In the analog to digital conversion, if the entire ‘KA’ phoneme is captured in a single time-slice, then pattern-matching it to ‘KA’ is possible. To get a sense of the complexities, let’s examine the word ‘cat.’ Focus on the first phoneme, the ‘KA’ sound. However, not everyone speaks clearly, concisely, and with adequate pauses to ensure clean phoneme matching. The vast computational resources available to voice technology processing today make short-order of pattern matching. These time-slices, now available as discrete numerical values, are then pattern matched to the appropriate phonemes. The faster the sampling (1 sec, 100 msec, 10 msec,…), the more precise is the digital representation. Or almost, but not exactly, one.Ĭoming back to VT, the process of analog to digital conversation requires sampling (measuring and recording) the sound waves into small time-slices. Is it 0.999999… or 1.0?Ī classic example for exposing the imprecise nature of analog to digital conversion is the thirds problem. The analog waves of sound are digitized, and herein lies the first complexity. Sound is a mix of Pitch, Amplitude (loudness), and Rate (speed).Īs the first step in VT, the sound must get into the computer. Like any sound, it is a combination of simple physics. The human voice is from the sound produced by the vocal tract. “This mission is too important for me to allow you to jeopardize it.” HAL 9000, 2001 – A Space Odyssey. That’s a lot to parse, so let’s break it up with examples to better understand the complexity. Context is the result of a myriad of options for presenting the literal meaning of phrases and/or sentences and finally the contextual meaning of phrases and/or sentences. The language aspect of VT deals with the higher-level abstractions of chaining phonemes into words, words into phrases and/or sentences. The acoustics part of VT is the piece that takes in sound as an input to the process and outputs phonemes or fundamental linguistic units. The process of applying compute resources and algorithms to capture, recreate and ultimately mimic a seemingly intuitive process exposes just how complex speaking and listening comprehension can be.Īt a high-level, there are three parts to Voice Technology (VT) – And the mission of creating a fully interactive, computer-based voice experience remains. Today, consumers are exposed to varying degrees of voice technology.
#HAL 9000 VOICE FOR SIRI MOVIE#
In 1968, the seminal movie 2001: A Space Odyssey, envisioned a fully-aware computer system capable of nuanced conversation as well as self-awareness. From early grunts to rhythmic iambic pentameter to lyrical music renditions of the spoken word, its very antiquity and various evolutions are rich with complexity.
#HAL 9000 VOICE FOR SIRI TV#
Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.Voice interaction is the primordial human interaction. One of the best performances in film, with just his voice.
RIP Douglas Rain, the chillingly calm tones of HAL 9000 in ‘2001: A Space Odyssey’. Rain is being mourned on social media by the likes of Edgar Wright, who calls his work as HAL 9000 one of the best performances in film history. Rain ultimately checked off all the boxes for Kubrick, who called Rain’s voice “perfect” for HAL because of its “arresting quality.” In addition to Cooke and Balsam, others considered to voice HAL included Jason Robards, Walter Pigeon, Richard Basehart, and Jose Ferrer. The voice is neither patronizing, nor is it intimidating, nor is it pompous, over dramatic, or actorly.
Kubrick described his desired voice by writing, “I would describe the quality as being sincere, intelligent, disarming, the intelligent friend next door, the Winston Hibler/Walt Disney approach. Stanley Kubrick's Estate Approves '2001' Nod in 'Barbie' Teaser: 'Sincerest Form of Flattery'ĭouglas Trumbull Dies: '2001' and 'Blade Runner' Visual Effects Master Was 79įrom 'Nymphomaniac' to 'Little Ashes': Unsimulated Sex Scenes in 40 FilmsĪs detailed by author Kate McQuiston in “We’ll Meet Again: Musical Design in the Films of Stanley Kubrick,” Kubrick sent his set assistant Ben Reyes on a mission to find the right voice actor to play HAL.
Balsam read for the role but Kubrick thought his voice was too emotional. Radio broadcaster Alistair Cooke and actor Martin Balsam were originally considered. The actor was not cast as the intelligent robot until late in production. The actor also received a Tony nomination in 1972 for his role in Robert Bolt’s production of “Vivat! Vivat! Regina!” Rain recorded his voice work on “2001” in post-production. Rain voiced HAL 9000 in Kubrick’s “2001” and the sequel, “2010: The Year We Make Contact,” directed by Peter Hyams.
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