Podcasts about respeecher

Ustvarjalci filma Brutalist so želeli ustvariti tako popolne dialoge v madžarščini, da je angleško govoreča igralca “popravila” umetna inteligenca. V imenu popolnosti so umetno inteligenco uporabili tudi za izpopolnitev pevskega glasu glavne igralke v filmu Emilia Perez. Je popolnost res bolj avtentična? Kje je meja med računalniško generiranimi podobami, ki so v filmih že stalnica, in poseganjem v delo umetnika in avtorskimi pravicami?Odbiti ekipi se pridružuje kolegica z Multimedijskega centra RTV Slovenija in filmska kritičarka Ana Jurc, gost je glasbeni producent in novinar Gregor Kocijančič. Zapiski: orodje Respeecher orodje Midjourney procesor zvočnega signala Auto-Tune Poglavja: 00:04:55 Je uporaba sporna? 00:08:25 Kje je meja med CGI in AI? 00:16:21 Je popolnost res avtentična? 00:26:55 Ponaredki in kršitve avtorskih pravic

While some find AI riveting and revolutionary, many in creative communities are filled with fear. Fear of unsustainability, fear of the future of the industry as a whole, and fear that disembodied computers are going to make jobs obsolete while causing irreversible damage to the planet in the process. Artificial Intelligence has come a long way since we first saw Will Smith eating that bowl of spaghetti, even making it to this year's Oscars ceremony. Films like EMILIA PEREZ and THE BRUTALIST came under fire for their use of AI to amplify the vocal performances of their actors, raising questions about transparency and ethical practices. That leads me to today's guest, Alex Serdiuk. Alex is the CEO of the Ukrainian company Respeecher, the AI software that enhanced Adrien Brody's Hungarian dialogue and synthesized a young Luke Skywalker's voice in THE MANDALORIAN. Unlike other AI companies, however, Respeecher prides itself on adhering to a strict code of ethics that includes transparency, actor consent, and union consultation. I feel ambivalent towards the AI of it all, but as someone who faces my fears and follows my curiosities, it was time to poke the hornet's nest. Tune in! xx CG

This week, we're bringing you the introduction of Reid's new book, Superagency: What Could Possibly Go Right with Our AI Future, which he co-wrote with last week's Possible guest, Greg Beato. The Superagency audiobook is narrated by voice actor Scott Wallace and converted with Respeecher to Reid's AI voice.  Plus, hear what happens when Reid and Aria load Superagency's introduction into Google's NotebookLM and turn the final minutes of the episode over to two AI co-hosts.  For more info on the podcast and transcripts of all the episodes, visit https://www.possible.fm/podcast/  For more on Superagency, check out superagency.ai. 

Addy Ghani and Joey Daoud break down The Brutalist's AI debate over using Respeecher and Midjourney, explore virtual production innovations at CES, and share firsthand experiences of LA's recent wildfires.#############

