NAME: London-based Sophia Kyriacou
COMPANY: I’m a freelancer, but split my time working for the BBC in London as well.
CAN YOU DESCRIBE THE KIND OF WORK YOU DO?
Mostly broadcast design creation, but I’m looking to branch out into features as well.
WHAT’S YOUR JOB TITLE?
Broadcast designer and 3D artist
WHAT DOES THAT ENTAIL?
I design everything from opening titles, content graphics, 3D explainers to program designs and program branding projects. I design for a variety of genres and age groups.
WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
Directing shoots for opening titles sequences or content work. Some clients think motion designers only sit in front of a computer all day working digitally, and for some, that is the case and it’s absolutely fine. However, our work does also include directing or co-directing, especially if the work you are creating is footage-based — a combination that needs heavy post or simply making sure you have the required shots you need from your client approved storyboard.
It is essential for designers to be part of the process and work with everyone on the shoot, especially the director of photography, to discuss lighting and composition and make sure you get all the shots you need. Decreasing budgets over the years has naturally impacted this valuable skill and, sadly, some designers have never even had the chance to experience directing, forcing creation to be computer-based from start to finish.
WHAT’S YOUR FAVORITE PART OF THE JOB?
I’ve always enjoyed seeing the creative process through with my client. They are key to the process and should always be made to feel part of it. While everything I create is for a client and their audience, there is no denying that what the customer needs must always be paramount.
Understanding your target audience is very important, and as a designer you must always bear in mind that while you want to create a strong body of work, you are never designing for yourself.
What I also love about my work is the variety and the creative satisfaction I get from bringing visually engaging sequences to life. While I am always learning something new, I will never let myself be dictated by faddy design trends and popular plug-ins. For me, the concept is my focus — strong ideas with appropriately strong execution.
WHAT’S YOUR LEAST FAVORITE?
Having to make a call when tweaks are beyond what is considered as acceptable. With any project you take on, one to two reasonable tweaks are very much part of the process, and it’s a good thing as projects can dramatically improve. If clients want endless tweaks beyond the initial budget for free, that’s not good at all. Nobody should be expected to keep tweaking endlessly for free, so I am very firm with that.
WHAT IS YOUR FAVORITE TIME OF THE DAY?
The morning! Working sensibly is very important, and I find that not only do I create my best ideas at the earliest part of the day I am at my most productive as well.
IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
This is a tricky question, as the creative world has been very much embedded and a part of my life for an incredibly long time. There are many areas I have an interest in, but possibly a career in science and technology… an inventor perhaps?!
HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
I was always been interested in art, way before my age hit double figures. For me, painting and drawing was natural and something I wanted to do and learn out of my own choice. My interest in art then grew into design and photography.
One thing started to influence the other, and once I started my training, that expanded to include advertising and animation as well. It was my passion for studio photography that inspired me into the moving image. I simply wanted to make my photography move, so one day I took the Super 16mm Bolex film camera out of retirement from the photographic studio and took it to the Film Stock Centre in Wardour Street, which sadly is closed down now. I held it up and asked the staff, “What film do I need?” I then loaded it up and off I went.
I never believed in rules. I always wanted my film graded my way so that it was aesthetically pleasing and not the way that was considered technically correct. This was simply because I wanted my film to look a certain way and play a role in the concept. I was, and still am, a firm believer that if you know less about something, it has a bigger influence in your end result because you never have pre-conceived ideas of where you are heading. There is something incredibly tactile about film that digital doesn’t give you.
As my work became more motion-based, I started to write scripts for animated shorts. I had hideously long journey’s traveling to and from art college every day, so I would write scripts on the bus and tube, sometimes laughing to myself as I read through them. I became very interested in narrative. Telling a story along a timeline is essentially what I do now, whether it is an opening title sequence for a show or an explainer for a variety of subjects and audiences; I’m essentially a storyteller using imagery and sound, and I love it.
CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
It’s hard to choose any one favorite, as they are all so different. A piece of work I created for the BBC, commissioned by the BBC Business Unit called Paper Town is probably one of my favorite BBC sequences. The overall process of modeling to the animation was so enjoyable and an effective technique too. It was also nominated for a PromaxBDA Global Excellence Award, and it changed my career path in a very positive way.
Another project I recently finished was for one of my private clients at Noon Visual Creatives. Called The Human Rights Zoetrope, it was an amazing project in many ways. It gave me the chance to get absorbed into the concept and build a fully functional 3D zoetrope, which is something I’ve always wanted to do in 3D. The Human Rights Zoetrope also recently won Gold at the Muse Creative Awards 2016
WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
It has got to be The Human Rights Zoetrope. While I have not been freelancing very long, it was the first project I was awarded as a creative independent. That aside, I am very proud of all my achievements, including the BBC, but this was a special moment for me. It’s about getting the recognition on your own and that really does taste very sweet.
NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
My iPhone. I love my phone, keeping track of my emails and social media is incredibly important, especially when you are self-employed and have to constantly market yourself.
I love my Mac Pro and my new rendering PC. Having reliable kit is essential. I will most likely add another PC workstation to my rendering family soon, but for large-scale processor-heavy rendering, I would use an external renderfarm.
WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
I have a Facebook page that I use to plug anything new and reinforce projects I feel proud of. I have a steady stream of followers, which is great.
I have started using Instagram again. I like Instagram because I’ve found that generally audiences respond immediately to eye-catching imagery. In a world where everything is becoming more and more fast paced, it is easier to like a strong static image than a video… unless you are a potential client. They would want to see my latest reel and other supporting motion sequences.
I really like Vimeo and Behance. YouTube is great, but because it’s so vast in scale it does have the tendency to attract some undesirables.
DO YOU LISTEN TO MUSIC WHILE YOU WORK?
Sometimes I do, yes. It all depends what I am creating. Music naturally influences art and design, so it can dramatically have an effect on an overall design at the concept stage.
I sometimes find playing uplifting music, like dance or R&B, while 3D modeling very therapeutic and it makes me work to a regular pace. Within my work I am mostly choreographing to sounds or music anyway, so music does play a huge part within the whole creating and building workflow.
WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I enjoy spending time with family and close friends. Stepping back is essential, not only for the sake of individual well-being, but who wants stale ideas? Everyone should take a breather to recharge physically and mentally. Giving yourself that timeout will only help promote the best creativity and outcome. Working when fatigued does not help anyone and only hinders the whole creative and production process. Even screen breaks will help you look at your work differently when you return to your workstation. When you stare at the screen too long you stop seeing what isn’t working. Screen breaks not only help rest your eyes, but also help to improve the whole design and creation process. I can’t stress how important it is, and it’s something I do take seriously.
Check out my reel!