Hi gang. I have a web page full screen animation from after effects, and I need to make it look like it’s being shot with a camera capturing the screen. A little off angle, selective focus, chromatic aberrations, grain, etc.
But I haven’t done this in a while and am wondering which are the preferred tools for a photographically real pixelated effect. I’ve got sapphire and all the matchboxes including MD.
Thanks in advance.
I like dots. It is an Autodesk matchbox I believe.
It depends how close you are getting. I have a photograph of a screen giving off excellent moiré that I overlay.
crok_scanlines is great to recreate the moirè
I often just use the good old fashioned damage node for this sort of thing.
Airglow, flip it to ACEScg and lensblur it, damage it with some tv damage or Damage node.
Thanks everybody.
I’ve yet to touch Aces, so I have no clue how to do this…. I’m working with rec709 inserts.
Rec 709 → Color Management set to Input Transform, Set the Input to Rec 709, the Working space to ACEScg, blur, be amazed at the amazing blur, copy your Color Management node, put it after your blur, hit invert, result.
Or, spend 8 minutes watching this.
8 minutes?? What do you think I just sit around all day watching TV? Ha, thanks Randy.
I can baby bird your Sugarfish for you too if you want. 
That’s a great video - should’ve watched it a long time ago. Thank you.
So do you do all of your work in Flame in Aces? Any notable exceptions? I’m sure this has been covered extensively here before…
It’s not about ACES per say, you can think of ACES as a particular flavor of a linear colour space, with it’s own particular gamut and dynamic range. But it’s not the only Linear option, and everybody and every pipeline approaches what colour space they want to work in differently.
For instance, right now I’m working on a show that was shot on a Sony Venice, the production turned over the linear plates linearized in the Sony scene linear SGamut3 color space. I have green screens that I want to key in log space- so I convert the plates to SLog3 which is the Sony log space, just for my keying. I have Rec709 inserts that I need to add to shots, so I’ll convert those as Randy described above from Rec709 to SGamut3 and comp them in linear. I’ll have matte paintings that the matte painter will do in SLog log colour space, and I may very well (maybe not) convert the back plate that I’m comping them into to SLog and comp those in log because of the photoshop bit-depth limitations you sometimes encounter- but when I add depth of field, I’ll switch those into SGamut3 linear space and then back out to Log after the blurs.
Things that I have found that do not work well in linear space:
Sharpening
Resizing/ filtering in general
The regrain node sampling
Tracking
Most common keyers, excluding the IBK method which has to be in Linear to really work
Graphics that need to be a very specific color
In these instances, switch the plate to log (or Rec709, but this is not lossless- only do this if the final delivery is rec709 or it’s just for tracking) and then switch it back when you’re done.
Well said.
ACES 2065-1 (who names these things?) is the mother of all storage and archive formats, linear, but is an exchange format, not a working format.
ACEScg is the particular linear color space.
ACEScc is a particular log color space.
ACEScct is another particular log color space.
Doh! Yes, correct, I garbled the terminology! And helpful in it’s own right to see them all laid out there!
funny I used to use action and resize it up and down and adjust the softness if you add distort chroma in between say a 320x240 action and a 1920x1080 action you get some really interesting results, I used this technique on tons of found footage for all kinds of material
Trés cool.
Recently used a combination of crok_rgbdots, and y_lensblur. This latter also has chromatic abberation built in. Was quite happy with the result.
Really appreciate all the responses here. Ended up just keeping it a straight insert with a vignette and grain. 
I could been a contender.