Dungeons & Dragons, the tabletop role-playing game, turns 50 this year. As a lifelong lover of the game, host Reid Hoffman asked fellow D&D player and Hasbro CEO Chris Cocks to join him for a conversation about the entrepreneurial lessons they each learned from the game, how Hasbro is scaling the legacy brand to new heights, and the ways technology is unlocking new levels of creative and business opportunities.Read a transcript of this episode: https://mastersofscale.comSubscribe to the Masters of Scale weekly newsletter: https://mastersofscale.com/subscribeSynthetic voiceover of Reid Hoffman used in this episode was produced by Respeecher with full consent and permission.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Anne Ganguzza sits down with Rolf Veldman, CEO of Voice123, for a riveting discussion on navigating pay-to-play platforms amidst the shifts brought on by disruptive technology. Anne and Rolf go in-depth on pay to plays, social media, and the opportunities and challenges that voice professionals need to navigate. They discuss the complex algorithms that dictate audition opportunities on platforms like Voice123 and the balancing act to make it fair for the different levels of subscribers. As more companies test the validity of AI and synthetic voices, Rolf discusses Voice123's strategic partnerships with specialized companies, highlighting their commitment to protecting voice actors' work through digital fingerprinting. 00:01 - Anne Ganguzza (Host) Hey guys, Anne Ganguzza here. Imagine a voiceover journey where every step is filled with discovery and growth. That's the path I want to work on with you, through nurturing, coaching and creative demo production. Let's unveil the true potential of your voice together. It's not just about the destination, it's about the gorgeous journey getting there. Are you ready to take the first step? Connect with me at Anne Ganguzza dot com. Hey everyone, welcome to the VO Boss podcast. I'm your host, anne Ganguza, and today I am so excited to have a very special guest, Rolf Veldman, coming from the Netherlands. Rolf, it is so wonderful to have you today.  01:07 - Rolf Veldman (Guest) I'm very happy to be here, Anne.  01:08 - Anne Ganguzza (Host) Yeah, for those of you that don't know Rolf, I mean probably everybody knows of you, but Rolf is absolutely a boss who enjoys turning great ideas into great businesses, and I, for one, have been following Rolf for gosh since he stepped into the CEO position, because I like to watch bosses when they work. So Rolf leads a diverse, globally remote team of achievers who are pushing the boundaries of the voiceover industry and maybe pushing the buttons of the voiceover industry too, as we all know and, yes, based in the Netherlands, where I just was, I absolutely love it there. You also like to garden because you live near a national park near the German border, which is awesome.  01:49 - Rolf Veldman (Guest) Yeah.  01:50 - Anne Ganguzza (Host) Yeah, it's always nice to know those other things besides being, you know, the CEO of one of the largest online pay-to-plays that you also like to garden. I love it.  01:59 - Rolf Veldman (Guest) No, I don't want to say it as my main hobby, but like I'm sitting here in my office but I tend to take my laptop downstairs and then, when it's sunny out, I sit in the garden dogs around me like couldn't make me happier with that.  02:09 - Anne Ganguzza (Host) Love it and it's so beautiful. The country is just beautiful.  02:16 - Rolf Veldman (Guest) I don't know exactly where you are, but every part of it that I visited I just absolutely loved.  02:18 - Anne Ganguzza (Host) I mean, it's tiny, You're through it in a heartbeat Right, but you're close to everything else.  02:21 I feel so that's what's so cool about it. Well, Rolf, I know we have a little bit of time not too much time and I know that there are, as I mentioned a little bit earlier, there are two things typically that people want to know with pay-to-plays, right, they all want to know about the algorithm and they all want to know about AI. And so start me off by telling me first how, since you've come in to be at Voice123, how the industry has evolved and how Voice123 has evolved.  02:52 - Rolf Veldman (Guest) I mean that question alone could be two hours. I guess I know right, Because a lot has changed already. I know that AI was already there from the beginning, but since we'll get to that later, I think the main difference is is in the last five to six years because I joined in 2018 the audio part of advertising has exploded. The fact that we're doing podcasts now and not radio, I mean it's open doors to kick in, but so many people are consuming content on their phone by audio more and more and more, like audiobooks have skyrocketed. So many of these industries that voice actors are part of have been growing tremendously and as part of that, also the number of people who want to be in voiceover. So it's been an explosive amount of people coming into the industry. And when new people come into the industry, that changes things all the way from how you offer your services to how relevant certain companies become.  03:44 Like I felt the last five years, and even now, Voice on 3 is constantly at risk of being replaced. We might be here for the last 20 years, but how do we stay relevant? So our goal is always to stay at the core of what we do. In the core of what we do is we want to make sure that voice actors and their clients they build great relationships don't get in the way like that's sort of our vision of what our role is in the voiceover industry. By staying close to that, I think we're still very much a relevant player and it's still a popular place for people to find each other and do VO.  04:11 But especially the amount of people that came in and the type of work that has changed the last couple of years has been wow. Like, just to build on that, like we have a search bar in Voice on 3 where you can see where clients type in keywords what they're looking for and you can see trends that used to last maybe six months or nine months in terms of style of voiceover or popular niche. They now change week over week. Really depends on what is hot on TikTok or Instagram. Advertisers jump on it straight away and you see that reflected in how people are getting booked on Voice on 3. Like the space, part of it has changed.  04:44 - Anne Ganguzza (Host) You know, what's so interesting is that we talk in our industry. We're like, okay, what are people looking for? And we go to these workshops with casting directors and we say, okay, what are people looking for? But what's so interesting is that you have a really good idea of what people are looking for, and I think that voice actors sometimes we have a narrow view right of what do we need to do to. First of all, you mentioned the word relevant, which I think is so important, not just for your business, but so important for us to remain relevant and to be able to deliver products that our clients are looking for. And you have a great idea of what people are looking for.  05:19 So, bosses, listen up. I mean, rolf is kind of the guy that has a really good idea of what trends are happening, what people are looking for in the online space and maybe just in general, right, because there are so many people now that are seeking voice talent online as opposed to going through agents. And so the people that go through agents, right, think about, in the United States, agencies and talent agents that book commercials, promos, those types of things that are broadcast. Well, you probably get pretty much. Well, you get some of that, and I'm sure that you get quite a bit of all the other non-broadcast stuff too, and that's where we as an industry right.  05:59 We don't always know what are people looking for. People constantly ask when I'm coaching them what do people look for? What are people looking for for corporate narration? What are people looking for? People constantly ask when I'm coaching them what do people look for? What are people looking for for a corporate narration? What are people looking for for e-learning and that sort of thing? So I love that you, number one, said that you need to remain relevant, because we also, as bosses, need to do that, and also you can tell us a little bit more about trends that are happening.  06:19 - Rolf Veldman (Guest) Yeah, there's so much we can zoom in, but let me start with some fundamentals.  06:22 That I think that people sometimes underestimate is that while maybe, as a voice actor, you are nervous because you have to audition and you have to start this relationship, on the other side is a person that's often in the same place. Most people don't know vo and most people are either creating a video or an ad and then voice over is just the other thing that they do. So so they come in with especially new clients. They come in with complete misunderstandings of how this industry works and what they're looking for is almost like handholding, and not from us but from you. Like we see that the people that are most successful on voice on the three actually spend a great deal in being very consistent in their communication, like being almost like your own customer support agent, and that you're very crystal clear in what your availability is, how you respond to these clients, because most clients are afraid of two things Bad studio quality, which is still number one problem for a lot of people who book voiceover. That there are still many, many people who record via the phone.  07:23 And that you can stand out by just having your environment checked and being sure that you have a fair minimum on that one and again you beat out 80% of the people on places like voice on the 3 and voices in other places just by doing that.  07:35 The other one is that first contact point, and that first contact point is all about that customer relationship and being welcoming, being helpfully trustworthy towards the other side.  07:45 A lot of voice actors not a lot, but some voice actors come at it with a lot of distrust with the first message is the list of demands, and we see that they don't succeed so well If the first interaction is a question or a welcome. We see that just those messagings are so important on a digital space, because the difference between going online and going through an agency is if you want to work with an agent, most likely what the end client wants is an experience, the experience of doing the ad and going to a studio and look at us, we're doing the real thing, like people are just people. They go to work, they want to experience their own little piece of hollywood. That's what you get by an agent. But on casting sites there's a lot of people that have a deadline, they want to meet it and I want to make it a joyful experience. So they want to collaborate. So if you start from collaboration, you have so much of an advantage.  08:30 Then there's two other things that I think are trends.  08:33 The other one is the pandemic has changed or accelerated the amount of people who want to turn their content into audio.  08:43 One of our fastest growing clients on Voice on 3 is universities and colleges, because they used to give in-class lessons, but they took what's left of the pandemic and basically turned every course into an e-learning course as well, just on the side or as a way to get back to it. So that's a fast growing segment of voiceover. And the other one is that more and more clients know that they have to stand out, but they also have to be consistent in their messaging, so they want to work exclusively with one or two voices that represents their whole brand. That used to be like Coca-Cola has a celebrity. Now, even on a midsize and lower size companies, they want to have a consistent voice and they want to work with that same person. And that means that you as a voice actor need to be more versatile. You need to not just do specializing the commercial side of it, but be available for maybe some of the in-house aspects that that company wants to do.  09:33 - Anne Ganguzza (Host) Oh, I like that A couple of interesting things. I like that, yeah, a lot, and one thing I've always liked about Voice123 is that you basically allow us to nurture that relationship with the client. You don't get into it, you don't do any managed sort of projects that I know of, unless that's something that you're thinking of doing or is that, yeah.  09:50 - Rolf Veldman (Guest) So the whole fundamental aspect of Voice on the 3 is we know that we succeed if the voice actors succeed. We know that the only way to succeed as a voice actor is if you can turn a client into a returning client.  10:00 - Anne Ganguzza (Host) Yes.  10:01 - Rolf Veldman (Guest) Right.  10:02 So, for that. We need to make it an open space Like we would love to build the perfect features for everybody to do everything on Voice on the 3, but we know that people work in their own way, so we will never make it forced to stay on Voice on the 3. People put their emails in their profile. Often the first message is this is my email, let's move over here. Or maybe you've experienced this yourself, but you can see people being contacted on LinkedIn based on an audition they did on Voice123. Oh yeah, absolutely.  10:27 - Anne Ganguzza (Host) I still have a client that I got on Voice123 from ages ago and I wasn't even a member, I was in between memberships and I was on the free. So I still have one client that I've retained through that relationship and I love that. You brought up how important the relationship is and nurturing the relationship and how people online are, yes, absolutely looking for an experience. You're right, there's a lot of companies out there. Well, first of all, they don't know a lot about voiceover, they don't really know how it works, and so it's up to the voice actor to really kind of handhold and take them through that process successfully, and then they have a great chance of that client returning, which is one of the ways that I've been able to stay in business for so long.  11:07 I mean, honestly, I do a lot of things Everybody that knows me, I do this podcast, I do a bunch of other things and so I'm very fortunate that I have a lot of returning clients and that's how my business is maintained and that's an important thing these days, especially when economies shift and they go up and down, and so it's really important to have those clients that keep returning and know that there's a lot of successful people utilizing Voice123 that have been able to do that.  11:32 - Rolf Veldman (Guest) And there's a position of strength that you have as a voice actor is that you have the word actor or artist in your name, which immediately creates awe. Like every time I talk to you or any kind of voice actor or professionals, I always feel that I'm exposed to my own incompetencies, like I cannot do what you do. You're the one in the booth, you're the one who can act. Most companies have tried this with somebody in-house and then suddenly you record. It's such a massive difference. So you, you come in as an expert, so it's okay to then guide the client in the process to a certain of course.  12:03 Of course there's always the client, the agency, the production houses that roll out a lot of ads and a lot of videos. Those are also good relationships, but those are relationships you manage differently. That's more about being available. You let them know that, okay, I'm available. My reply time is like 10 minutes. Well, for another type of client where you can see this is the end user or the people who are actually going to make the ad themselves. That's where you are the professional. So you have to know those tiny nuances and how you portray yourself in that relationship. I think are fundamental.  12:33 - Anne Ganguzza (Host) So I think all of this is wonderful and great, but the one thing I know that are on the boss's minds right now are so how do I book that? What would you recommend that I do? How do I get the jobs to my inbox right? And that's controlled by something called an algorithm, which is probably the one big main point of dispute on every pay-to-play, not just voice one, two, three right, like what's the algorithm? Because you're getting the jobs and then somehow there needs to be a method to distribute those jobs equally amongst your members, and then there's different membership levels. So explain a little bit about how that works.  13:08 - Rolf Veldman (Guest) Yeah.  13:08 So it came from a very practical problem that we basically got too big.  13:12 So the algorithm is basically a fancy word for a decision process and it's very straightforward where a client posts a project and if it's US, english, female, like, you're still in a group, but as soon as it's male, you're no longer in the group, right.  13:25 So there's a couple of basic requirements of who you are as a person and what your services are, and then we go into the next stage where our goal is to get the client the most relevant auditions for their project right. So what we do is we invite the first group of people, and in that first group of people are a mix of people with good performance scores and with memberships. So if you pay the highest tier, you're stepping up compared to the lowest tier. We control the highest tier, otherwise it would be a monopoly but basically it's a mix of what you pay and then there is the ranking score, as we call it, and that is based on the client's feedback, whether a client books you from a job or likes you in the process of auditioning. That's what we take back and we use the last year's worth of data for that and that makes your score fluctuate.  14:14 - Anne Ganguzza (Host) So it's a whole year's worth of data. So, how do you convince your client or your potential client to rate you? I guess that's a question, right, because some clients are just they're not going to bother with the rating, right? Yeah?  14:24 - Rolf Veldman (Guest) no, that's the flaw in the system, right? Ideally, every client that comes through we tell them let us know who you work with, but, as you know, most clients don't use us that way. Only like 40% of the work goes through the auditions. The other half is a mix of what happens on our search or on landing pages that are separately, because you can also just go through our directory.  14:44 - Anne Ganguzza (Host) Oh, right, right, and then they can contact separately.  14:47 - Rolf Veldman (Guest) So all we know is from the audition, and in the past we've tried to force the client to close the project. Let us know who won or force the client to close the project Let us know who won or force the client to book a project, but all it did was scare the clients away and they don't want to use us anymore. We have to keep that open because we also want to keep the platform open, because if we make booking, Difficult.  15:07 Yeah, if we make it too forceful for you, then we become a middleman. We don't want to be a middleman, so we have to balance the fact that we don't want to collect that much information. We have to have enough information to know that it's relevant. So there's a flaw in the system that not every client likes all the proposals. That's why voice actors can now tell us hey, I got booked through this job and that counts also to your algorithm. But yeah, it's a fundamental issue in the algorithm Over a year's worth of data. That works and I have to think in big numbers, right, because we have about 120,000 active voice actors on a platform. So for 100,000, that works. But every now and then people fall off the edge and then we have to make sure that they don't waste their money on a membership. So that's why we're constantly tweaking the algorithm to make it better.  15:49 - Anne Ganguzza (Host) Right, I was going to say. So what percentage? Or is this the percentage that changes is based on the feedback score, because I think the feedback score for most people is obviously it's the most variable, right? So when I make a decision to join Voice123, I have how many different membership tiers? I want to say eight or something, yeah, eight tiers to choose from. So do I pay you more money? And then how do I know, and you know what? I mean, how do I know which tier to pick?  16:15 - Rolf Veldman (Guest) I know, and you know what.  16:13 - Anne Ganguzza (Host) I mean Like how do I know which tier to pick?  16:13 - Rolf Veldman (Guest) Yeah, so that's why we try to show you like in which market you're competing. One of the reasons we have the extra tiers is that we operate in every country, but like North Korea and some other sanctioned countries. So in a marketplace like the Netherlands, where I'm from, vo is not that big and we don't get a lot of jobs for Dutch people on Voice on 3, but enough and we have enough voice actors, so those people pay a lower tier In the US, which is very competitive if Voice on 3 is your only casting site that you go on, I would suggest paying a higher membership.  16:45 If Voice on 3 is something that you have on the site or that you partly work on and you work on other casting sites as well and you have agents, I wouldn't necessarily recommend a higher membership tier because throughout the year you get enough auditions and you have to be very selective about them, and you get enough direct messages to pay for itself.  17:01 - Anne Ganguzza (Host) So I think what most people don't think about and you just pointed it out to me actually is that because it's global and because of the availability of the different jobs that come in, right, I think a lot of people maybe I can speak for people in the US they're like well, if I pay more, I should get more opportunities and I should be able to book more, but that's not always the way, because we don't want people who our clients consistently tell us not good to pay their way to the top. Got it.  17:29 - Rolf Veldman (Guest) But we also know, if you pay a little bit more for a membership you get very into voice on the dream. So they become very active. That's very good for us as well, because that means clients get fast additions. There's multiple aspects to it.  17:42 - Anne Ganguzza (Host) Yeah, and this is a part that I never thought about and I'm so glad that you're bringing it up because you know, I think that with a better understanding of how Voice123 works, we can then as members of Voice123, make an educated decision as to maybe, which membership tier would be best for us and also what sort of issues you face, because there are so many variables in casting. And one thing I'm going to bring up before I let you continue is that I've always maintained that online casting companies pay-to-plays they don't have any accountability necessarily I'm not saying that about you, but I'm saying some of them don't in the fact that where did the job come from, did it get booked and who booked it? Right, and you just brought that up. I mean, you don't always know, the client doesn't always fill it out and the client is sometimes scared Well, maybe not, it's too many steps, right? They just want to be able to get in get their talent cast it Exactly.  18:35 So you've brought up like a fundamental fact that I think a lot of people just they don't think about when they're making that quick decision and they're just saying, well, I pay all this money, I should be getting the auditions, and how am I not ranking? And it's not fair. So I love that you're bringing up all the different sides of how you cast and I think you, especially by coming on this podcast and for the amount of times that I've seen you go, I mean literally put yourself out there at the conferences so that you can explain. I have so much respect for you for that and I thank you for that, Rolf, because that helps us. Do you know what I mean? And it helps me as, look, I recommend you guys all the time to my students and so it helps me really think, yes, I like the way this company operates. I'm on board because you're transparent.  19:17 I really believe you know and I appreciate your transparency with all of these things that we don't think about necessarily as actors, because we're not running that part of your business. We don't know what it takes to put together an algorithm, or we don't always know like what your clients and that's the biggest thing, we don't always know how clients operate, and I'm always telling my students that you know. If you're reaching out to a company directly to say, hey, I'm a voice actor, do you need services? Like, at any given point they may or may not need the service. You know what I mean. And so a direct marketing method is completely different than, let's say, somebody who comes to a pay-to-play because they have a need, Right Direct marketing. You don't know when that need's going to happen. Every company every day doesn't necessarily have a voiceover need, which is crazy.  20:00 - Rolf Veldman (Guest) And I think to bring this back to like you're a boss yourself, like if you do three things half-assed, you're not going to succeed in any of those right. So I would for any starting voice actor, particularly if you're constantly forced between the decision do I go hard for an agent? Do I go hard for these online casting sites or do I go direct marketing? Especially in the beginning. I would tackle them one at a time and even within the casting sites. Being on a casting site like Voice on the 3 or Voices or Badalgo, is so different. You cannot duplicate your profile or your behavior among these companies because they're their own ecosystem. So you have to really spend time to get to know it, because you're spending your marketing budget on these sites. So I would say tackle them one at a time, otherwise you're spread too thin.  20:42 - Anne Ganguzza (Host) I get you, I get you. But I would also say, though, that as you progress and as you advance, and then people will say to me they've been in the business for years and they're like, well, I spent all this money on coaching and demos and a pay to play, and why am I not getting any work? Then I think I'm sorry, but you got to throw the spaghetti up against the wall, right. You've got to get yourself out in front of as many people as you can, and there's multiple marketing methods, and I think that that's what people don't understand. They think it's either putting all your eggs in one basket for pay-to-plays I should be getting work, I'm not getting work. I'm going to make any money in it? I think you really have to explore all the different options of marketing that you have right Direct marketing, pay to plays and, of course, agents and understand the intricacies of each. That is, I think, just as important as keeping your skills up to date, and your performance up to date is understanding the marketing and understanding the market that's out there.  21:33 - Rolf Veldman (Guest) Yeah, and understanding your own business, your business's relationship, and you know that you don't nurture a relationship in a day.  21:39 That's months If you're starting out that means that only in your second year or in your third year VO starts to pay off, because then all these people that come back start to compound. So you have to do a lot of the legwork, which is the scary part, especially on, maybe, sites like Voice123, where you feel like I'm auditioning, I'm not getting stuff back like it's working, but there's a patience to it. That's one of the reasons we have yearly memberships. We use them quarterly but we know that, okay, it takes about six to seven months for people who are starting out to get really booked for the first time properly, and actually it takes about two years for people to make about five times their money back. That's what we learned.  22:13 - Anne Ganguzza (Host) That's very interesting to know, and I like that you brought up the fact that a relationship doesn't happen overnight. It really does take time to culture that relationship, and so I think that that's important for people to know too is that sometimes they quit too soon, too quickly, before they've given it a chance. So I love all that you've brought up so far. So let's get to the chase and talk about the other area that everybody wants to know, and that is synthetic voices and everybody's feeling very threatened by them, and so talk about Voice123's stance and position on synthetic voices.  22:46 - Rolf Veldman (Guest) Yeah, maybe I said this before, but when I joined the company in 2016 and in 2018 I became CEO, it was already my first mission to say okay. The board told me then AI is coming. It's either going to replace us and that's the fear back then Like it's going to replace voice actors and therefore voice one to three. What do we do? My view has shifted the last couple of years and even the last couple of months. Even though AI is everywhere, what I keep coming back to is the thing that we're talking about this entire podcast. It's relationships and the creative aspect. I think AI will do great in any industry to reduce inefficiencies, but it will never replace creative work or never replace art. That's why it's art right. So what our idea has been these last couple of years? We can go in so many directions, but we need to stay at the core and that is, we need to amplify that. You have a relationship with a client.  23:35 - Anne Ganguzza (Host) How does AI play that role.  23:36 - Rolf Veldman (Guest) We first thought maybe we should build our own AI model. But we realized, okay, that requires its own company and a lot of work. There's geniuses that work everywhere.  23:44 - Anne Ganguzza (Host) I know that from interviewing so many people have realized this over the time.  23:48 - Rolf Veldman (Guest) Yeah, so that's not a side thing you do.  23:50 - Anne Ganguzza (Host) Yeah, it's not a side hustle.  23:52 - Rolf Veldman (Guest) No. So then we realized, okay, maybe we should partner or acquire a company that does this already. But then we realized, same as with VoiceOver, ai goes into specific niches. So there's a company called Replica Studio they're all into gaming, right. There's a company like Respeech here that's more into movie part of it, and they have speech. And you see all these companies specializing on VO purposes. So we realized, okay, no, we need to instead of thinking about that technology. The technology will be there In two or three years. Anybody can build voiceover technology.  24:23 So, let's wait for that to happen. Let's set up the Voice on the 3 ecosystem in such a way that it is a secure place, because even before AI, voice actors have always been worried about is my audition being used without my permission? Right, are my files being stolen? So we learned from companies like Adobe, who have created all these kind of initiatives, to start stamping and IDing and signing all these different designer files to protect these freelancers. We have decided to sign every piece of audio file that flows through Voice on 2.3. Have decided to sign every piece of audio file that flows through Voice on 2.3. So that we have, like, a history and a protection layer within the system, without it being a watermark that beeps everywhere, but just a layer of protection that you always come back to. And we take basically a three-step approach. We sign every audio, we make it searchable for you in a cloud where you can access all the files that are being signed on Voice on 2.3. And you can check. That's the last part.  25:16 - Anne Ganguzza (Host) So it's digitally signed. Got it All the audio that gets uploaded? Yep, okay.  25:21 - Rolf Veldman (Guest) All the audio, and that includes audio that isn't like.  25:24 - Anne Ganguzza (Host) This is just all audio additions, yeah.  25:27 - Rolf Veldman (Guest) And samples and everything that flows through the system. We just tag it, say it is found on 1, 2, 3, and it acts like a fingerprint that's unique, which also means that we got to a place, because there's so many samples that we got to ID your voice, so on top of that, we sort of added a Shazam for your voice.  25:46 - Anne Ganguzza (Host) So if I have uploaded stuff to your system, you know that it's mine and you also know that it's voice one, two, three, and if it gets out of your system it is still got that mark on it and it's not audible. It's a digital fingerprint.  25:56 - Rolf Veldman (Guest) That's. I mean you should have done a pitch. That's way faster, yep. The last part of this is that, even if you hear your voice somewhere else and you think this is me, somebody has used my file or I don't recognize it, but you can upload it and then we can say, hey, this is with 95% certainty.  26:11 - Anne Ganguzza (Host) Wow, that's fantastic.  26:12 - Rolf Veldman (Guest) So we thought we need that layer of protection in the system for people to feel safe to start also working on AI, and that's then. The next part is that we have a better life where voice actors who have a relationship with an AI vendor so let's say it's Respeecher, or Replica Studios or Eleven Labs I mean there's 50,000, I shouldn't name them all but if you have a relationship with any of these vendors, then we want to make sure it's available to our clients, in the same way that we let them know that you use SourceConnect. And what we thought would happen is that, okay, we have a version of our search where you type in a script and it automatically generates the audio. If you have an agreement with one of those companies, we thought, okay, they will start buying it. Nobody buys it. Nobody buys the audio file. What is happening is all those generated audio files turn into conversations where the client says I liked your voice in my script, let's work together. So what it is doing is it's creating a new type of audition.  27:08 - Anne Ganguzza (Host) Very interesting.  27:09 - Rolf Veldman (Guest) Which I like, which is, for the clients, a fast way to get to know. Does Anne sound good in my script? Yes, okay, let's book Anne and do the real deal outside or inside. It's changing that part.  27:18 - Anne Ganguzza (Host) So they're listening to the AI voice and then saying I want to work with Anne and get her human voice. That's very interesting.  27:31 - Rolf Veldman (Guest) Now that sounds almost too good to be true, rolf. Yeah, but so far it's what we see. But so far that's what you're seeing. So I think it's the 90-10 rule I think I mentioned this before where, in the end, ai is going to be part of us in the same way that all these other tools source connect and 10 years ago you had to start having your own home studio. The people who did that first, they pioneered that part of the industry.  27:44 Within the next five years, every voice actor will have an AI model. A client will ask them hey, I've generated 90% of this commercial or this audiobook with your AI. Can you do the last, the last 10? Can you come in for this scene? Or can you come in for this piece or the other way around? Great recording. We're going to do some post-production, maybe change some words. Do you consent to this that I use your ai for this, and so it speeds up those kind of moments? But in the end, people want to work with an and part of an is an's ai voice and we think voice on three's goal. Okay, let's make it the place where that happens. We don't make money on what any of the interactions is between you and the voice actor, like we do now, but let's make sure that this is a safe place where you can give clients access to your AI model in a way that you want to.  28:28 - Anne Ganguzza (Host) So how are you actually giving clients access to? If you have an AI voice, how are you actually giving access to it? Are they able to generate it there on your site or no, they cannot download it. Oh, they can't download it.  28:39 - Rolf Veldman (Guest) They can buy it, and then all the money goes to the voice actor.  28:42 - Anne Ganguzza (Host) Say that again.  28:44 - Rolf Veldman (Guest) All the money goes to the voice actor, okay.  28:46 - Anne Ganguzza (Host) So you're not taking any percentage of that.  28:48 - Rolf Veldman (Guest) No, we add a fee on top of it, but never from it. Okay.  28:51 - Anne Ganguzza (Host) Yeah, okay, yeah, and so do we price our voice ourselves.  28:56 - Rolf Veldman (Guest) Yeah, it's your rate card. Okay To be honest what I think will happen. We have this debate internally as well, so we're now in a first beta mode of this. Let's say it's six months from now or nine months from now no-transcript. You give them access to your model there and you can see what they're doing to generate it. It's like a logbook of how they generate it. That would be my ideal scenario of how it's getting used, because then you have full control.  29:25 - Anne Ganguzza (Host) And so the talent is creating a rate card for their synthetic voice, then yeah, so let's say, when I create a profile, do I also upload a version of my synthetic voice? How do I make that available?  29:37 - Rolf Veldman (Guest) Yeah, right now you can just sign on to. If you go to the Voice on 3 search, it says connect your voice and you can start the process there, got it, and then we'll ask you these questions. But later on, ideally, it becomes part of your signing up. Hey, do you have an AI voice? Yes, what's your rate card? Then go here If you don't access to the client and you can embed this on your own homepage. Right, you can use the same logic on your homepage without showcasing the logo of Voice on the 3.  30:04 - Anne Ganguzza (Host) Oh, wow, that's interesting. So you have an API that allows us to embed it on our own website.  30:09 - Rolf Veldman (Guest) You can already do your playlist of Voice on the 3 on your own website without showcasing Voice on the 3. So, it's the same logic. And then if you connect it with the cloud, where all your files are being stored and being signed, then it's hard to put it into order. But that was the whole six-layered strategy that we have. Okay, let's make sure there's trust. Let's make sure there's enough that we can track everything that's happening.  30:30 Let's make sure that we expose the relationship between the voice actor and the client, and that's sort of the vision that we have for AI.  30:36 - Anne Ganguzza (Host) That's great. You know, I'd love to meet up again with you in you know a couple of months and have maybe a visual demonstration of this. I think it would be really great. Or if you have a visual demonstration of it. I'd love to link it up in my show notes.  30:47 - Rolf Veldman (Guest) All right, yeah, we'll share something yeah absolutely.  30:50 - Anne Ganguzza (Host) That just sounds very interesting. There's a lot of layers there and there has lot of protection in terms of they can't download the file, but can they have, like I mean there's lots of ways to steal audio.  31:02 - Rolf Veldman (Guest) You know what I mean. That's not AI related, right? It was there before AI and will there be after. That's true.  31:06 - Anne Ganguzza (Host) That's true. So there's nothing theoretically, I'm a tech girl, right? So there's nothing stopping anybody from taking our voices from this podcast right now, and making an AI voice out of them. So I just want bosses to be very careful of that. So the one thing about the signing right that you have the digital signing like this is Anne's voice. It came through Voice123. Is that open source technology?  31:26 - Rolf Veldman (Guest) Yeah, we're building on existing open source technology.  31:28 - Anne Ganguzza (Host) OK, because a lot of us voice actors right now we're like, ok, we keep hearing about it, we keep hearing about it. It isn't available to us yet. You know, I would like to have something right now that, even if I'm not a member of Voice123, I can just filter it, put it through and then my voice has a digital signature that later on somebody can tell if that audio or if I become a voice somehow, that they will be able to tell that it was my voice.  31:52 - Rolf Veldman (Guest) I agree. That's the whole idea. Yeah, so, and one of the reasons here we're pivoting more towards this is in part because we're going back to the beginning of this podcast about trends. We see that auditioning becomes less and less popular in the industry. The old school I want 50 auditions and I want to see as many talent as possible. I can see the new generation doesn't really want to do that. The next generation of people who book voiceover. They want to do the direct contact approach. They want to listen to some of your samples and then contact you directly and move it off.  32:22 - Anne Ganguzza (Host) That's lovely. That's a really good trend. I like that, Rolf.  32:25 - Rolf Veldman (Guest) I think so too, but it also means for companies like ourselves okay, we have to reinvent ourselves a bit, yeah yeah, yeah, we have to make sure that we're relevant, and that's why we're focusing all about security and tooling, and your algorithm has to change then, too, right?  32:38 - Anne Ganguzza (Host) Because then people searching on your site for a particular style of voice right? How do you get up at the top of that list without necessarily the feedback on any auditions, right? So you have to evolve with that as well. But that direct contact, I like that trend because I can actually see that happening myself outside of pay-to-plays, because it's becoming almost like overwhelming, right. With social media and data out there, it's becoming overwhelming, and I think people that are looking to cast for a voice they want it to be. That's why talent agents are good, because, again, they're a trusted source. They are the ones who like shortlist and say, okay, here you go, and it makes it less overwhelming for the client.  33:17 So you're experiencing that as well on pay-to-plays and I like that. I like that because I feel like it gives everybody a fairer shot of it. I mean, I get how, like auditioning, people want to hear you speaking their brand, but also I think they want to just kind of weed out all of the. You know there's a lot of people out there they want to weed out all the voices. Maybe I don't need a male voice or I want a female voice and I want somebody that has good audio, and I love that you brought that up, because good audio is still at the very core of a good product.  33:47 - Rolf Veldman (Guest) So many people in Voice on 3 put in their tagline what they do like a perfect girl-next-door kind of approach. That's the kind of voice I do. If you put in your tagline studio quality, you're beating out half the team.  34:00 - Anne Ganguzza (Host) Ah, thanks for that tip, I like that. That's a golden nugget, rolf. So what a great conversation. I almost hate to have to cut this short, because I'd like to see a demonstration of the whole synthetic voice, ai, integration, and I might be calling you back in a couple of months.  34:15 - Rolf Veldman (Guest) I would love to yeah, yeah, thank you to you?  34:17 - Anne Ganguzza (Host) Yeah, thank you so much. It's been an honor. I love, I love talking to you, ralph. So you are a boss. You are definitely a boss. Thank you for always being transparent.  34:32 - Rolf Veldman (Guest) Thank you for bringing us on the other side of the glass, so to speak. It's the other side of the discuss these kind of things, like we only know the voice actor experience by talking to all of you, so this is our way also to get to stay in touch.  34:44 - Anne Ganguzza (Host) Well, good stuff. Rolf, thanks again. I'm going to give a great big shout out to our sponsor, ipdtl Connect and network like bosses using IPDTL and, of course, voice123 and bosses out there. I have a nice little discount for you. If you are interested, I'll put that in the show notes. You can get a little discount if you are a first time sign up to Voice123. Ralph, thanks again. Bosses, have an amazing week and we'll see you next week. Bye.  35:12 - Announcement (Announcement) Join us next week for another edition of VO Boss with your host, Ann Ganguza, and take your business to the next level. Sign up for our mailing list at vobosscom and receive exclusive content, industry revolutionizing tips and strategies and new ways to rock your business like a boss. Redistribution with permission. Coast to coast connectivity via IPDTL.   

