ReVoice Studio is a fun and entertaining interactive technology that lets you and your friends provide the actors' or singers' voices in video clips with hilarious and entertaining results. You select the film or music clip and let Revoice Studio record your voice – which will then be automatically lip-synched and to replace the voices of the. Revoice Pro 4: Cakewalk by BandLab: Cubase Pro & Nuendo: Logic Pro X: Reaper: Studio One Professional: VocALign PRO 4: Cakewalk by BandLab: Cubase Pro & Nuendo: Instructions for Users of FL Studio 11: Pro Tools Session for VocALign Video Tutorial: Reaper: Studio One Professional: VocALign & SONAR: VocALign Tutorial Session for Ableton Live: WAV. Special Features: Interactive Menus Scene Access `Swamp Karaoke Dance Party` Deleted Scene `The Tech of Shrek` Behind The Scenes Featurette Shrek`s Revoice Studio: never-before-used technology enabling you to voice your favorite character Character Interviews with Shrek, Fiona, Lord Farquaad and Donkey Production Notes Cast and Crew Bios Audio.
verb (used with object),re·voiced,re·voic·ing.
to readjust the tone of: to revoice an organ pipe.
Jun 26, 2014 No thanks 1-month free. Find out why Close. Shrek Revoice Studio Moteeto. Shrek meets Donkey revoice - Duration: 3:35.
Click image to enlarge. Shrek's ReVoice Studio ALL REGIONS 'The fun-filled, easy-to-use highlight of the special features' Act out your favorite scenes from Dreamworks' animation masterpiece.
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Click image to enlarge. Shrek's ReVoice Studio ALL REGIONS 'The fun-filled, easy-to-use highlight of the special features' Act out your favorite scenes from Dreamworks' animation masterpiece. Revoice definition, to voice again or in return; echo.
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Revoice Pro 3 in action. The zoomed-in track in the centre is my lead vocal, which I have made into a Warp Region, as you can see from the note blocks and pitch line superimposed over the waveform. The track at the bottom has been created by applying the APT Process using the lead vocal as a ‘guide’ and the backing vocal take at the top as a ‘dub’. Compare the top and bottom tracks and you’ll see that the timing has been subtly altered to fit the lead vocal better.
Thanks to the addition of powerful pitch-correction and manual time-warping features, Revoice Pro 3 offers a complete vocal-processing toolkit.
In film dubbing and post-production circles, Synchro Arts’ VocAlign is to dialogue replacement what Antares’ Auto-Tune is to pop production: a product so widely used that its name has become a generic verb describing its function. As that name suggests, VocAlign’s forte lies in taking different takes of the same vocal performance and matching their phrasing. It’s invaluable for dialogue replacement, but also very handy when working with stacked backing vocals in a music production.
Synchro Arts exploited the musical potential of their technology further with Revoice Pro, version 2 of which was reviewed in SOS May 2013 (www.soundonsound.com/sos/may13/articles/revoice-pro.htm). Revoice Pro 2 incorporated the company’s trademark phrase- and time-matching features, but took things further by allowing the user to transfer not only the timing of a performance but also its pitching, along with other qualities loosely described as ‘energy’. It could also create convincing impressions of a double-tracked performance from a single source.
The major developments in the new version 3 of Revoice Pro see it go head to head with products such as Auto-Tune and, especially, Celemony’s Melodyne. For the first time, Revoice now includes pitch-correction, with a focus on the sort of detailed manual editing of pitch and timing that you can only really achieve in an offline application, rather than a real-time plug-in. As before, Revoice Pro 3 operates only as a stand-alone program, but it is now available for Windows as well as Mac OS. A valid iLok authorisation is required in order to use it. I must briefly pause at this point to mention Revoice Pro’s electronic documentation, which is superb. Where too many manufacturers offer impressive-looking but ultimately frustrating PDF files full of blank pages and redundant information, Synchro Arts have put together an HTML manual that is a model of economy and clarity. It’s fully hyperlinked and generously illustrated with screen captures, and there are also numerous video tutorials available.
One slight operational oddity I encountered with the Mac version is that it uses Apple’s Time Machine to auto-save backups at intervals, but that these operations only complete if you happen to be doing nothing in Revoice Pro at the time. As a result, I quite often found myself greeted with a slightly alarming message telling me that saving had failed, when I hadn’t realised that there was any saving going on!
Get A Wiggle On
Audio files in WAV or AIFF format can be opened directly into Revoice Pro, but as described in our review of version 2, it’s also possible to use Revoice Link plug-ins to capture audio from tracks in a DAW running simultaneously. I found it simpler just to render the audio as a new file where necessary and load it in the old-fashioned way from the Finder.
