Most of my work is AE/additional editor work on independent features with no VFX involved.
In your guy`s experience, how does the editorial department tend to handle simpler VFX elements with synced sound, when it comes time to prepare them for the editor?
Say, I have characters watching a movie on a green screened TV that is going to be rotoscoped later to add VFX elements in post...
Do your assistants perform temp 2d screen replacements/motion tracking, and then the editor treats the composites as if they are "raw camera negative" that was shot on set, and cut the scene with those?
And on the audio end of things, when placing the synced "TV audio" in the Avid timeline, in your experience, does the audio go on the DX (dialogue) audio tracks, or in the SFX/Ambience tracks?
When I've done this in the past, I usually have my editors cut the content that is intended to be composited. First make sure it matches the pace they want, especially if the characters watching are intended to react to it.
After that, I'd usually temp comp it in the Avid, and send off the assets to VFX. Temp comp remains until you start getting comps back from VFX (at which point it becomes very important to keep meticulous track of the versions of comps coming back from VFX)
Something like that I include on your dialogue or SOT tracks, since if that has to be translated for the international market, you would want them to know about it and translate it. On the SFX track, it would be more likely to get overlooked, causing problems down the line.
Los Angeles, CA
"We are the facilitators of our own creative evolution." - Bill Hicks