During his more than 60-year acting career, James Earl Jones' voice became a star of its own. Jones died this week at the age of 93. 在 60 多年的演艺生涯中，詹姆斯·厄尔·琼斯的声音成为了一颗明星。 琼斯本周去世，享年 93 岁。 One of Jones' career decisions continues to be an issue of debate: his permission to let artificial intelligence (AI) reproduce his performances as Darth Vader for new projects. 琼斯的职业决定之一仍然是一个有争议的问题：他允许人工智能 (AI) 在新项目中重现他作为达斯维德的表演。 Skywalker Sound and Ukrainian software company Respeecher used AI to recreate Jones' Darth Vader for the 2022 show Obi-Wan Kenobi. The show appears on the streaming service Disney+. Skywalker Sound 和乌克兰软件公司 Respeecher 使用人工智能为 2022 年的《欧比旺·克诺比》节目重现了琼斯饰演的达斯·维达。 该节目出现在流媒体服务 Disney+ 上。 The voice of actor Mark Hamill was also “de-aged” using Respeecher. Hamill played Luke Skywalker in the first Star Wars movie. His AI-manufactured voice was used in the series' television show The Mandalorian. Disney+ launched the show in 2019. 演员马克·哈米尔的声音也使用 Respeecher 进行了“减龄”。 哈米尔在第一部星球大战电影中扮演卢克·天行者。 该系列电视节目《曼达洛人》中使用了他的人工智能声音。 Disney+ 于 2019 年推出该剧。 Voice actors say they fear AI could reduce the number of jobs because the technology can reproduce one performance into many. The concern led American unionized video game performers to go on strike in July. 配音演员表示，他们担心人工智能可能会减少工作岗位，因为该技术可以将一种表演复制成多种表演。 这种担忧导致美国电子游戏表演者工会于七月举行罢工。 For some observers, Jones' decision to permit AI to reproduce his voice raises questions about voice acting as an art. But the decision also could help develop AI agreements that fairly pay actors for AI-based performances. 对于一些观察家来说，琼斯允许人工智能复制他的声音的决定引发了人们对配音作为一门艺术的质疑。 但这一决定也可能有助于制定人工智能协议，为演员基于人工智能的表演公平支付报酬。 Zeke Alton is a voice actor and member of SAG-AFTRA's interactive media agreement negotiating committee. He said it is “amazing” that Jones was involved in the process of reproducing his voice. Zeke Alton 是一名配音演员，也是 SAG-AFTRA 互动媒体协议谈判委员会的成员。 他说琼斯参与了复制他的声音的过程，这“令人惊讶”。 “If the game companies, the movie companies, gave the consent, compensation transparency to every actor that they gave James Earl Jones, we wouldn't be on strike,” Alton said. “It proves that they can do it. They just don't want to for people that they feel don't have the leverage to bargain for themselves.” 奥尔顿说：“如果游戏公司、电影公司像詹姆斯·厄尔·琼斯那样向每位演员提供同意和薪酬透明度，我们就不会罢工。” “这证明他们可以做到。 他们只是不想为那些他们认为没有能力为自己讨价还价的人提供帮助。”Hollywood's video game performers called for a strike after more than 18 months of negotiations over a new interactive media agreement with industry leaders. The negotiators could not reach an agreement on artificial intelligence protections. 好莱坞视频游戏表演者在与行业领袖就新的互动媒体协议进行了 18 个多月的谈判后呼吁罢工。 谈判代表未能就人工智能保护达成协议。Members of the union have said they are not opposed to AI. They say they are worried, however, that technology could replace them. 工会成员表示，他们并不反对人工智能。 然而，他们表示担心技术可能会取代他们。Concerns over such use of AI were among the reasons that film and television workers went on strike last year. The work stoppages went on for four months. 对人工智能的这种使用的担忧是去年影视工作者罢工的原因之一。 停工持续了四个月。 Neither Skywalker Sound nor Respeecher answered a request for comment from Associated Press reporters. But a sound editor with Skywalker Sound spoke to Vanity Fair magazine about the issue. The worker reported that Jones approved the use of old recordings to keep Darth Vader alive. The worker added that Jones guided the new performances. Skywalker Sound 和 Respeecher 都没有回应美联社记者的置评请求。 但天行者声音的一位声音编辑向《名利场》杂志谈到了这个问题。 该工人报告说，琼斯批准使用旧录音来维持达斯·维德的生命。 该工作人员补充说，琼斯指导了新的表演。 Jones' contract could set an example of properly bargaining with an actor over their likeness, said Sarah Elmaleh. She is chair of SAG-AFTRA's interactive negotiating committee. Elmaleh, a voice actor, said there is a chance for these tools to be used in “meaningful, smart artistic decisions.”莎拉·埃尔马莱说，琼斯的合同可以树立一个与演员就肖像问题进行适当讨价还价的典范。 她是 SAG-AFTRA 互动谈判委员会的主席。 配音演员埃尔马莱表示，这些工具有机会用于“有意义、明智的艺术决策”。

Host Reid Hoffman has always been impressed with the way Dr. Rana el Kaliouby thinks about AI. She's an AI scientist, co-founder of Affectiva, an investor and author who has spent decades building toward more emotionally intelligent technology. Now, she's joining the Masters of Scale podcast family with a new show: Pioneers of AI. In this episode, Reid gets to the heart of Rana's core interests in AI and business. Then he passes the mic to Rana so she can ask Reid her biggest questions about where the AI revolution is headed next.Synthetic voiceover of Reid Hoffman used in this episode was produced by Respeecher with full consent and permission.Subscribe to Pioneers of AI: https://listen.pioneersof.ai/SubscribeLearn more about Pioneers of AI: http://pioneersof.ai/Follow Pioneers of AI on all channels: https://linktr.ee/pioneersofaiSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Masters of Scale goes under the hood of powerful AI in audio, unveiling a full vocal clone for founding host Reid Hoffman. Our CEO Jeff Berman, the Masters of Scale staff, and Reid himself tell the story of creating a synthetic voice we call “Reid-ish.” The company Respeecher is behind the technology, and its CEO Alex Serdiuk walks us through the speech replication process. Through “Reid-ish” we grapple with authenticity, disclosure, labor, and evolving norms around AI in media. Reid ponders what's possible for greater sharing and learning through this audio technology, as well as what listeners should know about its use.For more on our team's principles and practices, go to mastersofscale.com/pledge for our proposed Listener's Bill of Rights in the Age of AI.Read a transcript of this episode: https://mastersofscale.comSubscribe to the Masters of Scale weekly newsletter: https://mastersofscale.com/subscribeSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Every VC firm is a bit different, today I want to focus on one that is looking to pair institutional investments with specifically targeted companies. Best of all, they are based here in Chicago, which I love.Hey everybody, this is Chris Brandt, here with another FUTR podcast.Today I have with us Kaitlyn Doyle Vice President of TechNexus. TechNexus has a unique approach to the market directly aligning Investors to companies that are valuable to their business.So let's talk with Kaitlyn about what they look for and how their model works. Hopefully, we can learn a little about what it takes to start up a VC firm.Welcome KaitlynTechNexus: https://technexus.com/Portfolio Companies Mentioned:Deep How: https://www.deephow.com/Haven Energy: https://havenenergy.com/Respeecher: https://www.respeecher.com/Click Here to Subscribe: https://www.youtube.com/c/FUTRtech?sub_confirmation=1FUTR.tv focuses on startups, innovation, culture and the business of emerging tech with weekly podcasts featuring Chris Brandt talking with Industry leaders and deep thinkers.Occasionally we share links to products we use. As an Amazon Associate we earn from qualifying purchases on Amazon.

