3D built for screen, not for a turntable
3D motion graphics is a different discipline from product visualisation or architectural rendering. The model only has to hold up from the angles the camera actually takes, in the lighting the shot actually uses, for the seconds the shot actually lasts. Knowing where to spend the effort is most of the job.
I work almost entirely in Blender 3D — modelling, shading, lighting, simulation and render — and finish in After Effects.
The kind of 3D I make
Architectural and environment builds for broadcast
The US Election 2024 opener is a cinematic White House and Capitol dome with red and blue light ribbons wrapping the architecture. The ribbons are geometry, not 2D strokes, so they occlude correctly as they pass behind columns — which is the only reason the shot reads as real space.
Holographic and HUD worlds
The Digital Globe news open puts a holographic 3D globe inside a high-tech corridor, layered with HUD and blueprint elements. The trick with holographic looks is restraint: one transparency treatment, one glow value, one grid density. Three of each and it turns to noise.
Product animation
The smart watch film is a full 3D build — macro cloth textures, dramatic key lighting, a premium green-tinted reveal, graded in After Effects. Product work lives or dies on material accuracy at macro scale, which means real texel density and real fresnel behaviour rather than a shiny preset.
Logo dimensionalisation and idents
The Almashhad channel ident takes a flat brand mark into three dimensions without losing brand accuracy — correct proportions, brand-accurate lighting, a reveal that works at broadcast scale and on smart-TV platforms.
Why Blender
Not price. The reason is that modelling, shading, simulation, camera and render sit in one file, so a note late in the day does not become a round trip through three applications and two exports. On a broadcast schedule that is the difference between delivering and not.
Where 3D meets 2D and AI
Most of my shots are hybrids. Blender supplies structure, geometry and correct occlusion; After Effects supplies pacing, glow, type and grade; generative AI supplies texture and atmosphere where a render would be slow and no one can tell the difference. The cinematic Arabic title open is exactly that mix — Blender 3D with Runway ML elements for smoke and embers.
Let’s make something move.
Open to full-time motion design and 3D roles in Dubai, the wider Gulf and remote. Reels, breakdowns and CV available on request.
Email me CV & availability Watch the showreel