Realistic CRT TV Screen Replacement in After Effects

Summary

In this tutorial by Blow Films, Leo demonstrates screen replacement techniques used in a music video for Pip Blom. The video covers how to track and replace a TV screen in After Effects without using tracking markers, by leveraging the clear shape of the screen. Leo also discusses color grading and CRT effects to enhance the realism of the shot, as well as other useful tips for filmmakers. The tutorial includes insights into using Boris Mocha for tracking and the importance of motion blur and grain for creating believable visual effects.

Takeaways

• 📺 The tutorial focuses on screen replacement techniques, specifically for Edward Zorbs' music video for Pip Blom.
• 🎥 The footage was shot by Jackob Thor Helson, a visual effects artist, known for his crisp work.
• 🖥️ The scene discussed involves a character watching TV, where the second character is introduced through the television screen.
• ⚙️ No green screen or tracking markers were used in the shot, but the clear shape of the TV allowed for simple tracking using corner pins.
• 🖌️ The tutorial emphasizes using Mocha Pro for tracking and masking the TV screen to ensure proper screen replacement.
• 🎨 Free CRT TV diode textures can be downloaded from the creator's ArtStation store to replicate the look of a CRT television.
• 🎞️ To enhance the realism of the CRT effect, the tutorial uses various After Effects techniques like Optics Compensation, Gaussian Blur, and color adjustments.
• 🔧 The tutorial uses multiple layers, masks, and effects (e.g., posterized time, Optics Compensation) to replicate the imperfections of old CRT televisions.
• 💡 To simulate flicker on the screen, effects like Strobe Light and random opacity variations are added to give the footage a realistic CRT feel.
• 🎬 A step-by-step breakdown shows how to separate RGB channels and apply CRT diode effects to enhance the authenticity of the screen replacement.

Q & A

What is the main focus of the tutorial in this video?

The main focus of the tutorial is screen replacement, specifically how to perform it in a shot for Edward Zorbs' music video for Pip Blom.

Who shot the footage used in the tutorial, and what is his background?

The footage was shot by Jackob Thor Helson, who is also a visual effects artist and worked on some of the screen replacements in the music video.

What makes this screen replacement different from others shown in the past on this channel?

In this example, there are no tracking markers on the television screen, but the television has a clearly defined shape, making it easy to track the screen’s corners for corner pinning.

How is the reflection on the TV screen used in the shot?

The clean reflection on the TV screen is used later to add detail, such as the glass reflection, after the screen replacement is completed.

Why is Mocha used in this tutorial, and what role does it play?

Mocha is used for tracking the screen replacement. It allows the user to define the screen's corners and track its movement throughout the shot to ensure the replacement footage aligns correctly.

What are the CRT TV diode textures, and how are they used in the project?

The CRT TV diode textures are alpha masks with offset diode strings. By shining red, green, and blue channels through these masks, the effect simulates the look of a CRT TV. These are used to add an authentic CRT effect to the television footage.

What effect does the posterize time effect have on the footage?

The posterize time effect allows the user to lower the frame rate of the footage, giving it a more authentic, low-frame-rate look, similar to what would be seen on an old CRT TV.

How does the tutorial suggest dealing with the lack of tracking markers in the footage?

Because the television has a clearly defined shape, the tutorial suggests using corner pinning without the need for motion trackers. The lack of tracking markers doesn’t pose an issue due to the TV's consistent shape.

What methods are used to simulate the imperfections of a CRT TV in the replacement footage?

Several effects are used, such as the optics compensation effect for refraction, Gaussian blur to lower resolution, and adding a subtle flicker and grain effect to emulate the look of an old CRT TV screen.

Why is a null object created, and how is it used in the screen replacement process?

A null object is created to hold the tracking data from Mocha. The replacement footage is parented to this null object, allowing it to move and behave in sync with the original television screen.

Outlines

00:00

🎬 Introduction to Screen Replacement Tutorial

In this introductory segment, Leo from Blow Films welcomes viewers to a tutorial on screen replacement, referencing his work on Edward Zorbs' music video for Pip Blom. He mentions the involvement of visual effects artist Jackob Thor Helson, who contributed to some screen replacements. Leo explains the key shot: an over-the-shoulder scene featuring a character watching TV, with another character introduced on the screen. He also touches on a previous green screen tutorial and sets the stage for this detailed After Effects tutorial.

