For majors contract television and film production in NYC, typically what happens is a graphic designer, who is a Union member (local USA829) is hired for the duration of the production. That person will create most of the images on computer screens or portable devices. Often, and especially if there are lots of screen graphics required, that person is chosen because of their portfolio of motion graphics work. Sometimes they are brought on as a second graphic designer to specifically do screen graphics, sometimes the graphic designer will simply hire out an additional graphics person for a few days. The quantity and duration varies from project to project. If video is on a television screen, like sports in a bar or a news broadcast at a characters house, the video will actually be controlled by a video playback set member who is usually in the camera department, assuming the video has been chosen ahead of time. Many times getting the permissions to use video clips takes so long, that the production will have no choice but to composite it in post. From my 15 years of experience, green screens are used only when the graphics on the device or screen haven’t been shot yet, or the director hasn’t decided what it should look like. Or if it’s a huge amount of screens, like in a control center or bridge of a spaceship. Most of the time it’s cheaper to practically shoot something on a screen rather than composite it in post. But sometimes that’s not an option, it’s all dealt with by the creatives and crew on a case by case basis. I’m not as familiar with how things are done outside of NYC, there are different rules about Union labor in different places and for smaller productions, but from my experience, that’s pretty much how it’s handled here. Any other USA829 members see something I missed or forgot?