Meet the Team: Joe Hockney
Can you tell us about your path into the industry?
I started out in graphic design but after trying my hand at a spot of animation I fell in love with the process and retrained to be a motion designer. It’s the perfect fit for me.
When did you first join Lux Aeterna, and in what capacity?
I joined six years ago as a Junior Motion Designer.
What projects have you worked on most recently?
Most recently, I worked on Ancient Powers, from the pitch work to a spot of 3D and compositing. It was a big job for the studio and a great team effort.
What are you proudest of in your career?
I don’t think there’s a single thing that stands out, instead I’m proud of the body of work I’ve accumulated and how it has developed.
How do you keep things fresh?
I try to follow as many rabbit-holes as I can. You can only be inspired by what you come into contact with, so I try to cast the net as wide as possible.
What does your day-to-day work life look like?
I live on the Isle of Skye and work remotely. It’s a change I made in the last two years and has come with its own unique challenges. For the most part, my days look the same as they did when I was in the studio; I work with the other artists and producers at LAVFX to create arresting visuals and tell interesting stories. Although the view is better now!
Can you tell us a bit about your current studio setup and the software you use?
I have a home studio which suits me, as I listen to music throughout the day and now it’s only the cat that can complain. As for software; After Effects, Illustrator and Cinema 4D are the tools I most commonly use.
Can you talk us through a typical piece from conception to final render?
When we get a brief from a client, we try to get to the heart of what is needed, what is expected and what could surprise. I try to avoid designing anything on the computer for as long as possible, I do research into the subject and what else is out there. I also sketch out ideas and try to build a rationale as to why we are doing what we are doing. We present those ideas and work with the client to visualise a representation of the final outcome. Once the design stage has reached that point, we can figure out what is needed to make it a reality and divide the work accordingly. Some projects only need one or two people whilst others quickly grow and make use of the more specialist knowledge we have at Lux Aeterna.
What are the biggest challenges in the motion graphics pipeline?
Design is more process than technology, as such I think its greatest challenges exist where the client and designer meet. Being as communicative as possible about not only the work that will be produced but also the stages and expectations throughout that journey. It requires a great deal of trust and is ultimately all about people.
What are the current trends in the industry?
We are on the cusp of a huge shift into AI generated work. How much greater the technology gets is uncertain, but people's adoption of that technology will only increase. Illustration, photography, concept art – they’re already contending with questions of value, originality and authorship. Motion design is going to have to face those same questions.
What industry changes have impacted you the most and why? (e.g. changes in technology or the type of clients you work with)
The change in who commissions work has had a huge effect on the industry since I’ve been a part of it. Streaming services brought large budgets and drove competition and as a result, huge numbers of very ambitious programmes have been made. Now it seems that streaming services are shifting towards the way traditional broadcasters operate in order to ensure longer-term survival. What that means for this new golden age of TV is anyone’s guess.
How would you describe the culture at Lux Aeterna?
LAVFX feels like an extended family, the size of the team and the people who make up that team keep it feeling like a very special place.
What’s the best thing about working at Lux Aeterna?
At the risk of repeating myself; the people. Supportive, creative and above all fun – it’s those individuals that make the company what it is.
Going forward is there a dream project that you would like to work on?
No dream projects for me, the best things I’ve worked on have always made themselves known in the middle of the process; a great brief, interesting subject matter and good chemistry with the client. Everything coming together in harmony.
What advice would you give to people trying to break into the industry?
Technology is always changing, craft and a good eye for what you are designing is much more lasting and good ideas stand the test of time. Don’t focus on the best gear or the right software, use what you have to be as creative as possible.
Can you give us a brief description of your role at Lux Aeterna?
I’m a Creative Lead, I get involved with projects at their outset and work on the design and overall direction of a job. I design and make motion graphics using a range of software and act as a ‘Jack of All Trades’ on larger VFX jobs.
What’s your favourite film? (not necessarily VFX-related)
The Warriors. A cult-classic B-movie, it’s a bit stilted but I’m very fond of it.
What’s your favourite TV show? (not necessarily VFX-related)
The Wire. If you’ve never watched it, I highly recommend it. If you’ve already watched it – watch it again.
Is there a particular sequence/ film or films that inspired you to go into VFX?
I’ve always loved film but couldn’t see how design and filmmaking could come together. A lot of title design over the last 10 years changed how I saw that relationship. Some standout sequences were; True Detective, Narcos and Manhattan.
What project have you enjoyed the most so far at Lux Aeterna?
First Contact. The typography throughout was projected and distorted optically using pieces of glass. The process was novel and the results had a quality all their own.
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