05:01

📺 Preparing the Screen for Tracking

Leo begins by analyzing the TV shot, noting the clean reflection on the screen and the lack of tracking markers, which isn’t an issue due to the clear shape of the TV. He explains how to use corner pin tracking for accurate screen placement. Before diving into the tutorial, he recommends checking out a CRT TV diode texture from the ArtStation store, which can be used to enhance screen replacements. Leo details how the CRT diodes work by breaking them into RGB channels, resulting in a more authentic screen replacement.

10:02

🖥️ Starting the Screen Masking Process

In this section, Leo demonstrates the step-by-step process of masking the TV screen using After Effects and Boris Mocha. He describes using the pen tool to trace the screen’s edges despite the low visibility. Leo shares tips on using X and Z keys to zoom and pan while working. Once the mask is in place, he explains how to adjust the surface tool to cover the entire screen and track the motion. He covers important tracking settings like shear and rotation, and how to manage interruptions in the shot by creating a new mask around any objects crossing the frame.

15:05

🎞️ Tracking, Pre-Composing, and Adding Effects

Leo explains how to integrate the masked TV screen with the actual footage, adding it to a new pre-composition and exporting tracking data to a null object for better control. He discusses parenting layers to the null object and enabling motion blur for added realism. Leo describes using several effects—posterized time, optics compensation, and Gaussian blur—to simulate the look of low-resolution CRT TV footage. He emphasizes maintaining a balance between realism and the quality of the final composite by tweaking the effects to match the screen's appearance.

20:05

💡 Enhancing the CRT TV Effect

Leo explains how to add layers to enhance the CRT TV effect, including creating a halo around the character and simulating imperfections. He details how to use Gaussian blur, exposure adjustments, and inverted nodes to achieve the CRT effect, focusing on the subtleties of making the footage look natural. Leo also discusses creating focus shifts and flicker effects using strobe light effects and how to layer them for more realism. He stresses the importance of film grain, which was already present in the footage, and its role in completing the illusion of the CRT TV screen.

🖼️ Layering and Masking for TV Glow

In this segment, Leo goes deeper into refining the final shot by layering duplicates of the back plate and adjusting masks. He explains how these layers are manipulated to create a realistic glow effect around the TV edges and the surrounding environment. By adjusting opacity and using different blending modes, Leo achieves a balanced brightness that simulates light emitting from the screen. He also explains the importance of softening the edges and how to match the brightness of the glowing edges with the original footage.

🔧 Final Touches and Reflection Effects

Leo walks through the final steps of completing the composite by adding reflections and further glow to the shot. He explains using a flipped version of the footage to create a realistic reflection on the bottom edge of the TV frame. He uses Gaussian blur and subtle adjustments to ensure the reflection looks believable. The final step involves crunching down the gamma using an exposure effect to reintroduce details and shadows on the TV screen, finalizing the composition. He highlights that the method focuses on selling the illusion without requiring complex interactive lighting on the subject.

🔴 Working with CRT Diodes for Realism

Leo introduces the use of CRT diodes to enhance the realism of screen replacements. He walks through the process of separating the footage into red, green, and blue channels using the 'shift channels' effect, and then layering them with corresponding CRT diode masks. The goal is to mimic the unique way CRT displays handle color, creating a more authentic TV screen effect. He adds that duplicating these channels and layering them can intensify the brightness and clarity of the final composite.

🎨 Adjusting Brightness and Finalizing the Look

Leo continues refining the CRT effect by duplicating layers and adjusting brightness levels. He explains how adding a clean, base duplicate and lowering its opacity can achieve the right brightness while maintaining the CRT diode banding. Leo shows how the adjustments improve the overall look, ensuring that the brightness doesn't overpower the natural CRT imperfections. He concludes by reviewing the final result and confirming that the shot looks good, reminding viewers of the importance of balancing realism with creative intent.

🚀 Conclusion and Final Thoughts

In the final paragraph, Leo wraps up the tutorial by showcasing the completed CRT TV effect in motion, reviewing the process step by step. He encourages viewers to check out the CRT diodes and other useful assets available on the ArtStation store, along with Grain Control for After Effects. He also invites viewers to subscribe to the channel for future tutorials and content related to filmmaking and visual effects. Leo signs off, wishing everyone a great day and hoping the tutorial was helpful.

Keywords

💡Screen Replacement

Screen replacement is a visual effects technique where the content displayed on a screen in a shot is digitally altered or replaced. In this video, the tutorial focuses on replacing the content of a television screen in a music video, using tools like After Effects and Mocha to track and composite new footage seamlessly into the original scene.

