apart from other players in the gen AI video space is the way its business model is designed to pay artists directly. Every time a Pippa subscriber generates an image or a video clip whose style is derived from a human artist\u2019s work, that artist is compensated by the platform.<\/p>\n<\/div>\n

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Pippa\u2019s cofounders, Hogan Shrum and Sean Wright, think that their focus on working with artists is what will attract customers. They also believe that their company will prove that AI firms can generate content ethically. But Pippa faces an uphill battle as it seeks to convince artists. Even as it tries to create an ethical spin on AI video generation, the company is still getting off the ground with the same sloppy models that other text-to-video services offer.<\/p>\n<\/div>\n

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A shot from a video created with Pippa.<\/em><\/figcaption>Image: Pippa<\/cite><\/p>\n<\/div>\n<\/div>\n<\/div>\n
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When I recently spoke with Shrum and Wright, they told me that they see Pippa as a way to move forward from \u201cthe bloody history that the AI industry has been built on.\u201d The duo want to set an example for their peers and show the public how AI companies don\u2019t necessarily have to steal to make their products work.<\/p>\n<\/div>\n

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\u201cAll of these models from the past 18 months have been trained on real people\u2019s art without their permission \u2014 that\u2019s how it was built,\u201d Wright said. \u201cI harken it back to when Napster was a thing and everybody was stealing music. But then, Apple came out with the 99-cent song, Napster got shut down, and we figured out a different way to get musical artists paid.\u201d<\/p>\n<\/div>\n

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Pippa\u2019s payments to artists aren\u2019t very large on an individual basis \u2014 especially when you compare them to how much the service charges users for monthly subscriptions (which range from $14.99 to $99.99.) The company says that artists receive $0.005 per image and $0.003 per second of video. The more generations a user makes, the larger an artist\u2019s payments become, and Pippa also gives them access to a cut of a 5 percent royalty pool that\u2019s funded by the platform\u2019s overall subscription revenue. In Pippa\u2019s press materials<\/a>, the company likens its royalty payment structure to Spotify\u2019s \u2014 a curious choice given how many artists<\/a> have spoken out<\/a> about being shafted by the music streamer<\/a>.<\/p>\n<\/div>\n

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Pippa\u2019s tech still involves using art that was scraped from the internet<\/p>\n<\/div>\n<\/div>\n

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Pippa \u2014 which launched in May<\/a> \u2014 currently has around 800 paying subscribers, and while the company has only signed licensing \/ model training agreements with four human artists, Shrum said they are in talks to bring four more into the fold. Artists interested in working with Pippa must first go through a multi-step vetting process to verify that the illustrations they submit are actually theirs. Once an illustrator is approved, models trained on their art become available to Pippa\u2019s subscribers. Additionally, the service provides artists a profile page, which can be used to direct people to their work outside of the platform. But Wright noted that Pippa also gives its partner artists the option to submit their work under pseudonyms if they are concerned about being seen as \u201ccrossing the picket line.\u201d<\/p>\n<\/div>\n

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\u201cWe\u2019ve had so many conversations with artists where they\u2019re like, \u2018I love this, but I don\u2019t want to get ostracized by my community,\u2019\u201d Wright explained. \u201cWe\u2019re very early in this space, so there\u2019s some apprehension to participate in it. But we think that can change as people see the economics of how we\u2019re paying artists and that our intent is good.\u201d<\/p>\n<\/div>\n

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Though Pippa hopes to fully switch to models that are trained on datasets provided by its in-house artists, that technology is still built with open models that the company says \u201chave initial training on the broader set of content out there.\u201d Put more bluntly, Pippa\u2019s tech still involves some degree of using art that was scraped from the internet without creators\u2019 express consent. The company\u2019s intentions may be good, but it doesn\u2019t exactly have a way to completely solve for the creative theft that\u2019s inherent to gen AI.<\/p>\n<\/div>\n

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A shot from a video created with Pippa.<\/em><\/figcaption>Image: Pippa<\/cite><\/p>\n<\/div>\n<\/div>\n<\/div>\n
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That issue isn\u2019t unique to Pippa; it\u2019s something that must be considered with every \u201cethical\u201d AI startup<\/a> whose bespoke models are trained on information that wasn\u2019t created internally. This is why some companies \u2014 like Ben Affleck\u2019s InterPositive<\/a> \u2014 have made a point of emphasizing the fact that they develop wholly original, proprietary datasets of their own. But that requires a lot of upfront capital most startups don\u2019t have access to, and the end result is usually very specialized AI tools that aren\u2019t exactly designed for general consumers.<\/p>\n<\/div>\n

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Scrolling through Pippa\u2019s online portal where you can watch other people\u2019s gen AI animations or prompt up your own, I didn\u2019t see all that much that looked very different from what you would find from other text-to-video services. Right now, the site is mostly filled with kid-oriented content that\u2019s doing a poor job of imitating Pixar\u2019s polished aesthetics, and nothing really looks like it was inspired by an independent artist\u2019s hand.<\/p>\n<\/div>\n

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This makes some sense given that \u2014 while Pippa intends <\/em>to incorporate more original art styles \u2014 it still uses many of the same cloud-based models that other platforms sell access to. In the near future, Pippa plans to incorporate ByteDance\u2019s Seedance 2.5 model<\/a> into its service, which may attract some subscribers because of the model\u2019s ability to generate up to 30 seconds of video footage that can be fine-tuned without starting over from scratch. But in order for Pippa to really stand out from competitors that also offer Seedance 2.5, it will need to sign more in-house artists, which will depend on how well the company is able to pitch itself to potential partners.<\/p>\n<\/div>\n

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Shrum and Wright believe that they will find more artists to work with, and that using Pippa will convince them to sell their communities on the idea of joining as well. In order for that to happen, though, public opinion about whether they really want to use gen AI<\/a> would need to shift back in the technology\u2019s favor.<\/p>\n<\/div>\n

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