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Picked up Cinema 4D at 17 from a Kyiv apartment and never put it down. Six years, four studios, and one move to Barcelona later — I now lead the 3D team at Umo, where we build the visual language of a fintech product used across the UAE. I work the full pipeline: modeling, simulation, rendering, compositing. Fast turnarounds don't scare me. Neither does a blank viewport.
Full 3D product visualization for Almer's AR headset launch event. Built the complete model from scratch in Cinema 4D — from internal mechanisms to final product surfaces. Textured in Substance Painter, rendered in Octane. Delivered a product film and an interactive 3D model used live at the launch event.
A cinematic film for the Mercedes-Benz E53 AMG — turbocharged engine, AMG suspension, the whole sport character. But the render is the last 10%. What makes a spot land is everything before it: the story, the composition, the mood. Here's how I actually build a shot.
Near the end, the client shifted the mood of the film — so the final spot looks different from these AI frames. But the process is the point: this is how an idea becomes a shot, and how a client sees it before it's built.
An end-to-end project for StormSync's own brand merch — I designed the hoodie and t-shirt, then built a full 3D motion film for them from scratch. Garments simulated as real cloth in Cinema 4D, branded, lit and rendered into a product film. From apparel design to the final animated spot, this one is mine top to bottom.
A 3D product film for UBIQUA Lighting's Zoom collection — three lamps (Desk, Floor Single, Floor Twin) drawn from one design language. The motion doesn't just show the products, it performs them: the magnetic head detaching and swivelling 360°, touch dimming, the clean weatherproof shell. The opening shot reaches for the lamp the way a hand actually would — function turned into choreography. The same optimised Cinema 4D asset then became the real-time 3D model living on UBIQUA's website.
Same scene, two passes — the grey clay viewport on the left is where form, proportion and the swivel mechanics get resolved; the render on the right is the last 10%. Each pair walks a different product in the family from build to beauty shot.
A wall of recent work — commercial spots, product films and CGI stills. Hover to play, click any tile to enlarge (with sound).
At Ajax Systems I started in the pipeline I was fastest in — Cinema 4D and Redshift. Then the whole team was working in Houdini, so I made the switch too. The first weeks were humbling: a completely different way of thinking about everything. But Houdini turned out to be a genuinely incredible piece of software — one I’m still learning and deepening to this day.