The program’s none-more-black interface displays audio in a fairly conventional way, as waveforms positioned on horizontal tracks. A track can represent either an existing audio file opened within a program, or new audio created as the output from a Revoice Pro Process. Making use of the existing version 2 functionality requires that you do this: rather than editing a target or ‘dub’ track directly to bring it into line with the ‘guide’, you open up the Process window, select the relevant tracks and algorithms, and specify a track onto which the processed version of the ‘dub’ file will be placed. Rendering the new audio takes but a couple of seconds, after which you can make adjustments to perfect the settings before exporting it as a new file for import into your DAW.
The new Warp features in Revoice Pro 3 are available as a Process, but they can also be applied directly to existing audio loaded onto a track. With the whole or part of an audio file selected, you right-click and choose ‘Make Warp Region’. Revoice Pro will then analyse the audio and display its findings visually: each individual note or syllable gets its own grey block, positioned vertically to show which musical note, if any, it represents. A wiggly white line runs through these blocks, indicating more precisely the pitch at any given moment in time and visualising pitch scoops, vibrato, glissando or, in my case, plain inability to hit the notes!
Another contextual option is Region Settings, which allows you to set parameters governing the algorithms used to divide the audio up into individual notes. So, for instance, if Revoice Pro’s analysis runs together notes that are sung legato, you can adjust the Threshold parameter in the Separation Of Musical Notes section to improve matters. In general, though, I found that the default settings worked very well, and I rarely needed to visit the Settings panel.
Warp Around
Also available through right-clicking is the option to add Warp Markers. If you’ve ever used the Elastic Audio Warping features in Pro Tools, these will be very familiar in operation; in essence, picking up a Warp Marker and dragging it left or right stretches the audio to one side (up to the next Warp Marker, in fact) and compresses the audio on the other, allowing you to adjust the timing of small sections within an audio file whilst keeping its overall length unchanged.
In normal use, however, adding Warp Markers is only necessary where you want to make timing changes that cut across Revoice Pro’s detected note boundaries. Most of the ‘manual time and pitch correction’ in Revoice Pro is done simply by clicking and dragging, sometimes with the aid of modifier keys. For example, positioning the mouse near the left or right edge of a note or group of notes allows you to drag its start or finish point, changing its duration. Clicking the top or bottom edge does the same with respect to the pitch variation within that note, letting you close up or heighten any natural vibrato. However, it’s also possible to hold down the Alt key whilst clicking and dragging the left or right extreme. When you do this, an angled line appears indicating the overall pitch ‘tilt’ through the note(s), and you can drag to correct or exacerbate this.
You can, too, change the pitch of any given note block or multiple selection by clicking somewhere in its interior and dragging it up or down. Temporary horizontal and vertical ‘locks’ can be engaged to prevent unwanted time and pitch changes respectively, while holding down the Alt key will make notes snap to pitches when dragged vertically. With multiple notes selected it’s also possible to right-click and choose Correct Pitch, which will snap their note centres to the nearest pitches. You can also change the pitch of any given note block or multiple selection, by clicking somewhere in its interior and dragging it up or down with the mouse. Temporary horizontal and vertical ‘locks’ can be engaged to prevent unwanted time and pitch changes respectively, while holding down the Alt key will make notes snap to pitches when dragged vertically. With multiple notes selected it’s also possible to right-click and choose Correct Pitch, which will snap their note centres to the nearest pitches.
Shrek Revoice Studio
New in Revoice Pro 3 are Warp Markers. Here, I’ve created markers at the start and end of my selection, and by creating and dragging a third marker in between them I can adjust the timing within the selected region.Towards the end of the review period, a beta version of a forthcoming version 3.1 became available, with a number of new features. Perhaps the most significant of these, at least as they relate to the manual pitch-correction, is the introduction of multiple mouse tool modes. A number of features that were previously available only from the right-click contextual menu have now been given their own tools, which can be selected using single-key shortcuts. This development promises great improvements in usability. For instance, if you wanted to manually divide a note block into two, in v3.0 you had to select the note, position the playback cursor at the cut point, right-click and select Split from the contextual menu. Now, you can simply hit the ‘I’ key, whereupon the mouse pointer becomes a Split tool, and you can click anywhere within a note to divide it. There’s also a new pencil tool which allows you to draw in pitch contours.