In this week's edition Julian and  Ashea joined by Anna Bulakh of Respeecher, where they discuss the importance of ethics in AI and how to proceed with caution.Talking Points:What are some of the current threats AI poses in society/the audio and music industry today?Synthetic media, voice cloning software and other tools are still in their early stages but are incredibly powerful tools that can all be really useful if used wisely, however there needs to be ethical principles in place. The dangers of DeepfakesProvenance.Please tell us about Respeecher, what this tool offers and how you are putting ethical practices and policies at the forefront of your company.Damian's article On Respeecher Finds of the week:Julian: Now TV has adsAshea: Notion AppAnna: Brief History Of AI - Michael Aldridge, Chip War Michael Phillips

I have a fascinating conversation with Alex from Respeecher, a Ukranian startup whose work you have probably heard in high-profile games, movies, and campaigns.

Vitalii Knya, Head of Delivery at Respeecher, tells us how they created Eugene's line for "The Best is Yet to Come," the technology behind their company, and what's going on in Ukraine.

Vitalii Knya, Head of Delivery at Respeecher, tells us how they created Eugene's line for “The Best is Yet to Come,” the technology behind their company, and what's going on in Ukraine.

Wie immer beginnt das Neue Jahr mit der CES in Las Vegas und wir sind schon gespannt, wo sie überall AI reinpacken! Vor allem sind wir gespannt, ob sie uns noch überraschen können, denn wir erwarten AI in allem. Schon im Vorfeld gab es einige Ankündigungen, Vorstellung und natürlich Leaks 🙂MSI möchten auch im Handheld-Markt […] The post Folge 186: CES-Vorschau, PC-Handheld MSI Claw mit Intel-CPU, OLED-Monitore mit bis zu 480Hz und die Wiederauferstehung des Pumuckl appeared first on Technikquatsch.

  Few things make us quiver in our collective creator boots faster than AI. It's a force to be reckoned with not because it absolutely will not stop - until you are dead, but because we ALL need to take the time to know more about it - sooner rather than later. It's time to put AI - and it's impact on the industries of voiceover and podcasting into the crosshairs of this episode of The Podcast Gauntlet.   The ultimate success for every podcaster – is FEEDBACK! Be sure to take just a few minutes to tell the hosts of this podcast what YOU think over at Apple Podcasts! It takes only a few minutes but helps the hosts of this program pave the way to future greatness! Not an Apple Podcasts user? No problem! Be sure to check out any of the other many growing podcast directories online to find this and many other podcasts via The Podcaster Matrix!       The Podcast Gauntlet Podcast Connection Links:   Connect with The Hosts (and View Direct Contact information Below!)   Subscribe to This Podcast & Listen Now!      Subscribe, Like, and Share Everywhere! Help The Podcast Gauntlet Grow!   The Shownotes for this Episode of The Podcast Gauntlet: -- The TERMINATOR (1984): https://www.imdb.com/title/tt0088247/ -- What is Guerilla Film Making? https://www.youtube.com/watch?v=mpsM4EUWX_8 -- The Cast of the Feature Film: The TERMINATOR: https://mubi.com/en/films/the-terminator/cast -- A Complete Filmography Regarding The TERMINATOR Franchise: https://www.ign.com/articles/terminator-movies-in-order -- What is "AI?" https://www.zdnet.com/article/what-is-ai-heres-everything-you-need-to-know-about-artificial-intelligence/ -- What is SKYNET? https://terminator.fandom.com/wiki/Skynet -- Human Voice Services Online: https://www.google.com/search?q=best+human+voice+service+oniine&rlz=1C1RXQR_enUS1056US1056&oq=best+human+voice+service+oniine&gs_lcrp=EgZjaHJvbWUyBggAEEUYOTIJCAEQIRgKGKABMgkIAhAhGAoYoAEyDAgDECEYChigARiLA9IBCDU4MzhqMWo0qAIAsAIA&sourceid=chrome&ie=UTF-8 -- What is RESpeecher? https://www.respeecher.com/ -- who is James Earl Jones? https://www.respeecher.com/ -- Who is Darth Vader? https://www.starwars.com/databank/darth-vader -- What is Descript? https://www.descript.com/ -- What is a DeepFake? https://www.techtarget.com/whatis/definition/deepfake -- What is Facebook? https://www.webwise.ie/parents/explained-what-is-facebook-2/ -- Learn All About The Movie: TOP GUN: Maverick: https://www.studiobinder.com/blog/top-gun-maverick-behind-the-scenes/ -- Who is Val Kilmer? https://www.smoothradio.com/news/entertainment/val-kilmer-age-wife-children-movies-illness/ -- 'Who is Mike DelGaudio? https://www.thenosleeppodcast.com/about/contributors/mike-delgaudio -- What is The Booth Junkie? https://www.youtube.com/@BoothJunkie/videos -- Who are Siskel & Ebert? https://movieweb.com/siskel-and-ebert-impact-on-hollywood/ -- Who is Gene Siskel? https://www.genesiskel.com/ -- Who is Roger Ebert? https://www.rogerebert.com/contributors/roger-ebert -- The Story of Crafting Roger Ebert's Voice: https://youtu.be/SR9OS74Sa8s?si=SjAWgzcgPbuIDGPc -- Remaking My Voice (In Ebert's Own Words): https://www.ted.com/talks/roger_ebert_remaking_my_voice?language=en -- Learn All About CereVoice: https://www.cereproc.com/ -- What Process Inside of Descript Prevents Shenanigans? https://www.descript.com/tools/text-to-speech -- Learn All About Corridor Crew: https://www.youtube.com/channel/UCSpFnDQr88xCZ80N-X7t0nQ -- Check Out The Corridor Crew Episode Involving Voice Generation - SCARY Shit Going on Here! https://www.youtube.com/watch?v=0fO7CBDMGNA -- Let the Celebrity Voices Be Experienced! https://youtu.be/AALf9w37COM?si=ETXNqa4G7cGij6E6 -- Learn All About The Scammercast.Com Effort! http://scammercast.com/ -- Check Out Roger Gowdy on YouTube! https://www.youtube.com/@rogergowdy -- "Can CHATGPT Develop a Brand New Podcast from Idea t...

Dmytro Bielievtsov is the CTO and Co-founder of Respeecher. Respeecher focuses on high-fidelity voice cloning and their synthetic speech technology was the first one to be adopted by big Hollywood production studios in 2019. Respeecher's has already shown up in major Feature films, TV projects, and Video Games. Animation studios, Localization and media agencies, in Healthcare, and other areas are using it. Some of their projects include artificially voicing God of War Ragnarok, de-aging Mark Hamill's voice in The Mandalorian and The Book of Boba Fett, and James Earl Jones's voice for the Obi-Wan Kenobi series. They have also been featured in Forbes, The Guardian, TechCrunch, VentureBeat, to name a few.00:00 Introduction00:19 Our Guest01:33 Running a company in the Ukraine04:55 Respeecher07:24 How does Respeecher work?10:37 How did Hollywood find you?12:10 Voice work for Star Wars14:55 Do you keep the voice?16:23 Deep Fake in the Election22:02 Vishing23:25 Luke Skywalkers Voice25:26 De-Aging Mark Hamill's voice26:15 Animal Voices28:02 The Future for Respeecher30:11 Electrolarynx devices ---------------------------------------------------------------------- To learn more about Respeecher visit https://www.respeecher.com/ To learn more about Dark Rhino Security visit https://www.darkrhinosecurity.com ---------------------------------------------------------------------- SOCIAL MEDIA: Stay connected with us on our social media pages where we'll give you snippets, alerts for new podcasts, and even behind the scenes of our studio! Instagram: @securityconfidential and @OfficialDarkRhinoSecurity Facebook: @Dark-Rhino-Security-Inc Twitter: @darkrhinosec LinkedIn: @dark-rhino-security Youtube: @Dark Rhino Security ​ ---------------------------------------------------------------------- #darkrhinosecurity #securityconfidential #cybersecurity #cyberpodcast #ai #artificialintelligence #securitypodcast #cybernews #technews #techsoftware #informationtechnology #infosec #cybersecurityforbeginners #technewstoday

One of the major points of contention in the SAG-Aftra/Writers Guild strike is over ownership of the image and voice of performers. Bob Iger said allowing actors to control the use of the image is disruptive to the current paradigm. But my conversation with Anna Bulakh of Repeecher revealed what the studios want is actually the disruption. Anna is the head of ethics for Respeecher. Yes, you heard that right. The HEAD OF ETHICS. Blows my mind. --- Send in a voice message: https://podcasters.spotify.com/pod/show/crucialtech/message Support this podcast: https://podcasters.spotify.com/pod/show/crucialtech/support

Відеоверсія

“If you were thinking more towards the sonic branding aspect of finding a specific sound or a musical tone that represents the company, the way that I like to approach it is, what don't you sound like? Because sometimes that's too obtuse of an idea to think about. But like, if you know of something that's your competition, maybe they have a sound and you go, I'm not this sound because I don't like this. I don't know. I just wanted to put that out there, that recognizing your competition, and also to Ahmed's point, asking your customers, what sounds do you portray? So again, I'm going into the more of the sonic branding element of it, but I just wanted to put that out there.” -- Jeanna Isham This episode's the second half of my discussion with panelists Ahmed Bouzi, Jeanna Isham, Audrey, Arbeeny, and Steve Keller in The Power of Sound Club on Clubhouse about the Power of Digital Audio, as we discuss what voice AI might mean for voiceover artists, where companies looking to take advantage of sonic branding might want to start, and how social media and marketing algorithms are making reaching out to customers both easier and more of a challenge than ever before.As always, if you have questions for my guest, you're welcome to reach out through the links in the show notes. If you have questions for me, visit www.audiobrandingpodcast.com where you'll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available. And if you're getting some value from listening, feel free to spread that around and share it with a friend, along with leaving an honest review. Both those things really help – and I'd love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast's main page. I would so appreciate that. Your Brand is Your BrandThe second half starts off with a question from Xavier, a voiceover artist and actor who's looking to utilize his talent for AI and synthetic voices. We talk about the Open Voice Network and innovative voice-cloning companies like Respeecher, and our quartet of panelists offer their advice. "At the end of the day,” Steve says, “your brand is your brand. So any and all of these things that you're doing that become part of a resume could potentially make you bankable.” Audrey adds “the one thing that I would say that I'd be a little careful with is like, let's say you're associated with one brand and you're on camera for them. And then you're on all of their media, your their voice. That might limit you from being somebody else's voice because you're too associated, you know what I mean?” Knowing Your ToolsJeff takes the stage for the next question, as he's curious about where a company that hasn't invested in audio branding before might start. We talk about the different resources that are available, and which forms of sonic marketing are the best fit for particular industries. “My general guidance,” Ahmed explains, “is to educate yourself about the space, but always start with your customers and ask yourself the question, how do I use this tool? And that's why the education comes in, is you need to know what tools are out there. How do you use these various tools or one of these tools just to start?" How Are We Using Sound?Another observation comes from Cheryl, who notes how easy it is, in an online world driven by algorithms and metrics, for advertisers to alienate their customers with clumsy marketing. Ahmed agrees with her and shares his thoughts on the importance of diversifying ad campaigns to reach out to different categories of clients,

ChatGPT. AI. Text-To-Speech. Speech-To-Speech. Are the digital boogeymen here to decimate our business and take our lunch money? Today, we'll look specifically at ChatGPT and AI in the larger sense… apps like Revoicer, Respeecher, and Speechelo… and make some sense out of all the hype and fear in the voice acting community. With the rise of artificial intelligence and machine learning, a lot of us are starting to wonder whether that's enough to keep us relevant moving forward.  Enter ChatGPT, an AI language model that has been getting a ton of buzz and striking fear into the hearts of some voice actors.  But what is it, and how does it fit into the world of voice acting? _____________________________ ▶️ Watch this video next: https://youtu.be/euU8e7_wZfg SUBSCRIBE: https://www.youtube.com/@paulschmidtpro?sub_confirmation=1 The VO Freedom Master Plan: https://paulschmidtpro.com/vo-freedom-master-plan Private 1:1 VO Business Coaching: https://paulschmidtcoaching.com USE CODE YOUTUBE20 to get 20% off your first paid session. My Move Touch Inspire Newsletter for Voice Actors: https://paulschmidtpro.com/newsletter The Paul Schmidt Pro Podcast: https://paulschmidtpro.com/the-pro-podcast 7 Steps to Staring and Developing a Career in Voiceover: https://paulschmidtpro.com/7-steps-signup How working on Fivver, etc. can damage your career: https://globalvoiceacademy.com/why-i-dont-worry-about-fiverr-anymore/ Say Hi on Social:  https://pillar.io/paulschmidtpro https://www.instagram.com/paulschmidtvo https://www.tiktok.com/@paulschmidtpro https://www.clubhouse.com/@paulschmidtvo https://www.linkedin.com/in/paulschmidtvo/ My voice over website: https://paulschmidtvoice.com GVAA Rate Guide: http://vorateguide.com Tools and People I Work with and Recommend (If you use these links to buy something we may earn a commission.):  For lead generation and targeting - Apollo.io: https://apollo.grsm.io/yt-paulschmidtpro Way Better than Linktree: https://pillar.io/referral/paulschmidtpro

AI and Podcasting - Talking to Computers“I'm sure one day you won't be able to tell the difference, and maybe it's not a bad thing, because everybody wants to be at their best. You know, we wear nice clothes and put on makeup and everything else, and, you know, maybe one day you'll do the same for your voice, so you won't sound tired or hung over or whatever...” -- Carl Robinson This episode's guest is the co-founder and CEO of Rumble Studio, a startup that helps creators, agencies, and brands create podcasts ten times faster and easier using cutting-edge voice technology. Rumble Studio is the first and only company to record asynchronous guest interviews using conversational AI, which allows anyone to create audio content at scale, no skills required. He's the host of the Voice Tech Podcast and has interviewed more than one hundred experts in the field of voice technology. Earlier in his career, he led a product team at a chatbot startup and became a published voice AI data scientist. His ambition is to democratize audio content creation so that businesses large and small can establish a presence on the audio channels of the future.His name is Carl Robinson and you'll want to hear what he has to say about podcasts and the state of audio in general. The future of sound is already here, so, let's get to it!As always, if you have questions for my guest, you're welcome to reach out through the links in the show notes. If you have questions for me, visit www.audiobrandingpodcast.com where you'll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available. And if you're getting some value from listening, feel free to spread that around and share it with a friend, along with leaving an honest review. Both those things really help – and I'd love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast's main page. I would so appreciate that. The People Behind the CurtainOur interview starts with Carl's earliest memories of sound, the video-game chiptunes and sound effects that helped define his childhood. He tells us how his career began with voice technology and, as a result, soon segued into podcasting. We discuss his early work with healthcare chatbots at a time when they relied much more on human guidance: as he puts it, "I was one of the many people behind the curtain." Carl tells us how the idea came to him that podcasting could be automated to scale using voice technology, and how underutilized it was at the time. "That was around the time," he says, "when Alexa and everything was taking off so it was a great time to have that realization." Wearing Your Best VoiceCarl tells us how he finished his work in Beijing and moved to France to help develop machine learning models in the earliest days of voice interface. He spent much of his time, he says, talking to computers – or, as Carl explains, "dreaming of talking to computers because there wasn't that much talking to them." He tells us about the pioneering research into simulated emotional tones and how he's working these days on voice transformation, apps that process and change a person's inflections, accent, and even who their voice belongs to, in real-time. We talk about some of the companies that are on the leading edge of that process, such as Sanas.AI, Veritone, and Respeecher, and how one day we may see choosing our best digital voice as casually as picking an outfit to wear to an...

