Interview with Shane Crocker
Crocker is a Media Arts and Animation designer working at Fandango and Rotten Tomatoes check out his portfolio here!
Hi Shane! Could you please introduce your work with Fandango and what led to your working with the company in 2019?
Hey guys. So to introduce my work with Fandango. I've been with Fandango for about a year and seven months and mostly my work consists of motion graphics, predominantly motion graphics, in terms of creating graphics packages, lower thirds bumpers and cards. Anything really that would be used in sort of the production capacity. I also do a lot of work with the company in terms of developing internal servers and setting up infrastructure for the production company side of the business which is mainly organizing assets, graphics, templates, anything really that would be considered usable content for the team and outsources. What led to me working with them is I worked with Esquire Network for the better part of four years three and a half four years and up until it's shut down. When it finally was announced to us that it was going to be shut down, layoffs happened, it was kind of a lull period where I took some time to hang out and have a vacation and then because rotten tomatoes and fandango are companies under the NBCU blanket. It was easy for me to lateral over from there from being a brand designer over in Esquire to now a motion graphic designer for Fandango.
How do you balance your freelance work and your work with Fandango?
So how do I balance freelance work with my work with Fandango. When working with a large corporation in itself and then which is part of a even larger entity under the NBC Universal blanket. I keep freelance work actually to almost a zero just because when you sign into working with these larger corporations and anything like that you definitely need to have zero conflict of interest in any work. And you know it's one thing for me and one thing that I pride myself on is definitely being able to keep loyalty to a certain company. Freelance work is great and everything like that, side hustle and money is always good. But I definitely take my job seriously and like to keep a very tight grip on working just for a company and focus mainly on a company. There will be certain times where you know a photography thing is happening and I will do that as sort of a freelance work. But that doesn't really have a conflict of interest in my motion graphics side of work for Fandango. So I consider that as more of like a hobby, side thing than more of a professional-side freelance work. But yeah I mean when balancing freelance work or anything like that for anybody who's not working for a large corporation you know it's better once you've established self more and you can be a little more picky and choosy with what companies you want to work for what brands you want to work for and what projects you ultimately want to work for. And that's a luxury that later on in your career you get when you're young, take everything and build that portfolio. So then you can be selective later on.
How did your work with Esquire influence your aesthetic and approach to photography? How did your time with the publication impact your career?
This is actually a really great question. Ultimately the influence that I had working with Esquire impacted my career immensely but also my photography immensely. I was lucky to work under some really great people and my VP Patrick Kondo and then my creative director and out Art Director Jonah Burns really pushed me to be minimal but say a lot. What our goal was to try and really push the envelope in what could be done not necessarily in a Graphic way but more or less taking a minimal approach and being more elegant in our approach. It helped define my ascetic by letting me, not so much shoot everything with photography and hope I got a good shot. It was more or less like wait, have reserve, take your time, patience and let the shot come to you. Ultimately with a lot of the the photographers out there it's really I think a lot will say the same. You know there are a lot of people out there that shoot thousands of photos and tried to get that shot and hope and you know it's it's kind of like holding hope rather than let the shot work itself out and work for you. And in terms of impacting my career I mean it elevated me to a level that I didn't think at the time when I first started it was possible. You know I again had the really great luxury of working with some really fantastic people that helped elevate me and push me, as an artist, to be a lot better.
How do you conduct client outreach for your freelance work? What are some of the main platforms you utilize to market yourself and your work?
So in terms of client outreach for freelance work I don't actually do a lot of client outreach. I utilize a lot of different platforms to sort of put my work out there but don't really reach out to clients too often. Most of the main platforms that I utilize are my Website which is run through cargo collective. LinkedIn is a really great one just for putting work out there and getting a lot of eyes on it really you know naturally and organically. Twitter, Instagram. Behance is another one where it's you're looking at a lot of professionals and artists that are all collected together. Instagram is kind of a jumble. Twitter is kind of a jumble. Tumblr is even kind of a jumble. You're not really sure if somebody is a professional or not. So LinkedIn and Behance are really like probably the best platforms along with your also personal Web site you know in terms of marketing myself I really just keep it to almost a zero. I try to let the work speak for itself and do it's thing naturally and organically and the people that find me or reach out to me on LinkedIn or through my Web site or Instagram or whatever are really ones that have discovered me naturally and that in itself are the people that I'm looking to work for because it's not me pushing my work on then and trying to sell them on my work. It's more of them finding me because they want that work and that's where I think the difference is. It's really worked out better that way because you have a much healthier relationship with a client when you they want to work with you because of your art rather than you pushing your art on them. So I try to keep it fairly to a minimal, unless it's a company that I really really want to work for which and then I'll do a little outreach but very minimal still.
What's next for your work in 2019? What are the main projects and partnerships you'll be focusing on throughout the year?
So coming up in 2019 it's gonna be more of the same working with Fandango and Rotten Tomatoes to elevate the brand and push more and more to further the brand, further the experience, further our content and make it the best content that we can really with the team that we have. You know I can't say much about the work just because I'm under an NDA and that's of course you know something that the company needs to keep to itself until it's ready to be shown. But you know it's honestly it's when you love a company and you want to work for a company you really look closely at the company and what its product is and how can you elevate it. You know I think a lot of people go into jobs and want to work for the job because they want money and paycheck but also you know, how much do you care about the brand? Do you really want to see it thrive and if you look at that in that perspective where you're working for a brand that you want to thrive, you in turn will thrive. So for me, my work is just 100 percent focus on the company and how can I lend my talents to it and best serve the company. And that's the approach I think for 2019 that's really going to be the most influential for the company you know, in terms of pushing it and elevating it and really trying new and exciting technologies in the coming year. As the Internet changes, as time changes and stuff like that there's always going to be something new to learn and grow in. And I think it's the best way to keep pushing your work and pushing your art and pushing a brand. So yeah.