The technique traces back to the rotoscope device Max Fleischer invented in 1915: filmed footage was projected one frame at a time onto a glass plate, and an animator traced a person's exact motion onto paper laid over it. Disney's Snow White got its unusually lifelike human movement this way.
In modern VFX and compositing, "roto" has broadened — it's no longer about drawing, but about tracing a person's or object's outline frame by frame to cut them away from the background as a mask. Footage shot without a green screen still needs this hand work whenever a subject has to be pulled out cleanly — for a composite ad, or to place someone in front of on-screen text.
AI-assisted auto-roto tools (like Runway) exist now, but tricky edges — flyaway hair, the boundary of something transparent — still often get corrected by hand, frame by frame.
When to use
Roto has a well-earned reputation as one of the most tedious, time-consuming jobs in the industry — if you can shoot on green screen instead, avoid it from the start.