💡Mocha

Mocha is a planar tracking software used for visual effects, particularly in motion tracking tasks like screen replacement. The presenter explains how they used Mocha to track the corners of the television screen in the shot, allowing for the accurate placement of new footage. This tool is essential for ensuring that the inserted content follows the motion and perspective of the original shot.

💡Masking

Masking involves isolating specific parts of an image or video to hide or reveal them. In the tutorial, masking is used to isolate the television screen so that the new footage can be composited onto it. The presenter explains how to create and refine masks to match the contours of the screen, ensuring a clean and realistic look.

💡CRT TV Effect

CRT TV effect refers to the visual characteristics of old cathode ray tube (CRT) televisions, such as flickering, color banding, and blur. The tutorial shows how to replicate this effect when compositing new footage onto the screen, using tools like Optics Compensation and Gaussian Blur to make the digital content look like it's being displayed on a vintage CRT TV.

💡Optics Compensation

Optics Compensation is an effect used to simulate the distortion caused by curved glass surfaces, like those of a CRT TV. In the video, the presenter applies this effect to the footage being inserted into the TV screen to mimic the natural bulging and refraction of the glass, helping sell the realism of the screen replacement.

💡Tracking Markers

Tracking markers are visual cues placed in a shot to help software follow the motion of a specific object or surface. Although the television screen in this video doesn’t have tracking markers, the presenter explains that the defined shape of the TV makes it easy to track manually using Mocha, eliminating the need for added markers.

💡Null Object

A null object is a placeholder layer in After Effects used to hold position and motion data, allowing other elements to follow its movements. The presenter exports tracking data from Mocha to a null object in order to attach and synchronize the TV footage with the original shot, ensuring that everything moves naturally together.

💡Gaussian Blur

Gaussian Blur is a common effect used to soften an image or footage by reducing its sharpness. In the tutorial, the presenter uses Gaussian Blur to recreate the low resolution and blurred visuals typically seen on CRT TVs, ensuring that the new footage blends seamlessly with the vintage aesthetic of the original shot.

💡Posterize Time

Posterize Time is an effect that reduces the frame rate of a video to create a choppy, retro look. In the tutorial, this effect is applied to the new TV footage to mimic the lower frame rate of older television sets, enhancing the realism of the screen replacement.

💡Film Grain

Film grain is a texture effect used to replicate the visual noise found in analog film footage. The presenter adds a layer of film grain to the final composite to match the grain that was already present in the original footage, helping to unify the look of the scene and making the screen replacement appear more organic.

Highlights

Introduction to screen replacement techniques using After Effects for Edward Zorbs' music video.

Footage was shot by Jakob Thor Helson, a visual effects artist known for his crispy work.

The tutorial covers how to achieve a realistic screen replacement without motion trackers due to the clearly defined TV screen shape.

Usage of Mocha in After Effects for creating precise masks around the TV screen for screen replacement.

Boris Mocha tracking tool utilized to grab and pin corners of the TV screen for accurate screen replacement tracking.

Applying Optics Compensation and Gaussian Blur effects to simulate the natural refraction of CRT TV screens.

Introduction of multiple layers and blending modes to create a realistic, CRT-like visual effect.

Use of the 'Posterize Time' effect to match the TV screen footage frame rate to CRT-style TVs.

Addition of subtle glitch effects using low-res VHS glitches, masked to prevent interference with the main character.

How to manually create interactive lighting effects to enhance realism in VFX shots with minimal effort.

Color correction using curves to achieve a CRT-style cyan tint by adjusting RGB channels individually.

Exploration of various flicker effects using the Strobe Light effect and custom expressions to simulate TV screen flicker.

Implementation of film grain to match existing footage, preserving visual consistency across VFX shots.

Explanation of CRT diode textures, simulating the visual artifacts of CRT screens by manipulating RGB channels.

Duplicating footage layers with key masking and tracking techniques to ensure the seamless integration of VFX and live-action.