Respeecher uses deep learning (AI) techniques to produce high quality synthetic speech.  The company was launched in 2018 by Alex Serdiuk, Dmytro Bielievtsov and Grant Reaber. In March 2020, Respeecher received $1.5 million in startup funding from ff Venture Capital, Acrobator Ventures, ICU Ventures, Network VC, and several angel investors. A year later, the company launched the beta of Voice Marketplace, a democratized version of Respeecher's tech available for small creators. In September 2021, Respeecher was awarded with an Emmy for their work on In Event of Moon Disaster. Since then, the team at Respeecher has worked on the following projects: The Book of Boba Fett and The Mandalorian (synthetic voice of young Luke Skywalker), Aloe Blacc's tribute to Avicii (cross-lingual Avicii's singing voice cloning), collaborated with 72andSunny, NFL, Digital Domain on the Super Bowl commercial (voice of Vince Lombardi / 2.1B impressions), Disney's Obi-Wan Kenobi Series. In February 2022, Respeecher team, most of which is in Ukraine, navigated through the full blown Russian invasion and managed to have no disruptions in operations. The company continues to grow, employ their fellow Ukranians and support their home country. In this Podcast, Allan McKay interviews Alex Serdiuk, Co-Founder of Respeecher, about the AI technology of synthetic speech; leveraging it in the fields of entertainment, medicine and investigative journalism; Respeecher's work on The Book of Boba Fett and The Mandalorian and so much more! For more show notes, visit www.allanmckay.com/392.

Ukraine's air defense systems are critical to protect the country against Russian missile and drone attacks. Technologist and entrepreneur Dmytro Bielievtsov, the CTO of the startup Respeecher, discusses a new project, Zvook, which is developing an acoustic monitoring network powered by AI. The goal of the project is to enhance Ukraine's air defense systems to better detect incoming enemy missiles and drones. https://algorithmwatch.org/en/zvook-ukraine-air-defense/ https://www.epravda.com.ua/publications/2022/11/28/694314/

Wed, 21 Dec 2022 15:00:00 +0000 https://efm-industry-insights.podigee.io/31-smart-producing 11b4a617adcdc55ce905b683d2f9cd84 Industry Insights – The EFM Podcast is presented by the European Film Market of the Berlinale. Hosted by strategist, conference curator, moderator & speaker AC Coppens, it delves deep into the rapidly evolving film industry. In this episode, an international group of forward thinkers will put their entrepreneurial instincts on display as we take a look at the new realities and unfolding opportunities for “smart producing” coming out of the intersecting worlds of tech and media. Join EFM Startups Alumni Maria Tanjala, Fiona Gillies, Max Hermans and Alex Serdiuk who discuss the innovative production tools they have developed and honed and the creative ways technology can be used to empower the future of film production. Maria Tanjala, Co-founder, FilmChain Maria Tanjala is a UK-based producer and entrepreneur, passionate about tech solutions that bring transparency and automation to the creative industries. She co-founded FilmChain alongside Irina Albita. The platform is transforming how producers, financiers, and sales agents get paid. With Digital collection agent (CAM) for indie films and royalties management solution for content distributors, FilmChain brings transparency to the process and modernises royalties. They have won awards such as ‘Startup of the Year' London Business Awards 2020, Startup Challenge at San Sebastian Film Festival 2020, BAFTA's Makers and Shakers 2020, Unchain Fintech Festival 2022, to name a few. Before co-founding FilmChain, Maria was producing for film, television and digital and was nominated ‘Rising Star' Screen International 2018. Fiona Gillies – Co-founder and CEO, SMASH Fiona Gillies is an independent film producer and co-founder of My SMASH Media. Fiona produced The Beat Beneath My Feet which was in competition at the Berlin International Film Festival. Prior to producing, Fiona worked extensively as an actor in film, tv & theatre. She has been a mentor for Women in Film & TV and is a fellow of the Royal Society of Arts. SMASH is an IP marketplace for film & TV which connects diverse, innovative content creators with decision-makers. SMASH provides creators with a Pitch Builder and an IP Pitch Protector enabling them to securely share and track their projects. SMASH was one of the European Finalists at this year's San Sebastian Zinemaldia Startup Challenge, as well as for Investing Women's Accelerator HER and in the Digital TV Group's TV Transformers competition. Alex Serdiuk, Co-founder and CEO, Respeecher Alex Serdiuk co-founded Respeecher in 2018. Respeecher is an Emmy-award winning voice cloning company, enabling one person to speak in the voice of another particular person (speech-to-speech voice conversion). A primary focus of the company is the democratization of the technology to allow sound professionals and creators worldwide have access to the tool. Respeecher is the only synthetic speech tech used in Hollywood studio movies, including in the Star Wars universe, creating the voice of young Luke Skywalker in The Mandalorian and The Book of Boba Fett, and Darth Vader in the Obi-Wan Kenobi series. Max Hermans, Co-founder and COO, TheGreenShot Max is a self-made entrepreneur who started his own company in 2012 focusing on organising events and promoting artists. In 2016 his career took a turn towards the film industry as he worked as a supervising location manager and production coordinator on many international productions across Europe. From his hands-on experience, he lived through wastefulness on productions which was the impetus to create a new solution involving crews in making productions greener. TheGreenShot is the 1st green production management app for films, TV Series, shorts and commercials designed to embed the CO2 footprint right inside the production process. It delivers a singular solution that empowers each crew member to act and decrease the environmental impact of a production. Its open interfaces, its capability to adapt to different carbon calculators and certification programmes delivers uniquely efficient workflows. This multi-awarded startup was the recipient of BAFTA's 2021 Makers and Shakers Tech Production Innovation of the year. The host AC Coppens is a strategist, conference curator, host, moderator & speaker. They founded THE CATALYSTS, an agency for innovative & creative players working at the crossing of Digital Tech, Film/XR, Music/Sound, Design & Culture, to turn conferences into sites of knowledge exchange and co-creation. The Berlinale's European Film Market is the first international film market of the year, where the film industry starts its business. Industry Insights - The EFM Podcast puts a spotlight on highly topical and trendsetting industry issues, thereby creating a compass for the forthcoming film year. The year-round podcast is produced in cooperation with Goethe-Institut and co-funded by Creative Europe MEDIA. full no Industry Insights,Smart Producing,Film Industry,EFM,AC Coppens,The Green Shot,FilmChain,My Smash Media,Respeecher,Film Market European Film Market

A Deepcake e a Respeecher são duas empresas especializadas em inteligência artificial que produzem clones digitais de celebridades, em vídeo e voz, para filmes e anúncios publicitários. Estas soluções tecnológicas já foram utilizadas por empresas de telecomunicações e pela Disney, para a clonagem de imagem e voz de atores como Bruce Willis e James Earl Jones. Saiba mais sobre inovação e nova economia em supertoast.pt. 

A Deepcake e a Respeecher são duas empresas especializadas em inteligência artificial que produzem clones digitais de celebridades, em vídeo e voz, para filmes e anúncios publicitários.  Estas soluções tecnológicas já foram utilizadas por empresas de telecomunicações e pela Disney.

A Deepcake e a Respeecher são duas empresas especializadas em inteligência artificial que produzem clones digitais de celebridades, em vídeo e voz, para filmes e anúncios publicitários.  Estas soluções tecnológicas já foram utilizadas por empresas de telecomunicações e pela Disney.

Elon Musk sagte, dass Tesla das Autopilot-Team für sein humanoides Roboterprojekt Optimus ausleiht, das Ende des Monats eine Frist hat. https://electrek.co/2022/09/20/tesla-borrowing-autopilot-team-optimus-humanoid-robot-project/ Wir haben ein neuronales Netz namens Whisper trainiert, das sich der Robustheit und Genauigkeit der englischen Spracherkennung auf menschlichem Niveau annähert, und betreiben Open-Sourcing. https://openai.com/blog/whisper/ Getty Images hat das Hochladen und den Verkauf von Illustrationen verboten, die mit KI-Kunsttools wie DALL-E, Midjourney und Stable Diffusion erstellt wurden. https://www.theverge.com/2022/9/21/23364696/getty-images-ai-ban-generated-artwork-illustration-copyright Der Online-Verbraucherkreditgeber Upstart Holdings sagt, er arbeite daran, seine künstlichen Intelligenzmodelle zu verbessern, nachdem eine Anwaltskanzlei, die die Einhaltung der fairen Kreditvergabe überwacht, niedrigere Kreditgenehmigungsraten für schwarze Antragsteller festgestellt hat. https://www.americanbanker.com/news/upstart-says-its-improving-ai-models-after-report-finds-race-approval-disparities Bogdan Belyaev arbeitete von zu Hause aus, als die Luftschutzsirenen losgingen. https://www.vanityfair.com/hollywood/2022/09/darth-vaders-voice-emanated-from-war-torn-ukraine Visit www.integratedaisolutions.com

Podcast jest dostępny także w formie newslettera: https://ainewsletter.integratedaisolutions.com/ Elon Musk powiedział, że Tesla pożycza zespół Autopilota do swojego projektu humanoidalnego robota Optimus, którego termin realizacji przypada na koniec miesiąca. https://electrek.co/2022/09/20/tesla-borrowing-autopilot-team-optimus-humanoid-robot-project/ Przeszkoliliśmy i udostępniamy sieć neuronową o nazwie Whisper, która zbliża się do ludzkiej solidności i dokładności rozpoznawania mowy w języku angielskim. https://openai.com/blog/whisper/ Getty Images zakazał przesyłania i sprzedaży ilustracji generowanych za pomocą narzędzi artystycznych AI, takich jak DALL-E, Midjourney i Stable Diffusion. https://www.theverge.com/2022/9/21/23364696/getty-images-ai-ban-generated-artwork-illustration-copyright Internetowy pożyczkodawca konsumencki Upstart Holdings twierdzi, że pracuje nad ulepszeniem swoich modeli sztucznej inteligencji po tym, jak kancelaria prawna, która monitoruje zgodność z zasadami uczciwego udzielania pożyczek, znalazła niższe wskaźniki zatwierdzania pożyczek dla czarnych wnioskodawców. https://www.americanbanker.com/news/upstart-says-its-improving-ai-models-after-report-finds-race-approval-disparities Bogdan Bielajew pracował w domu https://www.vanityfair.com/hollywood/2022/09/darth-vaders-voice-emanated-from-war-torn-ukraine Odwiedź www.integratedaisolutions.com

Elon Musk said Tesla is loaning the Autopilot team for its humanoid robot project Optimus, which has a deadline at the end of the month. https://electrek.co/2022/09/20/tesla-borrowing-autopilot-team-optimus-humanoid-robot-project/ We have trained and open source a neural network called Whisper that approximates the robustness and accuracy of human-level English speech recognition. https://openai.com/blog/whisper/ Getty Images has banned the uploading and sale of illustrations created with AI art tools such as DALL-E, Midjourney and Stable Diffusion. https://www.theverge.com/2022/9/21/23364696/getty-images-ai-ban-generated-artwork-illustration-copyright Online consumer lender Upstart Holdings says it is working to improve its artificial intelligence models after a law firm that monitors fair lending compliance found lower loan approval rates for black applicants. https://www.americanbanker.com/news/upstart-says-its-improving-ai-models-after-report-finds-race-approval-disparities Bogdan Belyaev was working from home when the air raid sirens went off. https://www.vanityfair.com/hollywood/2022/09/darth-vaders-voice-emanated-from-war-torn-ukraine Visit www.integratedaisolutions.com

Why Do Cats Purr? An Investigation Into A Purr-fect Mystery Science Friday recently received a voicemail from a listener named Violet from Maui, Hawai'i, who wanted to know: Why do cats purr? We wanted to see what other cat lovers knew about cat purring. So we sent our talented SciFri colleagues Diana Montano and Kyle Marian Viterbo to the Meow Parlor, a cat cafe in New York City to find out. Guest host Katherine Wu, who recently wrote about why cats purr for The Atlantic, also talks with Robert Eklund, professor of language, culture, and phonetics at Linköping University in Linköping, Sweden. He explains what we do and don't know about how and why cats purr.   How To Digitally Recreate Darth Vader's Voice From A War Zone James Earl Jones played Darth Vader for 45 years. But this September, he officially stepped down from the role. Fear not, Star Wars fans—the villain isn't gone for good. Instead, the filmmakers have teamed up with the Ukrainian AI company Respeecher to recreate his voice. Respeecher can convert one person's speech into the voice of another. The company's work has appeared in the Star Wars canon already, as Young Luke Skywalker in “The Mandalorian” and “The Book of Boba Fett.” And just last month, they debuted their Darth Vader mimic in the T.V. show “Obi-Wan Kenobi.” They always knew that it would be challenging to recreate Vader's iconic voice. But their job got a whole lot harder when Russian troops invaded their nation. Respeecher chief technology officer Dmytro Bielievtsov and sound engineer Bogdan Belyaev join guest host Kathleen Davis to talk about their work.   Toxic Death Cap Mushrooms Take Root In The Mountain West Toxic mushrooms are not unusual in the Mountain West. “This is probably a lepiota,” said Susan Stacy, looking at a mushroom on a recent afternoon in a Boise, Idaho, neighborhood not far from downtown. “See that little dark nub in the middle and little flecks around here?” Stacy turned to her mushroom identification book. “Edibility: to be avoided. Perhaps poisonous,” she said. While this little mushroom could be problematic for a curious dog or child, it doesn't compare to one of the world's deadliest mushrooms – which Stacy discovered in Boise last September. She remembers that it was a hot day, and she decided to take a detour from her normal route to check out a busier area where many lawns were “generously” watered. “And here I come upon this mushroom, and I knew it was an Amanita because I had seen them before. And an Amanita, to my mind, is a gorgeous, statuesque, elegant creation. They're just stately,” she said. The genus Amanita includes, incidentally, the species on which the red and white mushroom emoji is likely based, which also happens to be poisonous. Read the rest of this story on sciencefriday.com   Will A Hotter World Make Jellyfish Haute Cuisine? The ocean is filled with delicious ingredients, but our favorite seafood items might not stick around on menus forever … thanks to climate change taking its toll on fisheries. As a result, scientists are thinking more and more about what the future of food is going to look like—what ingredients we should eat more, and what we should eat less. That could mean we'll eat more items like kelp, oysters, and mussels, which are a great source of nutrients, since they can be sustainably harvested. But there's another seafood that's being encouraged as a food of the future. But it's a little more unfamiliar—and maybe surprising—to most of the world. It's jellyfish. Although it's a fairly common ingredient in several countries, like China and Vietnam, it hasn't quite broken into the international market yet. Guest host Katherine Wu talks with Agostino Petroni, a journalist based in Rome who reported on the topic for Hakai Magazine, and Dr. Antonella Leone, a researcher at the Italian National Research Council's Institute of Sciences of Food Production, based in Lecce, Italy. They talk about the benefits of jellyfishing, what it's going to take to catapult jellyfish into the international seafood market, and their favorite jellyfish recipes.   Transcripts for each segment will be available the week after the show airs on sciencefriday.com.  