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Manual Labour
The right-click Correct Pitch functionality has also been duplicated on a dedicated tool in v3.1: select a bunch of notes with this, and a slider will appear, letting you force their pitch centres closer to the nearest concert pitch value. The effect is, usually, completely natural, but more subtle than most of us would look for in a ‘tuned’ vocal. However, this is still pretty much the nearest that Revoice Pro gets to ‘quick and dirty’ automatic pitch-correction. If you want your vocals to meet even the looser end of modern expectations for pitching accuracy, you’ll need to get busy adjusting the pitch range and tilt of individual notes, and this can only be done manually.
Revoice Studio
In fact, inasmuch as I can find anything to be critical of, it’s just that Synchro Arts perhaps haven’t yet exploited the possibilities of their technology to the full. While it’s obviously the case that Revoice Pro isn’t targeted at the casual user who wants to quickly bosh his or her vocals into line, I do feel that it would be useful to have more options for automatic correction. For example, much of the work of manual correction consists of stepping through notes and adjusting their ‘tilt’, and it’d be very handy to have the option to globally flatten the ’tilt’ of all the notes within a selection or Warp Region. Something that’s present in Melodyne but almost completely absent here, meanwhile, is any form of musical ‘awareness’. For instance, it’s not possible to constrain Revoice Pro’s pitch-correction to a musical scale (though this may be in the pipeline); and although most of the raw materials needed for automatic harmony generation are present, no such feature is yet on offer. Finally, there’s currently no option to specify a global tuning centre other than the standard A=440Hz. In short, then, pitch-correction and related functions in Revoice Pro 3 differ from the other functionality, such as automated alignment and doubling, in requiring quite a bit of painstaking manual attention.
The good news, though, is that once you get the hang of carrying out manual pitch-correction in Revoice Pro, it becomes a pretty straightforward process, with the tools available being both powerful and easy to use. And the best news is that it’s possible to obtain results which are very good indeed. Basic pitch changes are very clean, and the ‘tilt’ paradigm provides a relatively transparent way of improving the apparent pitching of a note whilst retaining natural vibrato and other ‘wanted’ pitch variation. A useful Smooth function helps to eliminate any sudden pitch jumps that have been introduced by corrective work. A particularly neat feature is that you can use a pitch-corrected track or region as a guide for creating doubles, meaning firstly that you only need to do the work of manual pitch-correction once, and secondly that if you decide to make changes to your correction, these can easily be applied to the doubles and other takes too. With due care and attention, results are possible in Revoice Pro that I think would be hard to top in any other application, even Melodyne, and the addition of pitch-correction makes it into a true ‘one-stop shop’ for touching up vocals to the standard required in modern productions. It’s a professional tool at a professional price, but if you’re serious about getting the best from your vocal recordings, Revoice Pro 3 is about as good as it gets.
Alternatives
Shrek Revoice Studio
What Is Revoice
The obvious alternative for high-quality pitch-correction is Celemony’s Melodyne, but as far as I’m aware, the only rival to Revoice Pro’s clever time-alignment functions is the new VocalSync feature built into the latest version of Cakewalk’s Sonar DAW.
Pros
Adds excellent manual pitch- and time-correction to its original auto-alignment and doubling features.
Very good online documentation.
Cons
Manually correcting the tuning of a vocal part is labour-intensive, and there’s currently no way of automating the task.
Shrek Revoice Studio
Summary
Version 3 of Revoice Pro retains its unique powers for tightening up and generating vocal double takes, and adds manual pitch- and time-correction features that are up there with the best.
Shrek Studio
information
Revoice Pro Torrent
£448.80; upgrade from v2 or v1 £134.40. Prices include VAT.