Transcripts

hello hello my name is Leo and welcome

to a new tutorial by blow films today

we're going to be looking at screen

replacement one more time we're going to

be looking at how I did this shot for

Edward zorbs music video for pip Blom

it's a super cool music video I'll leave

the link in the description below the

footage you're seeing here has been shot

by jackob Thor helson whose work is

really really crispy and jackob is

actually a visual effects artist himself

so he has been doing some of the screen

replac ments for this music video and

then Edward reached out to me to do some

of the other shots in there and one of

them was this one over here we have an

over-the-shoulder look on our character

who is watching TV and the second

character of the music video gets

introduced through the television screen

now if you've been following this

channel you know that we've done a sad

green screen tutorial before in which we

kind of tackled the wrong way of doing

screen replacement but sometimes you

kind of have to go about it that way and

in that example we had to deal with a

piece of crumpled up green screen that

was covering the glass of the screen now

in this example if we look at the

television screen itself we don't have

anything going on there we have a clean

reflection which we can use afterwards

to add the detail of the glass back on

top of the television except for that

there are also no tracking markers in

the shot which in this case doesn't

doesn't really matter because the

television has such a clearly defined

shape if you were to just pler track

this and dedicate Each corner to a

corner pin you would probably already be

getting extremely close so in this case

as well no need to add motion trackers

otherwise you're just going to have to

do the paint over afterwards in post

before we get into the tutorial I would

like to quickly have a look at our art

station store if you scroll down all the

way to Here There is a CRT TV diode

texture it's a free product you can just

download it if you have an art station

account I believe which I think you

should actually have if you are a

filmmaker or anyone who's interested in

pre-production and post-production stuff

the CRT diodes as you can see are just

three different Alpha masks that have an

offset of the diode strings and then by

shining an r a g and a b Channel through

each of those you get a full composite

when you push out but you also get the

mo effect if you start moving around it

cool that's everything and let's get

into after effects before we get into

the tutorial I would like to ask you to

hit the Subscribe button to get updated

with all of her future content all of

her future tutorials and like other

stuff like interviews and you know just

the film making process broken down

cool all all right so I've got this

window pulled up on the right it's a

pure ref window I have some shots of CRT

TVs that are turned on we have our TV

plate in the background here and we also

have a duplicate of it later with a mask

the first thing I would like to cover is

how to get this mask going the way I

went about it is you select your

background plate and then you go to

animation and then track in Boris mocha

you open mocha or a pro and then inside

of here you just grab the pen tool and

start working around this now this is a

very dark shot so seeing exactly where

that border is is a bit tricky but there

is this luminance thing over here and if

you hold it and then like rotate it it's

it might be a bit weird if you don't

know that that's what you should be

doing because it's not like going up or

down you rotate it around and then you

can this doesn't affect the actual

footage it's just for the viewport then

it's x and z on your keyboard that you

should be thinking about Z is zooming in

by scrolling up and down and X is just

moving cool that's all you need to know

I am going to be making a mask like this

and then

this uh still tricky to see I guess it's

there I'm choosing all the edges that

are the extremes from where the

curvature is happening I don't have a

point there but you can always add a

point then just hit

control and with all the points selected

you can like drag them in and then it's

just about

refining all right once you have your

basic shape ready you can select a

surface tool up here and that's when you

drag your corner pins and because we

know this entire surface of the

television is facing the same direction

we can also just expand our surface all

the way there and if you then select

this thing let's zoom out a bit you can

see oh that seems to be looking fine and

if it's not you can just come in here

and just move these things around a bit

maybe we want to stretch it

get it further straight up and there you

go once you're happy just hit track

forward if you look down here you can

still make some changes depending on

your shot so in this case we do like to

have the shear we would like to have the

rotation and scale we don't need

perspective because there's no 3D

movement going on here large motion is

fine small motion is really only if you

want to track like camera Jitter or

something like that

and that's it if you have something

crossing the frame that you want to

eliminate you can just go in and make a

new mask like let's say this guy would

be um crossing the frame and

corrupting whatever the track is that

we're trying to get you could basically

make a general mask around your

character and then if you leave it on

top of your character that means the

tracker will believe it's also on top so

you can just select one of a you can

just select a different color over here

and you can either track them both at

the same time or you can track one at a

time and you can do that by turning on

or off these Wheels either way we

don't need this we just need this and

I'm just going to track forward and then

I'm going to hit export over here or

save

once you leave you can extract your mask

I have the mask over here onto this

duplicate and it's fully animated and

sticks to the TV now that we have a

cutout of the TV everything gets very