I Was There When is an oral history project that's part of the In Machines We Trust podcast. It features stories of how breakthroughs and watershed moments in artificial intelligence and computing happened, as told by the people who witnessed them. In this episode we meet Alex Serdiuk, founder and CEO of Respeecher.  CREDITS: This project was produced by Jennifer Strong, Anthony Green and Emma Cillekens. It was edited by Mat Honan and mixed by Garret Lang with original music by Jacob Gorski. The art is from Eric Mongeon and Stephanie Arnett.

Vous le savez peut-être, l'acteur James Earl Jones a officiellement annoncé qu'il allait arrêter de doubler le personnage de Dark Vador. Une triste nouvelle pour de nombreux fans, mais qui n'est pas une fatalité pour autant puisque sa célèbre voix continuera de raisonner à l'écran grâce à l'intelligence artificielle.En fait, l'acteur a signé un accord pour que les archives de ses enregistrements vocaux puissent être utilisées afin d'entraîner des outils de synthèses vocales adossés à une intelligence artificielle. L'objectif est clair : pouvoir recréer la voix de Dark Vador quand il était plus jeune, afin de continuer à l'exploiter pour de nouveaux dialogues. Bien connu de l'univers de la synthèse vocale, c'est l'entreprise Respeecher qui a été retenue pour ce projet. La start-up ukrainienne a en effet déjà travaillé avec Lucasfilm et Disney notamment dans la série Le livre de Boba Fett où Luke Skywalker, joué à l'écran par Mark Hamill retrouvait sa voix de jeune jedi ; ainsi que dans a série Obi-Wan Kenobi. De son côté, l'artiste Bogdan Belyaev avait donné vie à un jeune James Earl Jones pour quelques lignes de dialogues de Dark Vador dans la série Obi-Wan Kenobi, et avait même dû précipiter la fin de son travail pour envoyer les rendus à temps alors que la Russie commençait son invasion de l'Ukraine. D'après le célèbre magazine Vanity Fair, Matthew Wood, employé de longue date de Lucasfilm, aurait même reçu quelque temps après la mise en ligne de la série, un message de la famille de James Earl Jones qui indiquait qu'elle était satisfaite du travail.Ce n'est pas un secret, Lucasfilm a toujours été en pointe dans l'utilisation de la technologie. Disney est pour sa part un véritable terrain d'expérimentation et l'innovation via sa division Disney Research qui développe aussi bien des technologies de réalité virtuelle que des robots pour renforcer le réalisme des cascades dans ses films. Le recours à l'intelligence artificielle n'est pas nouveau, tout comme l'utilisation d'images de synthèse pour redonner vie à un acteur disparu. Ceci dit, et comme nous l'avons développé dans le podcast précédent consacré au deepfake professionnels de Bruce Willis au cinéma, utiliser des voix synthétiques pose question. Reste à savoir si cela permettra de préserver un patrimoine, d'améliorer la qualité des productions, sans pour autant nuire aux acteurs devant la caméra ou derrière les micros. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

James Earl Jones is retiring as the voice of Darth Vader but his menacing tones will live on through A.I. supplied by Ukrainian startup, Respeecher. Apple reportedly won't boost iPhone 14 Production because it appears that the new hotness is selling as Apple predicted it would.Square makes Tap to Pay on iPhone available to U.S. sellers.And will companies like Amazon urging employees to work remotely ultimately lead to overseas outsourcing?Link to Show Notes Hosted on Acast. See acast.com/privacy for more information.

Pedro Pascal gives us some info that's epic about the Mandalorian season 3. James Earl Jones retires and hands his voice rights over to Disney and ReSpeecher. We go in depth on the first three episodes of Andor and touch upon all the Star Wars news that's come out this week.  Who's more over pits The grand inquisitors versus moff Gideon. It's an empire battle to the death. All this and more on this weeks nFo episode!  As usual email us at newforceorder@yahoo.com 

    Pedro Pascal gives us some info that's epic about the Mandalorian season 3. James Earl Jones retires and hands his voice rights over to Disney and ReSpeecher. We go in depth on the first three episodes of Andor and touch upon all the Star Wars news that's come out this week.  Who's more over pits The grand inquisitors versus moff Gideon. It's an empire battle to the death. All this and more on this weeks nFo episode!  As usual email us at newforceorder@yahoo.com 

On Business Matters we're joined throughout the programme by Andy Uhler, from our partner programme Marketplace, along with Shuli Ren from Bloomberg in Hong Kong. Claudia Sahm, a former Federal Reserve and White House economist, shares her thoughts regarding the weakening of global currencies against the US dollar. How are the markets reacting to the currency fluctuations? Peter Jankowskis from Arbor Financial tells us. The BBC's Thomas Nandi explains why Ghana is also struggling against the US dollar. ''Swift and severe'': that's how President Joe Biden's spokeswoman, Karine Jean-Pierre describes additional sanctions from the US against Russia as the country considers annexing extra territory in Ukraine. The UK has also unleashed further sanctions targeted towards the organisers of self-styled 'referendums' asking Ukrainians in occupied territories if they support joining Russia. The Canadian prime minister, Justin Trudeau, talks tough against Iran following the death of a young woman in police custody ten days ago which has triggered large scale demonstrations. NASA completes one of the world's most daring space missions. We're joined by former space agency employee Keith Cowing. The BBC's Laura Heighton-Ginns meets domestic workers who escaped modern slavery as she digs deeper into the exploitation and abuse of domestic workers overseas. Alex Serdiuk, CEO of the Ukraine AI firm Respeecher, tells us how they managed to close one of the most well-known characters in movie history, Darth Vader. (Picture: The US dollar and British pound. Credit: Getty Images).

Britain's pound hit record lows against the US dollar on Monday. So how much is a strong dollar to blame? We speak to Claudia Sahm, the founder of Sahm Consulting and a former Federal Reserve and White House economist. The US has warned Russia that it will impose further economic sanctions if Moscow annexes more territory in Ukraine. Peter Jankovskis of Arbor Financial Services talks us through the likely implications if this happens. In Ghana, the current state of the economy takes centre stage as the government seeks a multi billion dollar finance deal from the International Monetary Fund to tackle economic hardship. The BBC's Ghana Correspondent Thoams Nandi paints a picture of the situation. How will Kenya's president Ruto fulfil his promise to tackle the cost of living crisis and lift people out of poverty? Mr Ruto unveils his plans to the World Service's Alan Kasujja. The fight for domestic workers' rights continues. The BBC's Laura Heighton-Ginns investigates the exploitation and abuse of domestic workers overseas. Alex Serdiuk, CEO of the Ukraine AI firm Respeecher tells us how it's been made possible to clone one of the most well-known characters in movie history.

We're back, baby! After the COVID Break™, we returned to the CCCC for another live pod recording with some great Zoners — costumed and not costumed — in attendance! Bud's Weekly Geek-out 04:37 – Nothing, I'm sick! Coming Soon 05:29 – Strange World (in theatres November 23) (Zoner Mary) 09:00 – Wakanda Forever Empire Magazine covers (screenshare) Geek News Proper 11:19 – James Earl Jones signed his voice rights over to Lucasfilm and Respeecher, based in Ukraine 19:16 – Barbara Broccoli and Michael G. Wilson are searching for the next Bond villain before finding the next Bond 21:35 – Constantine 2 (Zoner Mary) 22:50 – Tom Hardy makes surprise appearance at Brazilian jiu-jitsu tournament 24:30 – The Original Karate Kid Movie Franchise Is Coming Back, Somehow (June 2024) (that's it) (Zoner Mary) RUMOURS and HEARSEY 25:54 – Jon Bernthal RUMORED to reprise his role as The Punisher in Daredevil: Born Again (source: 9Gag) Listener mailbag (geekout@TheZone.fm) 29:07 – Zoner Ewan: Trombone Champ (screenshare) 31:19 – Zoner Ewan: proposing a new MCU director? CCCC audience participation 36:16 – Trivia time Extro! 41:00 – Thanks for coming/listening! =) Join The Geek-out Podcast's Facebook page (where we'll release new episodes, and where you can talk with us) and Facebook group (where fans of the podcast can gather and talk geeky stuff)! Questions? Comments? Corrections? Suggestions? e-mail geekout@TheZone.fm Subscribe to The Zone's Geek-out Podcast on Apple Podcasts. Or, copypasta this link to subscribe using your podcatcher of choice: https://omny.fm/shows/the-geek-out-podcast/playlists/podcast.rss And, get more Zone podcasty goodness at TheZone.fm/podcast

Cassian Andor becomes reluctantly caught up in corporate security as he searches for someone interwoven in his origin story. Matt and Pete discuss episodes 1-3. We reference this Vanity Fair article about the Ukrainian start-up company Respeecher, as well as this Hollywood Reporter interview with Tony Gilroy.Thanks as always to everyone who supports the podcast by visiting Patreon.com/PhantasticGeek.Share your feedback by emailing PhantasticGeek@gmail.com, commenting at PhantasticGeek.com, or tweeting @PhantasticGeek.MP3

In this week's news episode, Florian and Anna catch up on a month's worth of news, with RSI receiving a lot of opposition. First, there was a UN Today article where interpreters pushed back on poor sound quality and unreliable audio levels causing hearing problems. Then interpreters went on strike at the EU Parliament after negotiations seeking improved work conditions failed. Anna talks about Meta AI's “breakthrough” claim in machine translation with the release of the I/O model called No Language Left Behind (NLLB). NLLB is an open-source machine translation model with 54 billion parameters and focuses on 200 low-resource languages, specifically from Africa and Asia.In media localization, ZOO Digital released full-year results for 2022 which saw revenue grow by 78% from the previous year, and growth into the current year driven by the ongoing territory launches of major streaming platforms.Keywords Studios' interest in the space has become more apparent as CFO, John Hauck, shares the game localization provider's plans to expand into adjacent markets and move more heavily into film and TV.The duo also discuss the launch of Zoom's translation feature. Business users can now have their Zoom meetings translated in real-time into and out of English from any of 10 languages. Anna then covers Disney's experimentation with synthesized voices. The company partnered with voice-cloning startup Respeecher to feature a synthetic voice in The Mandalorian miniseries.

Nelson Mandela once said, "If you speak to a man in a language he understands, that goes to his head. If you speak to a man in his own language, that goes to his heart." The Augmented City podcast dug into that idea from the viewpoint of synthetic media with Alex Seriduk, the CEO of Respeecher. Based in Ukraine, Respeecher uses AI and Deep Learning to enable *Speech-to-Speech* synthetic voices. NFL Football fans heard Respeecher's work during the 2021 Superbowl when the voice of Vince Lombardi was re-imagined for a motivational message about prevailing over Covid-19. Star Wars fans experienced the voice of a 20 year old Luke Skywalker delivered by 68 year old Mark Hamill courtesy of Respeecher. Alex and John explore those use cases while covering some of the ethical and practical considerations for working with synthetic voices.

Intro Song: Politicking (By Eric July)  https://ericjuly.bandcamp.com/album/rap-circle (https://ericjuly.bandcamp.com/album/rap-circle) All our links in one location! https://direct.me/theunderground (https://direct.me/theunderground) Bitcoin Address - 31oA5KzqUT7VQVZNeziaSF4B51xb921v1q Episode 98 Amazon defines what a female is with new female orcs in ROP https://www.ign.com/articles/rings-of-power-female-orcs (https://www.ign.com/articles/rings-of-power-female-orcs) Aba & Preach on diversity in film https://www.youtube.com/watch?v=tvGs7k_kwCU (https://www.youtube.com/watch?v=tvGs7k_kwCU) -iso for the episode 2:34 -2:50-4:15 -5:30-6:59 -7:00-8:21 -8:22-9:14 Kenobi Review What is Respeecher? https://www.respeecher.com/ (https://www.respeecher.com/)

This episode breaks down Chapter 3 of the Obi-Wan series discussing the Respeecher tech used on Vader's voice (and it's interesting place of origin....), Obi-Wan's failures coming back to haunt him, the dichotomy of new characters that love and hate the Empire, and where we think the story is going next. May the force be with you and God bless! --- Support this podcast: https://anchor.fm/conspiracyintheforce/support

En este episodio...@Mike_Santana @AlekPalma y @Juan_Xhu nos traen Teasers y Trailers de... Pinocchio En Fugitivos News... HBO Cancela Raised by wolves Nueva película por Paramount+ de Beavis & Butthead titulada Do Universe Emplean la voz de James Earl Jones para Obi Wan con ayuda del RESPEECHER, un servicio de conversión de voz Reseñamos. Jurassic World:Dominion RRR Love death & robots Disfruten este show. Recuerden que ustedes y nosotros... #SomosFugitivos @FugitivosMX --- Send in a voice message: https://anchor.fm/fugitivospodcast/message

The "real" dad Leia's always wondered about gets the rematch he's clearly been dreaming about - and it's probably only the first fight that Obi-Wan Kenobi and Darth Vader will have in the series. We're calling Part III "Not the Face!" Punch it! The 7 highlights we're talking about are... 1. How does the Force work? 2. Which dark side Force users actually affect Obi-Wan? 3. Are you my real dad? 4. Setting up the Qui-Gon Jinn appearance again 5. Indira Varma's role, and the Quinlan Vos name check 6. James Earl Jones and the Respeecher app 7. THAT FIGHT and Anakin's long-planned revenge ***I'm listener supported! Join the community at http://Patreon.com/sw7x7 to get access to bonus episodes and other insider rewards.***   

Це перший епізод «Сродної праці», записаний під час війни. Вирішили завершити третій сезон серією особливих розмов з людьми, які тимчасово змінили свою професійну діяльність заради нашої перемоги. Спілкуємось з Орисею Хім'як, яка до війни працювала міжнародною комунікаційницею українського стартапу Respeecher, а зараз стала фіксеркою BBC. Розпитуємо, хто такі фіксери. Якими навичками треба володіти і що робити: «Фіксер – це місцевий провідник, який допомагає іноземному журналісту правдиво податі інформацію. Він шукає історії, героїв, локації. Це такий собі журналіст-напівкровка, бо завжди лишається за кадром. Треба бути професіоналом у комунікаціях, часом перекладати. Ідеально знати англійську, бо подивитись у перекладач часу нема. Знатись на ситуації, бажано навіть на озброєнні, бо часу гуглити теж нема. Генерувати інфоприводи, які має побачити світ. Добре мати журналістський бекграунд, щоб розуміти, як це працює». Спецепізоди воєнної «Сродної праці» з Уляною Салій слухайте на SoundCloud, Google та Apple Podcasts. Разом з Work.ua працюємо на перемогу!

