Somehow I've talked a lot about rotoscoping in the first (nearly) 50 issues of Cut/daily.
What's my fascination?
And while David Fincher's post team might be doing 6-way split-screens to composite together the best performances in Adobe Premiere Pro, most broadcast and feature film work is still done in Avid Media Composer (for the time being).
But given all the limitations of AMC, why wouldn't you just kick it out to After Effects, Nuke or DaVinci Resolve?
If you’re working on a TV show or movie with 10 other editors and assistants all using the same media and bins/timelines - keeping your work in the timeline is helpful.
The goal here is to get all of us as good as we can be with a common toolset. So that we can make changes to, or improvements on, each other’s work.
At 2 AM the night before an important screening, the last thing you want to hear anyone say is “We can’t adjust that VFX because we sent the one guy who knows Nuke home already.”
— Ethan Henerey, VFX Editor
So how do you actually rotoscope in Avid Media Composer?