Hi, I'm Amid Rajabi, and I've been working in the VFX and 3D animation industry since I was 18—over 21 years now. My childhood was deeply intertwined with video games; I owned and played on almost every console available. At the same time, cinema became a significant part of my life. At just eight years old, I watched Terminator 2 by James Cameron, which left a profound impact on me. However, everything changed in 1999 when I saw The Matrix. That film reshaped my perspective, and I knew with absolute certainty that I wanted to dedicate my life to filmmaking and game development.
In 2000, I started researching how games and visual effects were made, which led me to discover 3ds Max. I spent every day from morning to night learning it, reviewing the software's help documentation, and mastering everything from modelling and rigging to animation, lighting, and rendering. Everything was progressing well until 2004 when I watched behind-the-scenes footage of Gran Turismo 3 and The Matrix and realized that many major studios were using Maya. That was the turning point; I immediately switched to Maya, starting with version 5, and was so excited that I spent all my time learning its features, especially its dynamics system.
Over time, I worked with various studios on animation projects, gaining experience with both Maya and 3ds Max. To deepen my understanding of software development, I pursued a degree in Computer Science, which also helped me learn coding. After working with different studios, I noticed a significant gap in lighting, rendering, and compositing expertise. This led me to study mental ray, V-Ray, and ray tracing techniques, and for compositing, I loved Autodesk Flame, but I didn't have access to it. Initially, I started learning Shake, and after it was discontinued, I transitioned to Nuke. By 2012, I became the first Iranian in the world to become a Nuke Certified Trainer.
From that point forward, my core tools became Maya, Mental Ray, V-Ray, Arnold, and Nuke. With the support of two incredible mentors, Mike Seymour and John Montgomery, I began working with fxphd. Over the years, I contributed to various projects and, in 2019, released my first fxphd course. To date, I have published seven courses for fxphd, all built around Maya.
Since 2019, I've also been a Closed Beta Tester for Bifrost, which has become a crucial part of my workflow—I start and end almost every day working with it. Additionally, I've been a Closed Beta Tester for V-Ray and a Maxwell Certified Xpert with Next Limit since 2012, where I also created an official Maxwell tutorial series for their YouTube channel.
Now, here I am—excited to share my journey with you!
What are your artistic inspirations?
Cinema has always been a huge inspiration, especially classic movies and Alfred Hitchcock's works. I'm also deeply influenced by video games and Japanese art. Hideo Kojima and his work have shaped my perspective in many ways. His storytelling has helped define how I think about art and design. I also draw inspiration from anime, particularly the films of Hayao Miyazaki. That said, my biggest inspiration has always been The Matrix. Its impact on my life and career is undeniable, and I still see its influence in everything I do.
What tools are part of your everyday toolkit?
Maya, Arnold, and Bifrost are the core of my workflow, and I can't imagine working without them. Maya enables endless possibilities, and with Bifrost, the only limitation is your imagination. I also have one request for the Arnold team: With the impressive progress of Apple Silicon chips, I hope to see Arnold GPU support for Mac soon!
Do you currently leverage any AI tools in your workflow?
AI is the future, and any artist with a strong foundation in VFX, games, and animation can use AI to accelerate their work. In my opinion, AI democratizes VFX, making high-quality results possible with smaller teams and lower budgets. Instead of fearing AI, we should integrate it into our existing workflows.
AI is fantastic for initial project development, concept creation, and reducing repetitive tasks. As Jensen Huang said, AI won't take your job, but an artist who knows how to use AI might.
That said, AI can can't replace true expertise; if someone lacks a fundamental understanding of VFX or game development, AI won't magically do the work for them. This is why learning Maya and core principles is more important than ever. Personally, I don't use AI to execute projects, but I do leverage ChatGPT for research and Stable Diffusion (via ComfyUI) for early-stage testing. I'm also eager to explore Wonder Studio once I get the chance!
What is it like being in Autodesk's beta tester program? What do you enjoy about it?
Being a Bifrost beta tester is a fantastic experience. We get early access to upcoming tools, allowing us to test and provide feedback while gaining insights into Autodesk's future direction.
My latest project focuses on water simulations in Bifrost, and I'm thrilled to see new water simulation tools being integrated into Bifrost Graph. It's truly a game-changer!
What does community mean to you?
Everything. These days, our community is like a big family—a place where we can learn, ask questions, connect with others, seek help, and grow together. Communities also empower us to tackle challenges collectively, ensuring we always move forward.
How do you stay connected with your fellow community of artists online?
Our industry thrives on collaboration, and staying connected is essential. Autodesk's Area and ArtStation are fantastic because they are specialized platforms free from distractions. I also actively engage with the community on LinkedIn, Instagram, and Discord, allowing me to stay in touch with artists and studios worldwide.
What are some of your favorite personal projects? Why?
One of my favorite projects is the Mystical Collection, which was a deeply fulfilling creative journey. Beyond technical challenges, I have always seen myself as an artist, not just a software operator. I constantly explore what defines art and artists and how I can use powerful tools like Maya, Bifrost, and Arnold to create artistic collections.
I spent nearly two years conceptualizing the Mystical Collection before
bringing it to life. When I created Mystical Whale, it gained significant attention and was even featured on Bifrost's official page. That recognition fueled my motivation to complete the rest of the pieces in the collection. Bifrost has given me the creative freedom to bring any idea to life, which is an incredible feeling.
What are you working on right now? Is there anything you can share?
After completing the Mystical and Artistic Water Collection, I've started a new Bifrost-based collection focused on smoke and fire simulations. I hope to share it soon!
Lastly, I sincerely thank you for this opportunity! It's an honor to be interviewed by Autodesk. I hope this platform continues to grow and thrive, inspiring even more artists in the future.
Thank you!
