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At no point are the pixel values converted to RGB, and you won't see any unwanted color shifting.ģ2-bit color space has the color precision to convert cleanly from YUV to RGB, and will not cause any of these rounding errors.

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This can mean situations where pixels that should pass through an effect unchanged will, in fact change in an unwanted way.Įffects in Premiere Pro that have the YUV logo do the processing directly on the YUV values without converting them to RGB first. In 8-bit or 16-bit-per-channel color space, there can potentially be 'rounding errors' when performing this calculation. ' When effects are used on a video frame, sometimes the effect needs to convert the values back to RGB before the effect can be applied. Karl Soule has followed up his look at color space processing in Premiere and the Premiere Pro Effects panel with What is YUV? Here's some flavor: Previous transplants in France and the United States were only partial, but on the increase due to war wounds.

Update: Put Your Face Onto An Inanimate Object at AEtuts by Alexander Dohr shows simple 'face replacement' done quickly.Īnd for an example of a different kind, check out this Spanish man, “Oscar,” the recipient of the first 100 percent face transplant.

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Here's a little 'making of' for the McVeigh piece (the embed code is buggy, but there's a fullscreen option): The cmiVFX training Nuke Facial Replacement Techniques looks interesting too. See also Todd Kopriva's Face replacement with mocha from David Torno on tutorials on how Torno did tracking, compositing, and other post-production work for a music video.

These images were brought into After Effects with Mechanism’s custom expressions allowing the compositing artists to rotate McVeigh’s photo realistic head in real time within the program.' The number of images was then doubled by rendering two camera focal lengths to match the lenses used on set totaling over half a million images and layers. Two sequences of frames were a combination of 11 expressions and 11 eye positions.

In developing and refining this technique, multiple 3D models of McVeigh’s head were pre-rendered every two degrees of rotation on two axes. Mechanism’s unique approach to facial replacement had never been used in documentary filmmaking before which gave the compositor every possible frame of final rendered CGI in advance. Mechanism then built a CG 3D model of Timothy McVeigh’s face and replaced every frame of the actor’s face with it. 'On the set, Peacock shot thousands of high resolution photographs of recreated scenes, visual elements and a stand-in actor depicting McVeigh in action. Mechanism Digital posted a press release about their use of face replacement in fictionalized 'reenactments' (journalism itself can be a contradiction in terms) for an MSNBC documentary on Timothy McVeigh:

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