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A Conversation with J.J. SedelmaierOn digital cel animation, mixed-platform computing and the proliferation of animation tools
Oh yeah, they've done some commercials too.
Says J.J. Sedelmaier, president of Sedelmaier Productions: "That title card on Saturday Night Live has put us on the map in one sense, but it's put us on the map with a sledge hammer. I've always gone around and shown the studio's reel to advertising agencies and schools and things like that, and it used to be that I hid, as director, behind the spots, when the studio wasn't as visible ? as the work that we did. But once that title card on Saturday Night Live came up, forget it. It's laser-etched in people's memories."
From the campaign for Volkswagen, animation
and graphics by J.J. Sedelmaier Productions
Commercials produced by the studio range as widely in animation style as the products being advertised, from the Speed Racer commercial for Volkswagen to an aggro spot for Slim Jim to a more pastel-flavored piece for Quilted Northern bathroom tissue.
Until January of this year, Sedelmaier was still using film in the animation process. The switch to a completely digital system has brought a mixed computing environment to his studio, with Macs making up a good portion of the workforce in preproduction and postproduction, as well as the studio's print work. The studio is using Adobe Photoshop, Premiere and Illustrator on the Macs, as well as a bit of After Effects thrown in for good measure. The central animation suite is Crater Software's PC-based CTP.
So what's it like to animate in a mixed-computing environment and go from film to a totally digital, 2D cel animation process? It can't be easy. I had a chance to talk to J.J. Sedelmaier about his body of work, his studio's vision and how he makes his Macs and PCs behave well enough to crank out the volume of work his studio creates.
Creative Mac: You've been all-digital for a while now, and how has that affected your production?
J.J. Sedelmaier: I've been acquainted with digital ink and paint since 1990, and I've been using it on and off since 1992 when we started doing Beavis & Butthead. We couldn't have done Beavis & Butthead if it wasn't for what was then USAnimation and eventually became Virtual Magic. You can even see in the course of production of Beavis the difference in terms of production values based on what their software was capable of doing at that time.
I've always tried to incorporate whatever is going to give me as much control and freedom as possible. What happened with turning the studio away from film and completely into digital for our testing and everything else was that it just became prohibitive in terms of cost to use film, and in terms of time it wasn't necessary for us to have to endure [the grief]?whether it was Technicolor considering our film of 45 feet a spit in the bucket compared to the type of footage they're used to dealing with or messengers or weather or the cost of having to bring it in and out of the studio to transfer it to tape and then ship it out by Federal Express?it got just plain silly. And now we do it here, and we can e-mail QuickTimes, and it's wonderful.
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