Revoice Plugin
Shrek (2001) Dreamworks Home Entertainment Cast: Extras: Commentary Track, Revoice Studio, Featurettes, Character Interviews, Games, Music Videos, Goofs, Storyboards, and much more Rating:
'Shrek' is a simple tale with a clever hook. Based upon the book by William Steig, we meet the title character, a big green ogre with trumpet-like ears as he makes his way from an outhouse and takes a shower in thick mud. It’s quickly obvious that this is not your normal fairy tale creature. Shrek (Mike Myers) is a private ogre, enjoying his days alone in his swamp, frightening those that trespass or wish him harm, but mostly keeping to himself and his mighty earwax. His privacy won’t last long though. Throughout the rest of the forest, the evil Lord Farquaad (John Lithgow) has announced a decree calling for the banishment of all fairy tale creatures from his 'perfect' kingdom. The townspeople have gathered up these creatures, big and small, to sell to Farquaad’s men, and it is here where we first meet Donkey (Eddie Murphy), being sold-out by his human master. Through a bit of luck, Donkey is able to escape the clutches of the men and runs through the forest until he comes upon Shrek. With the men fast on his heels, Donkey seeks solace behind the ogre’s large frame and when the men get a good look at the hideous green beast, they forget about Donkey and return back in the direction they came from with great speed. Donkey, naturally, is convinced that Shrek has saved his life and proceeds to tell him so, and well, about everything else on his mind at the moment. Donkey is not only a talking donkey, but he is a talking donkey who will not stop talking. Of course, this doesn’t bode too well with Shrek’s solitary lifestyle and when Donkey follows him back to his swamp, it takes all the patience and kindness he can muster to allow the mule to stay there, outside of his house mind you, for just one night. During dinner, however, Shrek gets a bigger surprise than the company of a talking Donkey. After discovering three blind mice and a big bad wolf in his house, Shrek steps outside to find the banished fairy tale creatures on his property. All of them. Pinocchio, the seven dwarves, the three bears, Tinkerbell, they’re all there. On his property! Needless to say, Shrek is less than thrilled about the idea of his house becoming a makeshift refugee camp, so he demands to know what the heck they’re doing there. Donkey tells him about Lord Farquaad and Pinocchio assures him that they don’t want to be on Shrek’s property, only they have nowhere else to go. Being the reasonable ogre that he is, Shrek decides that he will have a talk with Farquaad and straighten this bit of nonsense right out. The crowd of creatures cheer and Donkey follows Shrek to be his guide to Duloc, home of Farquaad.
In the meantime, Lord Farquaad has run into his own little dilemma. When he asks the magic mirror if his kingdom is not the most perfect kingdom of all, Farquaad learns that he is not technically a king since he has not married a Princess. Not wanting to be anything less than perfect, Farquaad agrees to take a bride and is introduced to three possible candidates via the magic mirror. After some careful deliberation, he settles on Princess Fiona (Cameron Diaz), a beautiful Princess held at bay by a dragon in a castle set above a pit of boiling lava. In order for Fiona to be Farquaad’s wife, she must first be rescued. So, Farquaad decides to have a tournament where the winner will win the ' honor'="" of="" being="" allowed="" to="" risk="" their="" own="" life="" to="" rescue="" the="" princess.="" god="" knows,="" farquaad="" isn’t="" going="" to="" do="">
Along their journey, Shrek and Donkey learn a little more about each other and again, Shrek’s patience is pushed to the limit by Donkey’s impossibly mobile mouth. Once they reach Duloc, they stumble upon the opening ceremony of Farquaad’s tournament. When the humans gain sight of the unsightly ogre, however, Farquaad decides to change the rules of the tournament to whoever kills the ogre wins the prize. When Shrek and Donkey clean the floors with the humans, Farquaad decides that the ogre can have his swamp back if he will rescue the princess and bring her back to him. Shrek says fine, Farquaad says fine, and ladies and gentlemen we have a deal.
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I don’t want to spoil the fun for anyone who might not have seen 'Shrek' (difficult as that is to imagine), but this is really where the movie kicks in for me. The castle sequence is amazing, and of course it’s no big surprise that Shrek and Donkey rescue Fiona. It is more surprising to actually meet Fiona and learn that there’s very little typical about her either, what with the burping, the ninja abilities, and the mysterious insisting that she be in bed behind closed doors by the time the sun goes down. Through their journey back to Duloc, it becomes clear to Donkey (and us too) that Shrek and Fiona are really starting to like each other. I know, it sounds crazy, right? How can a beautiful princess love an ugly smelly ogre? Well, that’s essentially what the movie’s about: not judging people by their exterior appearance. It’s a classic fairy tale kind of moral and it’s executed wonderfully in the last half of the film.
I’ve seen 'Shrek' a couple of times now, and while I think some of the jokes aren’t as funny in repeat viewings, the story remains strong, the visuals of PDI Dreamworks’ animation become more impressive, and it’s clear that this is easily on target to become a family classic. I can only imagine how much I would love this film if I were less than ten years old, and even as an adult I find it near impossible not to watch and enjoy. It’s one of those films that you can throw on just to watch a specific scene or moment, and end up watching the whole thing from there on out. What has not faded on me whatsoever about this movie, is the vocal talents of both Eddie Murphy and John Lithgow. I think Murphy does a terrific job with Donkey, using a voice that’s not quite his own but easily familiar and making lines that aren’t punchlines sound funny. I can’t tell you how many times I’ve said 'it is very spooky in here and I ain’t playing no games' in the past three days, and I think that’s solely due to Eddie Murphy. John Lithgow, of course, has one of the best voices in the business and he delivers as expected yet again with Farquaad, a short man with a big head. All in all, 'Shrek' is a lot of fun. The kids obviously love it, and if you’re an adult and you haven’t seen it, then you need to, if for no other reason, than to see how much fun they poke at the wonderful world of Disney. That stuff will always get a laugh.