easy cuz the next thing we want to do is

we want to add the television footage on

there so for that I have a new pre-

composition before I dive into that

pre-m I would like to say I have also

exported the tracking information to a

new null object just layer new null

object and then you export the Boris

mocha data to that object you export the

tracking data and if you hit U you can

see that you just have all your key

frames there and everything like the

footage just gets parented to that null

object over here so as you can see we

have a few copies of this effect they're

parented to the null and we have the

motion blur turned on as well for those

layers which is just a Finishing Touch

really but you know it's necessary if

the footage is

moving we have the footage in the back

which is really just simply the footage

it's a 4x3 shot it's turned black and

white and there is some text we do know

what black and white looks like on the

CRT TVs and that's mainly these two

references over here so we're definitely

going to be blooming this out a bit and

we're going to be turning it colder

until we get to something that doesn't

overpower the shot the first thing that

I did is I positioned the shot in 3D

space so I turned the 3D toggle over

here and I moved the shot to be exactly

where the other footage should be the

best way to do this is just copy paste

one more layer of your footage behind

your black and white footage and there

you go this is as you can see it's a bit

offset but I wanted the character to be

nicely framed up in this shot and I

didn't want to make the footage too

small so that we had issues with the

edges on top of this footage I added a

posterized time effect which is just a

very simple effect that can allow you to

Redial the frame rate of that specific

clip on top of that I added a Optics

compensation effect as you can see

bulges the edges of the footage this

gives a bit more of a feeling that the

footage is being refracted by the glass

that's on top of it and then a gajan

blur of

24% so as you can see we're completely

blurring out the footage if I were to

zoom in over here you can see how

because these diodes are each showing

one single section the footage actually

looks sharper than what it really is but

most of these TVs really didn't have

that good of a resolution to begin with

so we're bling it out a bit and then

we're going to try to preserve some

detail with a few other layers I have a

duplicate of that layer and I have

masked out just the corner areas of

where the character is standing I wanted

to give her a bit more of a Halo in the

shot also emphasizing a bit that CRT

effect that some areas have been blown

out and and those d iots are burnt a bit

more into the screen so Gan blur here is

set to one the exposure takes it up a

notch and then we have an invert node

that's basically making it brighter the

opacity is set to 11 if I were to put

that to 100 you see kind of what that

effect is so it's inverted but it's

brightening up all the shadowy areas

giving it a bit of a Halo and because

it's sharper because we have a lower

gajan blur that also introduces some

details in some areas and then setting

it to 11 just really gives almost that

kind of a high pass effect in that area

we have one more duplicate that has a

gajan blur of one and a opacity that's

animated it starts from

18% and then it goes up all the way to

50 what that does is it creates a bit of

a focus pool inside of the footage but

it's not really a focus pool but it's

trying to insinuate that footage from

CRT TV is kind of pulsating at some rate

and all these little imperfections in

the footage are making sure that it

feels a bit more believable the next

thing we have is a adjustment layer and

this adjustment layer is where we really

dial in the color so if I turn that on

here you go we've added a curves

adjustment we're not playing with the

alpha Channel we are not playing really

with the RGB main Channel we're

increasing the blues we're increasing

reing the greens a little bit we're

decreasing all three of them we're

decreasing the blue greens to the same

extent and then we're decreasing the

Reds even more so the main thing is get

rid of the Reds get rid of both the blue

and the green to a certain degree in the

shadowy areas so you get these slightly

warmer Shadows almost like a purplish

tone and then on top of that you

increase the blue and green until you

get the right level of cyan that you're

looking for now on top of that I have a

super low resolution video of a CRT TV

making some weird VHS glitches I have a

opting compensation set to that it's

except for that it's the same uh aspect

ratio then I have key light going on it

so that we get rid of the blue and I

have masked out some area in the center

so we don't interfere too much with the

character and it's just a very subtle

glitch that's going all throughout the

footage that just makes it naturally

look more like a CRT TV then on top of

that I wanted to create a bit of a

flicker on the screen the way I can go

about it could technically be anything

CU you could create a solid and add a

gradient effect to it and then add a

colorama effect to it then just alt

click the evolution and set an

expression like time times uh 250 or

something like that or you could wiggle

the opacity of a white layer that you

set on top of it you could do anything

but you know in this case I was trying

out the strob light effect um I hadn't

really used it before but new adjustment

layer strob light effect blend with

original set the 93 strob duration

period strob probability random seed and

then you just set it to add um I don't

know how much of this is default but I

do know that it works really well and it

allows you to kind of get this flicker

effect that's all throughout the footage

and you can pretty quickly dial in and

even animate each of these parameters so

yeah I don't mind this effect I quite

like this on top of everything there is

a cine grain film grain so the reason

I'm adding it in here is because the

footage was already delivered with film

