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IP-Bench: Benchmark for Image Protection Methods in Image-to-Video Generation Scenarios

This paper introduces IP-Bench, the first systematic benchmark designed to evaluate the effectiveness and robustness of image protection methods against misuse in image-to-video generation scenarios by testing them across multiple models, attack strategies, and transferability conditions.

Original authors: Xiaofeng Li, Leyi Sheng, Zhen Sun, Zongmin Zhang, Jiaheng Wei, Xinlei He

Published 2026-03-30
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Original authors: Xiaofeng Li, Leyi Sheng, Zhen Sun, Zongmin Zhang, Jiaheng Wei, Xinlei He

Original paper licensed under CC BY 4.0 (http://creativecommons.org/licenses/by/4.0/). This is an AI-generated explanation of the paper below. It is not written or endorsed by the authors. For technical accuracy, refer to the original paper. Read full disclaimer

Imagine you have a beautiful, unique painting. You love it, but you're worried that someone might use a magical "copy machine" to turn your painting into a fake, moving video of a celebrity saying something they never said, or a news anchor reporting fake news. This is the problem of Image-to-Video (I2V) misuse.

To stop this, scientists have invented "digital invisible ink." They add tiny, invisible scratches to your painting. To your eyes, the painting looks perfect. But when the magical copy machine tries to scan it, the scratches confuse the machine, and the video it produces comes out as a glitchy, unrecognizable mess.

However, until now, nobody had a standardized test to see which "invisible ink" actually works best. Some inks might ruin the painting's beauty, while others might be wiped off by a simple rainstorm (or in this case, a simple photo edit).

Enter IP-Bench. Think of IP-Bench as the "Consumer Reports" or "Car Crash Test" for these digital protection methods.

Here is what the paper discovered, explained simply:

1. The Big Trade-Off: The "Scary Mask" vs. The "Pretty Face"

The researchers tested 6 different types of "invisible ink" against 5 different "magical copy machines." They found a frustrating rule: You can't have it both ways.

  • The "Scary Mask" (High Protection, Low Quality): One method, called Mist, is like wearing a heavy, terrifying mask. It completely stops the copy machine from working (it's very effective), but the mask is so heavy and ugly that your painting looks terrible and distorted.
  • The "Pretty Face" (Low Protection, High Quality): Another method, called EditShield, is like wearing a very light, invisible veil. Your painting looks perfect, but the copy machine sees right through it and makes a perfect fake video. It offers almost no protection.
  • The Middle Ground: Most other methods try to balance this, but they usually end up being mediocre at both protecting the image and keeping it looking good.

2. The "Rainstorm" Test (Robustness)

The researchers asked: What happens if someone tries to wash off the invisible ink? They simulated two common "attacks":

  • The "Compression" Attack (JPEG): Imagine taking your protected painting, squishing it into a smaller file size (like sending a text message), and then opening it again. This process acts like a powerful eraser.
    • Result: Almost all the "invisible inks" were wiped away! The protection vanished, and the copy machine started working again. It turns out, most of these inks are painted on the "surface" (high-frequency details) that get smoothed out when you compress an image.
  • The "Noise" Attack (Gaussian Noise): Imagine sprinkling static dust over the painting.
    • Result: This usually made the protection even worse, confusing the image further. However, one method (I2VGuard) was weirdly resilient; the dust actually seemed to make its protection stronger on some machines, like a chameleon blending in better when the background gets messy.

3. The "Swiss Army Knife" Problem (Transferability)

The researchers wanted to know: If I protect my painting for Machine A, will it also work on Machine B?

  • The Answer: Mostly No.
    • The "ink" designed for one specific type of copy machine (like a U-Net) didn't work well on a different type (like a DiT). It's like having a key that opens your front door but doesn't open your back door.
    • The Exception: Methods originally designed for still images (Image-to-Image) actually worked surprisingly well when moved to video (Image-to-Video). It seems the "foundation" of these machines is similar enough that a key made for one often fits the other.

The Main Takeaway

The paper concludes that we are currently in a "Goldilocks" zone where we haven't found the perfect solution yet.

  • If you want strong protection, you have to accept a ugly, distorted image.
  • If you want a beautiful image, you have to accept that hackers can still make fake videos.
  • And if someone just compresses the image (like saving it as a JPEG), almost all current protections disappear.

IP-Bench is the first tool that helps us measure these flaws clearly. It tells us that future inventions need to be smarter: they need to hide the "ink" deeper inside the image so it survives compression, and they need to find a way to protect the image without ruining its beauty.

In short: We have the tools to fight fake videos, but right now, they are either too ugly to use or too weak to stop the bad guys. IP-Bench is the scoreboard that tells us exactly how much work we have left to do.

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