The video on this two disc special edition DVD is presented in both <$PS,full frame> (1.33:1) and <$16x9,anamorphic><$PS,widescreen> (1.78:1), with the <$PS,full frame> transfer on disc one and the <$PS,widescreen> on the second disc. Like all other computer-animated films I’ve seen on DVD, ' shrek'="" looks="" flawless.="" the="" colors="" are="" perfect="" and="" vivid,="" details="" is="" crystal="" clear,="" and="" there="" are="" no="" effects,="" blemishes,="" grain,="" miscalculations,="" or="" anything="" that="" will="" convince="" you="" that="" this="" transfer="" isn’t="" terrific.="" also="" like="" previous="" computer-animated="" films,="" this="" transfer="" of="" 'shrek'="" comes="" straight="" from="" a="" digital="" source="" and="" technically="" there="" is="" no="" film="" involved.="" the="" result="" is="" a="" fuller="" and="" sharper="" experience.="" again,="" i="" feel="" i="" should="" point="" out="" the="" castle="" sequence="" and="" in="" particular="" the="" moment="" where="" shrek="" and="" donkey="" cross="" the="" swinging="" bridge.="" there="" are="" times="" during="" this="" scene="" where="" it="" actually="" looks="" like="" you’re="" watching="" incredibly="" smooth="" stop-motion="" or="" claymation="" animation="" that="" is="" not="" 2-d="" and="" instead="" has="" a="" depth="" that="" i="" did="" not="" believe="" a="" computer="" could="" create.="" i="" would="" also="" like="" to="" point="" out="" to="" parents="" that="" you="" should="" do="" you="" and="" your="" kids="" a="" favor="" and="" watch="" the="" <$ps,widescreen>="" version="" at="" least="" once="" to="" compare="" to="" the="" <$ps,full="" frame>="" version.="" i="" noticed="" during="" the="" scene="" where="" farquaad="" first="" meets="" fiona="" that="" donkey="" is="" nearly="" completely="" cut="" out="" of="" the="" scene="" by="" the="" <$ps,full="" frame>="" composition.="" and="" i="" don’t="" think="" donkey="" would="" like="">
Revoice Studio
Audio is also given what seems to be the normal treatment these days with Dreamworks, offering the listener both a <$DTS,DTS> and <$DD,Dolby Digital> track. Interestingly, however, the DTS track is available only on the second disc with the <$PS,widescreen> transfer, while the Dolby Digital plays on both discs. Either way you go, the audio is represented extremely well, with DTS gaining a slight nod due to a bit fuller sound and a little more low-end. Dialogue is very well mixed and clean, as one might imagine and expect from a film that is completely overdubbed. The surrounds are very active, with all kinds of little forest noises and murmuring of creatures and humans in crowd scenes. The score by Harry Gregson-Williams and John Powell sounds great and fits the film perfectly. Again, there is little to complain about here in the audio department.
Disc Two has more features, including a running commentary with producer Aaron Warner, and directors Vicky Jensen and Andrew Adamson. This is a pretty good commentary, geared towards the technical side and very informative, but the three also seem to have a lot of fun together and it is obvious how proud they are of the film. They also hum the opening theme for us, which is nice of them. Next is a featurette called 'The Tech of Shrek,' which further delves into the animation process involved in making the film. If you’re into computer animation at all, there’s certainly a lot to learn here, as the animators explain just how far the technology has advanced and how the bar was raised since their previous feature, 'Antz.' Also on board, are a few storyboard pitches of scenes that didn’t make it to the computer. Obviously, these would have been a bit more enjoyable to watch had they actually been animated, but it is neat to at least here about other parts of the story that were planned, but ultimately rejected.
'Shrek' is a fun movie that has enough to offer adults that they can actually enjoy watching a movie with their kids. A huge success in the theater, the film arrives on DVD in a special edition that is packed to the gills with unique, informative, and interactive features, and audio and video that are hard to find fault with. It’s an easy recommendation. And it is also very spooky in here and I ain’t playing no games. Okay, I gotta stop that. Mikrotik 3.30 license 4 key full crack.rar.