Grain on top of

um you know it's it's it's a way of

working it doesn't matter it like it's

fine so we just put it in here and then

all of those things come together as

being pretty nice back plate that we can

keep working

on so that back plate is actually a bit

too big for the cut out of the TV which

is why we have a duplicate of the layer

with the mask we're setting the video to

Alpha mask just for the sake of

understanding it better I'm making this

green so we know that's the base plate

for the TV and then we're keeping the

aqua for the back plate then comes an

interesting one I have pre-m 8 set to

add what is pre-m 8 it's basically the

system we just made with the null pre-m

together so I duplicated the back plate

we just made and I duplicated the alpha

mask and I duplicated the null object

and then those three things together got

pre-composed and that's this pre-m 8 now

inside of the TV plate what that's doing

is I have set that to

add as you can see it's increasing the

overall brightness of the shot but I

have it masked set to subtract so it's

really only the surrounding and not the

middle that's brightening up now the

thing is I have it set to 20% so it's

not as strong as it could be as you can

see it could be really really strong but

it's not even really going to be showing

up too much because on top of that I

have another duplicate of that green

system and this one again is set to

normal so as you can see we're cutting

it back out but we're not completely

cutting it back out this one over here I

have slightly changed the mask options

that we have on top and as you can see

right inside of the edge of that footage

we're getting a bit of a glow that it's

going in and that's the glow that's

coming from the previous brighter

version the pre-m 8 the brighter version

so there you go that's what we have here

and then we have one more duplicate of

that which I'm going to make dark green

that one is set to add set to 100% and

it goes right on top but look where it

is going so if I turn on my mask you'll

see that I have masked out this SE

at the bottom so if you look at the

position coordinates I also move down

that layer until the text bit which is

the bright part is sitting on top of

this Edge over here now I have actually

flipped the layer as well so that we

have a vertical reflection onto this

little Edge over here and then the

footage has a gion blur set to 0.5

because the background is pretty much

dark anyway and the layer is set to add

the only thing you get really is just

that text sitting on top of it and then

we have the final layer on top which is

the video again the original video with

an exposure effect that's crunching down

the gamma and if you set that on top you

reintroduce that detail from the TV it

brightens up all the values you get the

shadow on top of the TV and that's when

kind of you get everything coming full

circle and that's the way we did this

shot of course the problem you have with

this method is that you don't have any

interactive Lighting on your subject you

could manually get that in if you feel

like you really need to but in this shot

and with a lot of visual effect shots

it's about at which point can you sell

the illusion at which point does the

person stop thinking about oh I'm

looking at something fake or you're just

watching and you're like yeah they're

watching TV and it's

believable so before we go I would like

to show you how the CRT diodes work and

then we can get out of here cool we're

going to be looking at this shot for

example it's the same approach it's

basically the exact same setup if we go

inside of this bottom one what we can do

is Select these layers over here and

then hit

precompose I'm just going to call this R

duplicate call this G duplicate call

this B now we're going to separate the

red green and blue Channel by using a

shift channels effect turn off the green

turn off the blue duplicate the effect

turn off the red turn on the green turn

off the red and turn on the blue cool

set the top two to add and you've got

the final footage again now what we can

do is we can drag the CR diodes into

this project and I'm just going to be

dragging them right on top they're a bit

big as you can see you can scale them

down I'm going to drag the red one on

top of the red the blue on top of the

blue and the green on top of the green

res set that to Luma mat Luma mat Luma

mat cool there you go so the first thing

that happened is we cut out the exposure

value of these shots dra ically but we

are getting the nice color banding that

we should be getting all right so I've

duplicated the whole system including

the red two I set that to add and now we

have a bit more brightness values as you

can see if I turn that down this is what

we had and this is what we're getting

now now the next thing to do is we can

go we can go back to this shot to see

what we are working with there you go

it's still a bit dark and we're still

losing a bit of the intensity we would

like so the next thing I'm doing is I'm

adding a duplicate that's clean I'm

calling that base and I'm going to set

that to add now we can lower the opacity

until we get to something that feels

correct feels something like this feels

fine and yeah there you go you got your

bright TV but you also got your banding

going on and if I were to play this

video yeah it's looking good it's

looking good cool that's basically it I

hope this tutorial was useful again if

you want to CRT diodes come to the art

station store to be honest come to the

art station store in general there's

like a bunch of stuff that you can use

for your CG projects or your After

Effects projects um also grain Control

Grain control for those using After

Effects it's just a few effects stacked

on top of each other that allow you to

control where the grain is on your

footage and where it's not so yeah cool

be sure to subscribe to the channel if

you want to check out more tutorials or

if you want to check out our personal

work being uploaded soon and cool yeah

that's about it hope you have a good day

and cheers bye-bye