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Q&A
• JULY
25 , 2001 CM: Just blame Microsoft. Sedelmaier: Exactly. O my God, everyone else does…. So it really does come down to control and freedom. The only thing that comes in tandem with control and freedom is that the same control and freedom that's extended to the person who's using it—in terms of a production company or a director or a filmmaker—that same control and freedom gets handed over to the client and agency.
So there's a certain level of expectation on their part, and live action has seen this for a long time. I'd go nuts if I were shooting live action and I had people looking at the video and seeing what I'm seeing through the camera. I mean, God, how invasive can you get? But now there are times when I'll send out my pencil test or something, and I'll get back my pencil test, and it's been put through an Avid, and it's been re-timed, re-fielded and re-everything. And the biggest problem with that, separate from creative infringement or whatever, is there's not a real strong, clear understanding of how animation works. So if they've gone in and compressed or expanded my animation and it has nothing to do with the frame rate we animated at, they are going to have to be happy with an approximation of—and an interpretation of—whatever they've sent me back. I'm not going to give them back exactly what they gave me. For the most part, I haven't come up against a situation that I couldn't solve or tap dance around because, ultimately, I have to tell them, "I can't do that," because this isn't live action, and I don't have a lot of extra footage lying around on the floor—at least last time I checked I didn't. You just tell me what you're trying to achieve, and I can work around that. So it's like more fingers in the pie because everybody's got the equipment or equipment that can do the equivalent. CM: Now, you're editing your stuff in Premiere, is that right? Sedelmaier: Because everything's on an exposure sheet, we pretty much keep our pencil tests in the CTP system. We initially had started out using Premiere to try to do pencil tests. And now what we do is we use Premiere to run our pencil tests into a QuickTime mode.
Our Macs are used primarily for graphics and still reproduction elements or things like backgrounds. We did a great majority—I'd say we did 90 percent—of our backgrounds for our pilot that we did for Cartoon Network that we finished in December, Harvey Birdman, which we did in Photoshop. CM: What was that one? Sedelmaier: Harvey Birdman, Attorney at Law, which will premiere in September. CM: I haven't seen that one. Sedelmaier: It hasn't come out yet. CM: That explains it. Sedelmaier: When you play the tape back, you'll hear that I'd already said that. [Editor's note: While Sedelmaier was correct about having already said that, I was not, in fact, using tape to record this interview; it was being recorded straight to my hard drive through the mic port. So I guess this argument is a wash.] Sedelmaier: And luckily I can't hear what you're really saying. CM: What other software are you using? Do you use After Effects at all? GO
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Dave Nagel is the producer of Creative Mac and Digital Media Designer; host of several World Wide User Groups, including Synthetik Studio Artist, Adobe Photoshop, Adobe InDesign, Adobe LiveMotion, Creative Mac and Digital Media Designer; and executive producer of the Digital Media Net family of publications. [an error occurred while processing this directive] 
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