MiM
SHAD

A thumbnail is the first frame of the story, the one that decides whether the rest gets seen. I treat it like a composition problem: where the eye lands, what the face is doing, what you leave out. I've made around 1,500 of them, daily for DarkViperAU and on rotation for Speeed.

The part that keeps me interested is the testing. I put a guess about attention into the world, watch two versions compete, and let the numbers correct me. Built in Photoshop, with AI where it earns its place. They usually sit around 5-7% CTR.

Editing is where the footage finds its rhythm. I cut social pieces, promos, and the occasional short film, handling the audio, the motion graphics, and the compositing myself. Most of it has been vertical work for creators where the first few seconds decide everything, so the cut has to earn its pace rather than fake it.

I build 3D from scratch: environments, props, characters. Most of it lives in rendered sequences and backgrounds for gaming channels, matched shot for shot to the world of GTA V, Minecraft, or Mafia II so the piece feels like it belongs there.

This is the work I came from. I shoot on mirrorless and DSLR across short films, events, and commercial sets, thinking in frames before anything else: where the light falls, what the lens does to the space, how one shot carries into the next.

In Search of Art | One question I can't put down: what actually makes something good? The series is interviews cut against B-roll, me circling the answer without forcing it shut. It lives on mim.sight.

LEGO Animated Short | A personal film in 3D LEGO, built in Blender and Mecabricks. No client, no brief, just a thing I needed to make.

Landscapes and portraits made across Iran. The Kavir desert at long exposure, self-portraits that take the whole night to expose, images tied to the place they were shot in.