Respeecher is one of the leading voice cloning solutions on the market today. It is also headquartered in Ukraine. In my recent update with Alex Serdiuk, I learned that despite the war in Ukraine, Respeecher was, in fact, still operating and fulfilling customer contracts.   So, we agreed to catch up on Respeecher's current business and also let everyone know the company is still operating despite the war. You are really going to like this discussion. We talk about voice cloning for media, how it's different from speech to text, deepfakes, ethical considerations, and a whole lot more.   Alex Serdiuk is CEO of Respeecher. The company has worked on several high-profile movie and TV projects including The Mandalorian where they recreated the voice of a young Luke Skywalker in an emmy-award winning piece of work.

Have you ever wanted to be someone else (or maybe just sound like someone else?). Expand your performance reach with speech-to-speech technology and explore new options as an actor! Anne & Alex Serdiuk from Respeecher discuss how voice actors can benefit from incorporating digitized voice options into their repertoire using the Respeecher platform. They chat tech, marketplace, usage, and just a few of the possibilities available to VO talent using speech-to-speech to enhance their acting range More at https://voboss.com/voice-and-ai-growing-respeecher

https://www.npr.org/2022/02/25/1082992947/ukraine-support-helpThere's a revolution happening in Ukraine. I'm not just talking about the people rising up to fight Russian aggression, I'm talking about an AI powered audio tool that will change filmmaking, game development and other content creation forever from a company called Respeecher. Most recently used to create the voice of young Luke Skywalker for the second season of "The Mandalorian," Respeecher's voice synthesis technology has already won 2 Emmy awards and promises to radically change performers ability to create new types of characters and audio/ editing post-production. Today, from western Ukraine we speak with Alex Serdiuk, CEO of Respeecher. We had planned this interview before the war broke out and in spite of me thinking it would be best for us to reschedule, Alex insisted we carry on. He explains his reasons why in our talk. List of Websites to Support the Ukrainian People #STANDWITHUKRAINE =============== Table of Contents =============== 00:00 - Intro 03:18 - Give us a quick overview of what Respeecher is. 04:38 - What was the inspiration for Respeecher, how did it come about? 07:23 - Where is the product most widely used currently? 09:25 - Give us some details about your 1st big project? 11:43 - How are you protecting intellectual property rights? 15:56 - Are you getting any resistance from performers? 18:02 - Tell us about your Voice Marketplace. 22:04 - When will it become available to a general audience? 24:42 - Do you see this eliminating the need for loop groups? Check out Respeecher's Demos Get a Free Trial of Respeecher Hear Emmy Winning Voice Cloning of Richard Nixon in, "In The Event of Moon Disaster" Check out our other social channels: YouTube Facebook Instagram Twitter LinkedIn

Emmy Award-winning Respeecher is changing the speech synthesis game. Move over TTS and SSML, and enter Speech to Speech.CEO, Alex Serdiuk, joins us to share more.Supporting UkraineThe VoiceLunch Foundation is taking donations to help support the voice lunch and voice technology community in Ukraine. VUX World has, of course, donated. I plead with you to donate too.Donate hereLearn more at https://respeecher.com**Presented by Deepgram and Symbl.ai**Deepgram is a Speech Company whose goal is to have every voice heard and understood. We have revolutionized speech-to-text (STT) with an End-to-End Deep Learning platform. This AI architectural advantage means you don't have to compromise on speed, accuracy, scalability, or cost to build the next big idea in voice. Our easy-to-use SDKs and APIs allow developers to quickly test and embed our STT solution into their voice products. For more information, visit: https://deepgram.com/vuxworldSee how easy it is to add simple but powerful call coaching and call tracking functionality to your customer experience solutions with Symbl.ai's customizable Conversation Intelligence APIs. From calls to videos to text conversations — apply best in class contextual AI in no time by getting started for free at https://symbl.aiRunning order:00:00 Intro and presenting Deepgram and Symbl.ai04:05 Welcome Alex and closing the Ukraine airspace08:40 About Respeecher12:40 Sourcing voices14:10 Nixon and winning an Emmy17:37 Process of creating speech to speech25:34 Limitations of TTS for long for audio29:00 The future of voice acting34:25 Voice marketplace38:00 Pricing of speech to speech voices42:00 How to achieve higher quality voices43:30 Accessibility48:50 Endless use cases51:00 Ethics55:54 Outro and more information See acast.com/privacy for privacy and opt-out information.

In this week's Update we discuss the latest from the controversy surrounding Joe Rogan and Spotify, Star Wars' use of AI voice acting, and the rumored return of a Sam Rockwell villain to the MCU. In our Q&A part of the show we talk about fictional characters we'd like to meet, our desert island items, and questions from the live chat! Be sure to subscribe and follow the show for all future posts... Twitter - @nerdontv Facebook - @nerdontv Instagram - @nerdontv and on iTunes and YouTube BIG thank you to our wonderful partners! Check them out HERE Join The Nerd On! Nation powered by Patreon today to get exclusive content and much more! Donate to the show HERE via PayPal. Every little bit helps. Learn more about Nerd On! HERE

