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Month four: revision 0.9.3, declaration testing across productions, research covering more than 300 documented uses and attempted uses of AI, and pre-v1 working groups.

Month three: revision 0.9.2, provisional descriptors, disclosure requirements across 17 countries, and new research into production practice.

Month two: thresholds, festival policies, the tooling and expression question, and a direct answer on neutrality and governance.

A month into the consultation: what we have heard, the change to the organising principle, and where we want more feedback before v1.0.

Angelina Lamke (HPF) with Toby Bond (Bird & Bird), Matthew Drinkwater (London College of Fashion), and Anne Todd (Michelmores), at DLA Piper, London. On ownership of rights in AI-generated content, the line between human creativity and AI assistance, and what transparency and audience expectations mean for the people advising content creators.

Angelina Lamke (HPF) with William Wortley (Bird & Bird, moderator), Lauri Rechardt (IFPI), and Phil Gwyn (ElevenLabs), at the Bird & Bird House. On what AI means for artists, rights holders, and revenue in music, from licensing and transparency to regulation, and the parallels for film.

Took meetings across the market with producers, sales agents, and festivals. The launch was covered exclusively by Variety.

HPF submitted feedback to the Commission's call for evidence, arguing that assessing AI's impact means separating four things that are often merged: AI adoption, consumption of AI works, what audiences say about AI, and how audiences behave when a work's production provenance is disclosed. This is separate from the HPF consultation and does not imply Commission support.

MSC submitted written input to the draft Code of Practice on transparency of AI-generated content in March 2026, proposing a sector-specific supplement to the Article 50(4) deepfake definition. The Commission published the final Code on 10 June 2026, with Article 50 obligations applying from 2 August 2026. The Code is voluntary, and for films and other artistic works it sets a lighter duty to disclose the existence of AI-generated content, for example in end credits.

This submission reflects HPF’s position at the time it was made. The standard and its terminology have developed since; the current HPF documentation is the present specification.