What if you could perform beyond the limitations of your own voice? Anne is joined by special guest Alex Serdiuk for a bonus Voice and Ai episode. They discuss Respeecher's speech-to-speech technology, the limitations of your natural voice, and how a synthesized voice is similar to a printing press. The future isn't just on its way - the future is here - and creative possibilities are endless when human voices and technology work together... Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Anne: Hey everyone. Welcome to the VO BOSS podcast for another episode of the AI and Voice series. I'm your host, Anne Ganguzza, and today I'm excited to bring you special guest Alex Serdiuk. Alex is the founder and CEO of Respeecher, an AI speech-to-speech based company that creates voice cloning for content creators. Respeecher's technology was the first synthetic speech adopted by big Hollywood productions starting around 2019. And their primary focus is in improving the voice cloning technology in many directions, including the tech democratization to let sound professionals and creators have access to it. And as a voice talent, we love that. So Alex, thank you so much for joining me today. It's a pleasure having you. Alex: Hey Anne, everyone. It's so great to be here. Thank you for having me. Anne: Yes. So I have so many questions. You're a relatively young company founded in 2018, correct? Alex: Yes. That's correct, yes. Anne: Yeah. So, but you seem to have come a really long way in a very short amount of time. So if you don't mind, tell us a little bit about your company and how you got started. Alex: Yeah, actually for us, it felt like a very long amount of time, like eternity. But yeah, we started a bit earlier than 2018 with the idea we were playing around for several years. So we actually participated in one hackathon in Kiev, in Ukraine, and everyone were picking this ideas of applying deep learning AI, quite sophisticated machine learning techniques to do something with visuals, to do something with pictures. And we thought that would be cool to try doing something with speech, and that's harder task because we are much picky about the stuff we hear, unlike the stuff we see. And we ended up winning that hackathon with a very simple prototype of voice conversion technology that allowed one voice sound like another voice. Then we started to play around with the technology, started to speak to some folks we thought who could be our first clients, if you start this company. And they told us that it's all about quality. So if you talk about high quality voice cloning, it should be really high. So it should be indistinguishable for listener, whether it's synthesized or not. And given that we are quite picky about the sounds that we spot all the tiny little artifacts in sound the task has been challenging. So we launched the company in 2018 and took us about a year to get to the level where it could actually be of interest to some big sound engineers in Hollywood. And since then we've been improving the technology in several directions, usability, quality of the sound, speed, all that stuff. We try to make better on constant basis. Anne: Got it, got it. So, all right. What might seem like a simple question, because I think a lot of us in the voice industry, we've heard about text-to-speech. And as a matter of fact, we've been doing it for a very long time, you know, TTS projects. But now speech-to-speech is different. And so tell us exactly what is the difference between text-to-speech and speech-to-speech. Alex: Yeah. The differences in input, right? So when you use text-to-speech, you type words, and there is some AI that tries to make those words sound like they were spoken by human. The thing is there are two, in my opinion, holistic problems with text-to-speech. And that's one of the reasons why we do speech-to-speech. The first holistic problem would it text-to-speech be so limited to language models, to vocabularies. So if you want to try something different from what is in the vocabulary, it would fail. So if you try to pronounce some unusual name or street address, text-to-speech doesn't know where to take it from. That's one problem. The second one would be emotional control. And this one is huge. So text-to-speech can offer you few emotions, right? It can sound excited or sad, but that's it. And we humans are best in terms of producing emotions as we use our vocal apparatus. And we are the best in terms of being guided, how to produce emotions. So if you try to imagine very sophisticated text-to-speech that would allow you to have all these triggers our vocal apparatus has from the day we were born, that would be a very comprehensive tool. That would be extremely hard to use. It would be just simpler to say it in the exact way you want to say it. And that's where it's speech-to-speech comes in. So the idea of speech-to-speech is to enable a human speaking. The voice of another human is speaking in another timbre and all the emotions, all the inflections, all this stuff is being taken from source speaker. That means that you act, but you remove this boundary of being attached to the vocal apparatus, you were born with, the voice you have at the particular moment of your life. You can sound very different and that would be natural because emotions, inflections, acting would be yours. The timbre would be different. Anne: So then you require an actor to be a model for whatever voice that gets applied to? Is that correct? Alex: That's correct. We heavily rely on the actors. Anne: So then I would think that it's a different process because what I'm familiar with in terms of synthetic voices is that we record a whole bunch of prompts and then there becomes this voice that's created from that. And your technology basically has a source voice, is that correct, that is the actor? And then you can apply any different voice to that voice model? And so for every script, you would have an actor speaking those words, and then you would be able to apply any voice to that? Alex: Yeah, that's right. So basically our model compares voices. So it compares your voice to another voice you want to sound like, and it understands the difference between your timbre and the timbre you want to sound alike. And then after model learned those differences, you can actually feed their recordings in your voice. And those recordings would be converted into the voice of your desire. Anne: So then let's talk about the target voice, first of all. Is that something that let's say when you have different target voices, if I want it to be a target voice, I would say, how do I create that target voice? Is that similar to how most people create their synthetic voices? Meaning I record a series of prompts, and it becomes part of the data model, and then a voice is created, and then that is how you create your target voices? Alex: Yeah, that's correct. It's similar to text-to-speech. So basically you would need to record your voice in very good condition for some time, though speech-to-speech requirements are all over usually than text-to-speech. You don't need to go in studio and spend like hours. Say on a particular script, we can take existing recordings of your voice. And that would be enough. We just need observations of your voice saying different things in different emotions so model would learn it and then it's good to go. Anne: Interesting. So then it's basically your model, which is the actor, would be any good either audio example that you have of acting, but it doesn't have to be the exact script? Alex: Correct. Anne: Is that correct? Okay. Alex: Yeah. That they can read a lullaby for their baby or whatever. And in many of our projects, in many of our film projects, we had to deal with old recordings because we used to do a lot of de-aging or resurrecting projects. And that's cool about speech-to-speech that we can take existing recordings in quite a small amount. So currently we require like 40 minutes, but in plenty of projects, we had to deal with much less data. Anne: Wow. So then, so this is an additional layer that you do. So not only do you create the target voices in a traditional like text-to-speech kind of way where you're creating the synthetic voice, but you're also creating that speech-to-speech model, which is the acting. And that, again, like you're saying, doesn't necessarily have to be the same script that you want to be repeated. Let's say there's a new movie out, and you want to have a particular target voice on it. Would the actor model have to go in and say all the lines first so that the speech-to-speech target could kind of, I guess, mimic it or reiterate it? Alex: Yeah. So the -- the way how our system works, we would on the first stage, on the training stage, we would need just examples of a target voice, someone we impersonate, and source voice, a voice actor who would be doing impersonation. And we don't care much about what is the content, what are the spoken words? So it could consist of the content that needs to be converted further for the movie, but it could be something different. But then once the model is trained, you can say exact lines in the exact performance that are needed for the movie. And that would be converted into a target voice within minutes. Anne: Got it. That's pretty impressive. What are the applications that you see for your speech-to-speech software? Alex: Yeah, we've been focused on very high quality content because what's special about our technology, it can produce very high quality results, not just because of sound quality itself, quality of the sound files, but also because of the control you would have over emotional content. So you can make it sound exactly as you want it to sound. We've been applying our technology for films, animation, TV series, where we helped content creators get voices they cannot get in any other way. Like we did some work for Mandalorian season two, where we helped with making the voice, synthesizing the voice of young Mark Hamill, young Luke Skywalker -- Anne: Yeah. Alex: -- who appeared in the very last scene. And you cannot get this voice anymore. You have recordings of 40 years old, but the voice of Mark Hamill is drastically different -- Anne: Yes. Alex: -- from what he had 40 years ago. Anne: 40 years ago. Alex: That would be one application. We did some resurrection projects. One of them audience might have heard of would be Super Bowl opening where Vince Lombardi came and said some encouraging things about all the challenges our society needs to go through in this quite, quite hard time. Anne: I remember that. Alex: Yeah, that was a powerful piece we did together with NFL Digital Domain, 72 and Sunny. And the idea was to resurrect the voice of this person. We also did one cool project in resurrection where we made quite famous announcer -- not just announcer, but basketball commentator in Puerto Rico, who died 20 years ago, to voiceover the whole game in August, when -- Anne: Wow. Alex: -- Puerto Rico made it to Olympics. Anne: Wow. Alex: And that was huge for us because we were focused on short form content for quite a while. Our technology has been heavy and we required a lot of take. And that might have been one of the first projects when we had like our own health (?) of voiceover in one take that had to be converted overnight for putting on TV the next day. And it worked out. So it sounded good. And recordings for target voice for Manolo were extremely bad. So it was quite, quite complicated, but it turned out to be working, and Telemundo put it on stream. Anne: Wow. So then that's very impressive. Now it's also very scary, not just for me as a voice actor, but I'm thinking for the consumer, right, who's listening to the voice. So what sort of steps are taken to, I guess, notify the listener that maybe, especially if you're resurrecting voices. I would imagine that there's gotta be some sort of a protocol where you're allowing people or letting people know that this voice is resurrected or like, what are your thoughts on that? Alex: Yeah. I mean, we basically build some guiding principles, guiding ethics principles from the very beginning when we started. And the first thing we always ask our prospective clients, when they want to do a project, whether they have permission or going to obtain one from owner of the voice they're going to clone. And in case if that person would be deceased, we would require permission from their relatives or estate or if that's a president, from president library, from company or individual that owns the right. And that would be the very first step. Then we actually need to be sure that the project is not controversial in general, because it might be not wrong to do something with permission. But if it's very attached to politics or were a controversial content, even with permission, we can just say no, because there is a lot of fear to this technology -- Anne: Yes. Alex: -- in general and -- Anne: And deep fakes, I'm thinking. Right? Alex: And deep fakes. Yeah. And the thing is, I mean, the technology itself is neither good or bad. It's just an instrument like a Photoshop, like hammer, like printing press. The thing is that we used to be scared of something new. And our goal is to showcase exciting, cool projects, creative opportunities, opportunities for voice actors using this technology without some bad projects to be in the news, because bad news travels so far, right? Everyone's heard about this end Tony Bourdain project that is -- Anne: Yes. Alex: -- very controversial. Right? Anne: Yes. Alex: But I guess much less people heard about the amazing work we did for Mandalorian -- Anne: Yeah. Alex: -- even though Mandalorian is the biggest TV series of 2020. Anne: That's very true. That's very true. So then maybe you can answer this question. As a voice actor, what are the opportunities for me, as a voice actor -- number one, I like that you have an ethics statement on your website, and that you say that you are not allowing any deceptive uses of the technology. But number one, how can voice actors use this to let's say enhance our opportunities? And also how are you protecting the voice actor from any type of misuse or deepfakes or ethics? Alex: Yeah, I mean, in terms of protection, we do have quite strict protocols that are required from us when we've work with biggest Hollywood studios, right? So have data security and stuff in place. In terms of opportunities, look, let's think about this technology from the point of view that the technology itself removes limitation you have. You -- you've been attached to your voice, and you're attached to your voice you have in particular moment of your life. So you can act, you can, you can work only with the particular vocal timbre you have been born with, right? The technology allows you to sound very different. So you can sound like 70 years old woman, or like 12 years old kid. And it would sound like 12 years old kid or 70 years old woman in terms of naturalness. The thing is you would, you would act those voices. And that means that, in my opinion, in future, the distribution of load between voice actors could be significantly improved in future. Because when voice actor is being hired, they're hired for two things, their ability to act and their vocal timbre, the unique timbre they have. And now we can remove the timbre part from equation, and voice actors would be hired because their ability to perform. And that's amazing because some voice actors who meet very high demand for their particular vocal timbre can give this timbre, can license this timbre to other voice actors who can use it with their approval. But also the voice actors who cannot get jobs just because their vocal timbre does not match this particular character can actually get these jobs because they can sound like, like a different person. Anne: So then they would buy a license for that target person? Is that correct? How does that work? Alex: Yeah, that's correct. I mean, our company has been focused on like one-off projects for quite a while because the technology has been heavy, but this year we launched what we call a voice marketplace, and that would be a self-serve product. There -- it's been a roller coaster for us to make this heavy technology we used to operate manually the work in self-serve mode. But voice marketplace is out and it works. And it's really cool piece of technology where we try to democratize access to such a fine tool, to smaller creators and to voice actors. And the idea of the voice marketplace that as user of the voice marketplace, you can speak in 40, more than 40 different vocal timbres we created there for you. And we actually hired people. We paid them money. We got their release and consent to use their voice in the voice marketplace. And those voices we have in the voice marketplace so far belong to average people because the most important part is this -- Anne: The timbre. Alex: -- timbre. Yeah. But acting could be done by user -- Anne: Interesting. Alex: -- and that means that you can sound exactly like any of those voices we have in the system and just utilize opportunities in terms of acting and performance, instead of being limited to the vocal timbre you own. So that's one way how -- Anne: Got it. Alex: -- voice actors can benefit from this technology right now. Anne: So then I can have an account in your marketplace, and then I can purchase additional timbres. Is that correct? Alex: Yeah, that's correct. And you can get access to all the voices we have on the voice marketplace, try it out, but that's like a starting point. Anne: Interesting. Alex: We started with some like average voices, but in future, we want to add other voices, professional voices, because I mean, when system has not seen some particular emotions like singing, or crying, or whispering, it performs suboptimal, right? And people who are not professionally trained to be voice actors cannot produce many emotions. And that means for getting very high quality and professional voices in the output, you would want to see in target voices some professional voices. Anne: Yes. Alex: We want to invite voice actors in future as well as we want to get licensing deals with some famous voices and even voices from the past. Anne: Sure. Alex: But the thing is this kind of improvement to the voice marketplace as a product requires us to build two more layers. The first one would be approval layer. So as target voice, when you supply your voice to the system, you should feel secure that your voice is not used for something that you feel is inappropriate. Anne: Sure. Alex: So you need to be able to approve the content that is being created -- Anne: Yes. Alex: -- with your voice or approve the user, the company, or the individual who want to use your voice. That's first thing. The second layer would be building compensation model -- Anne: Yes. Alex: -- because there should be economics there's built on usage. Anne: Sure. Alex: It shouldn't be just one time licensing deal. Anne: Right. Alex: And those layers, they require some time to be built as well as some attention. And they should work very properly because it should be trusted. Anne: Yes. And I do believe that for a voice talent, if they were a target voice or the source voice, I think they would want to number one, it should be a permission-based model. Or they would want that. Also they would want fair compensation. And I, I agree with you saying that that compensation would be on a per job basis because there is, you know, the way that we determine usage now, if we're doing a McDonald's commercial, right, we have a certain time that we can use that. And we aren't able to use our voice for a competitor. So I think on a per job usage basis is wise, and that is going to be, from what I understand -- I mean, especially for you, because you're doing the AI development, right, and the products. And so now also to have a marketplace, that's a whole other ball game. So kudos to you for wanting to build that marketplace and to do it in a fair and ethical way. So when any of us go onto your website or marketplace, and we are, let's say recording on it or inputting our voice or sending you files, what is your policy in terms of who owns that voice? Alex: Yeah. Voice is owned by the person who, whose voice it is. Right? And there is quite clear legislation around that. So that's your IP and you own it. And without your permission, your voice cannot be used for something you have not authorized. So your recordings as a source speaker belong only to you. Recordings of converted speech, you get them. So you own the recordings of converted speech, if you're, if you use our voice marketplace on paid basis and that's quite clear and fair. Anne: Great. Okay. So how, going back to the ethics where you say that we don't allow any misuse of our technology, how do you actually prevent anybody from misusing your technology? Alex: Yeah. I mean, on example of the voice marketplace, you can not introduce any target voice, right? You cannot just put their voice of Donald Trump and try to say something in his voice because system does not allow it. Anne: Okay. Alex: And we do not have any public API or even non public API that would allow users or our partners to create target voices themselves. In those cases, when you need a particular voice to be cloned, always need to go through us. And we would require permission. And we actually require written permission, or in cases when we've worked with big and legit studios, we can put it on their shoulders. So they would need to get the permission themselves. The second part of protecting our technology from misuse is actually bringing awareness about existence of this technology. And we did plenty of projects that were focused more -- mostly on bringing awareness like Nixon project we did in 2019 with MIT. And the whole idea of the project was to make Richard Nixon say the speech that was written in case if moon landing (?) goes wrong, actually showcase what modern technologies can do to change our understanding of history. And this educational part is extremely important because we all understand that this type of very fine technology could -- would fall in wrong hands in the future -- Anne: Absolutely. Alex: -- and that's in quite foreseeable future. And the thing is we can protect ourselves only being aware that voice can be manipulated. Anne: Yes. Alex: Like if we're aware that something that is typed in the newspaper could not be true. Though. Our grandparents or grand-grandparents used to believe in everything that was typed. So that's, that's about how we treat the information we receive. And that's about awareness. Another thing we work on is to create a watermark, and the idea of watermark -- Anne: Yes. Alex: -- the watermark to be able to tell Respeecher generated content from any other content. That's been quite complex and hard task because with our technology, you can generate a very small file and to put there a legit watermark, you will need to have this balance of watermark being not hearable -- Anne: Right. Alex: -- but being not easily removable. Anne: Right. Alex: And keeping this balance in very short chunks is quite hard task, but I hope in next year, we would release the watermark. Another thing we are doing, we are actually working in several communities that are designed with the idea of building detection of synthetic speech algorithms that would detect synthetic speech or synthetic images. And we are providing our samples, we are providing our recordings that sound very indistinguishable in order to improve those algorithms. And the idea is those algorithms should be created and adopted as soon as possible, and big platforms -- Anne: Yes. Alex: -- that distribute content like YouTube or Facebook should have this stuff embedded there. So it would just notify people that this recording or this video might have been manipulated. And that's quite important thing to do. Anne: I agree, especially after hearing samples on your webpage, how really good your technology is, because it is encapsulating like the emotion. And I can only imagine for us, it makes us like doubly scared. You know, text-to-speech, synthetic voices is already scary, but this is an extra kind of step where it sounds so real that -- and especially how can you tell? Let's say that, you know, somehow my voice gets out there, or somehow the model of what I said gets out there, and how do I know that I approved that and allowed that to happen or allowed that usage? So I think it's great that yes, you should get those models out there and that watermarking out there as soon as possible on all platforms. Because I also think for us to be able to give the permission and to know where our voice is being used and for the people listening, they need to know that what they're listening to may not be human or may be altered. So good stuff. Alex: Yeah. That's correct. Anne: Yeah. Alex: However, I want to contradict you a bit about letting viewers of the film be obligatorily notified about synthetic speech being part of that. I mean, viewers are not notified about effects, about postproduction that has been made to speech. And you can think about some cases -- Anne: True. Alex: -- when our stuff is more like a postproduction technique, like we de-age some voice. So an actor acts themselves, but they sound younger, right? It's nothing bad with this use case and you don't obligatory need to have like a huge notification -- Anne: Right. Alex: -- on the center of the screen that -- Anne: Right. Alex: -- this audio has been manipulated. Because if you think about dinosaurs in Jurassic park, you don't have -- Anne: Yeah. Alex: -- and you don't expect to have those -- Anne: Sure. Alex: -- notifications that this creature does not exist, or Terminator, or like that's a creative part of things. And in cases, if it used in postproduction or as a creative tool, it shouldn't be there in my opinion. But in cases when it's, it might consist of controversial content, it my consist of alternative history content, when someone like Anthony Bourdain never actually say these lines, even if he wrote it himself, the notification should be in place. Because in such cases, we always encourage our clients and documentary creators to be very straightforward and tell their listeners that voice has been modified. Synthesized. Anne: Excellent point, excellent point. Thank you for that. Wow. So this has just been a wonderful conversation. Thank you so much for educating us and talking about your product. Respeecher. How can BOSSes get in touch with you if they're interested to find out more, or maybe try it out, or maybe be a voice, how can they get in touch with you? Alex: Yeah, so you just basically go to our website, respeecher.com, and you can hear a lot of examples, read our blog, read our ethics statements, look some projects we finished, and we can actually talk about, because there are plenty of projects that have delayed PR rights for us. And you can easily try voice marketplace. You can try the same core technology that we are using for Hollywood for your needs. And we would really appreciate the feedback because voice marketplace is something quite new for us -- Anne: Yes. Alex: -- but we want this to be a very good creative tool and tool that would let voice actors do what they do best, act, without being limited to their timbre, and creators be focused on creative opportunities without being limited to necessity of finding a particular vocal timbre. And sometime it's very hard to find. Anne: Wow. Well, thank you so very much for joining me today. I'm going to give a great, big shout-out to our sponsor ipDTL that allowed me to connect with Alex today. You can find out more at ipdtl.com. You guys, have an amazing week, and I'll see you next week. Thanks so much, Alex. Alex: Thank you, Anne. Anne: Bye-Bye. Alex: Bye. >> Join us next week for another edition of VO BOSS with your host Anne Ganguzza. And take your business to the next level. Sign up for our mailing list at voBOSS.com and receive exclusive content, industry revolutionizing tips and strategies, and new ways to rock your business like a BOSS. Redistribution with permission. 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  Canary Cry News Talk 369 - 07.30.2021 - I SPY SCI OP:  33 Update, Delta Danger, Synthetic Deep Dub, Days of Noah - CCNT 369 Our LINK TREE: CanaryCry.Party SUBSCRIBE TO US ON: NewPodcastApps.com PAYPAL: https://bit.ly/3v59fkR MEET UPS: https://CanaryCryMeetUps.com   INTRO 1:00 Basil stuck in a time loop Jerome Powell tries to explain transitory inflation (Clip) Infrastructure bill going after crypto (Market Insider) Saturn visible in the night sky (DailyMail)   FLIPPY 22:33 Bill Gates backed Robotic surgery arm inspired by Fantastic Voyage (Forbes)   33 35:01 33 Mobility gets FCC approval (Union County Digital) Gun makers offer Sandy Hook families $33 million (NPR)   WACCINE 39:35 The Fauci Flippening (Clip) CDC, delta now as contagious as chicken pox (NY Times) Medscape, jabbed doctors comment on their side effects (En-Pnuemati) Can Behavioral Science reduce jab hezzy in Health Care Workers? (Rev Cycle Intel) Israel rolling out jab booster (Biz Insider) Claims that CDC dropped PCR tests refuted? (AP)   BREAK (producer party) 1:43:54   GREAT RESET 2:29:51 ESG Big 3 to control the future of the economy (RiaBiz) Lawyers put to the test for ESG (Reuters)   AI/DEEPFAKE 2:43:02 Synthetic Deep Dubbing (Respeecher)   DAYS OF NOAH 2:49:33 After several episodes of Sexy Beasts, one man is attracted to animals (Irish Times)   ADDITIONAL STORIES Churches that are promoting masks (Images) No, Biden cannot enforce mandatory jabs (Reason) ESG coming for Bitcoin