Vladimir Mulhem is building Voxelo, a product-visualization service that turns phone video into interactive 3D models for ecommerce product pages. Posts also describe how product photographers can add 3D to their existing work.
Vladimir Mulhem is most useful for explaining phone video to interactive 3D product models for ecommerce.
Best for
A 3D commerce technology company explaining visual product storytelling to ecommerce brands.
Not for
A mass-market consumer launch needing broad Instagram or TikTok reach and guaranteed impressions.
Key takeaways
Voxelo.ai 2.0 launch claims one video becomes a full 3D digital twin.
Product photographers are the unlock for 3D, not its casualties.
A garment was captured as a Gaussian splat from a 45-second phone video.
Check first: Ask for engagement performance, audience job titles, and an official partnership route.
Main ideas
Static images leave buyers guessing; interactive 3D closes the gap · Product photographers are the unlock for 3D, not its casualties · What changed is practical access: a phone captures it, a browser runs it
Vladimir Mulhem is building Voxelo, a service that turns phone video into interactive 3D product models for ecommerce pages.
They argue that 3D can help shoppers inspect products more confidently while giving product photographers another format to offer.
Follow their work for practical explanations and demonstrations, including a garment captured from a 45-second phone video.
Mulhem makes the case for 3D using people and production already involved in product photography: capture video during a product shoot, then pair an interactive model with familiar photos.
Vladimir Mulhem's ideas centre on one claim: product pages still make shoppers guess, and interactive 3D closes the gap between seeing a product and knowing it.
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From there, they argue that product photographers are the natural people to create the video used to build a 3D model, thanks to their studio experience and lighting knowledge.
They also argue that the moment is now, with a phone and browser enough to make 3D.
A quieter priority runs through the posts: naming the people who built the product and repeating a consistent closing line.
Static images leave buyers guessing; interactive 3D closes the gap
Mulhem argues that twenty years of better product visuals — more angles, lifestyle shots, video — improved how pages look without easing hesitation at checkout.
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Shoppers still return items that were not what they expected.
The claimed payoff of interactive 3D is deliberately narrow: moving a buyer from "I think I want this" to "I know I want this."
That's where they locate the format's value, not in novelty or visual polish.
The long post traces the shift from two or three photos and a squinted thumbnail to today's polished imagery.
It names three developments that made a 3D layer practical: capturing video with any camera, reconstructing it as a model, and placing the model on a product page.
The launch post makes the same point from the buyer's side: shoppers want to spin the product and place it in their own space.
Product photographers are the unlock for 3D, not its casualties
Rather than pitching 3D against photography, Mulhem argues that photographers are best placed to produce it: they understand lighting and already spend a day in the studio with the product, so the same shoot can yield hero photographs and a 3D model.
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The commercial case follows: 3D is an additional format photographers can sell, not a replacement for their existing work. They address the trade audience in its own workflow terms, closing with questions about what would make them adopt 3D tomorrow and what is in the way.
The post directly rebuts the "photographers are doomed" angle: "The photographer is the unlock," followed by the one-shoot-two-formats case.
The post takes on the idea that photographers are being replaced, responding to a shift Mulhem expects them to be feeling rather than offering a neutral product description.
What changed is practical access: a phone captures it, a browser runs it
Mulhem argues that 3D matters now because barriers have fallen, not because the technology is new.
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Capture needs no specialist rig, and the result runs in a browser, so brands need no 3D skills or expensive studio.
The launch post puts it plainly: "No 3D skills needed.
No expensive studios.
Just your phone and a few minutes".
The demonstration post adds that a phone clip is enough to produce something photorealistic in a browser.
A garment appears as a Gaussian splat captured from a 45-second phone video.
The post notes that this was not possible two years ago and now runs in a browser.
Mulhem asks whether the garment's beauty and craftsmanship come across in 2D pictures alone.
The demonstration post sets a short timeline: the format is possible now, but was not possible two years ago. The argument is about a recent change in what's achievable, not a long-standing idea.
Announce progress, credit the builders, keep one closing line
Across the posts, Mulhem announces progress openly and names contributors.
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The launch post credits the engineering to CTO Roman Bromidge, names co-founder Ben McKay, and thanks investors, customers, and the team; it gives the customer feedback period as the reason for the release. The sign-off, "dream big, build real, stay human," appears in more than one post, giving them a recognisable voice.
The Voxelo.ai 2.0 launch post announces the release as happening "Tomorrow," credits CTO Roman Bromidge and co-founder Ben McKay by name, thanks investors, customers, and the team, and links both a free trial and a Prolific North article about the company. The launch post and the post about product photography share the same sign-off.
This is the clearest statement of the idea behind Voxelo and the audience it targets.
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To understand what Vladimir Mulhem is arguing and who should care, start here: it connects the product, the technology and the people they expect to use it.
Vladimir Mulhem traces two decades of product-page visuals—from two or three photos to more angles, lifestyle shots and video—and argues that none fully closed the gap between what a shopper sees on screen and what arrives in the box.
The post names three developments that made an interactive 3D layer practical: capturing video with any camera, reconstructing it as a 3D model and placing the model on the product page.
The central claim is that product photographers are the unlock: they understand lighting and already spend a studio day with the product, so the same shoot can produce hero photography and a 3D layer.
The framing is deliberately not a “photographers are doomed” argument: 3D is presented as an extra format photographers can sell, not a replacement for their work.
For brands planning a campaign
For a 3D commerce company considering B2B creator partners, this post offers a ready-made angle: sell 3D as a second output from a photographer’s existing shoot day, not as a new production discipline. A co-marketing piece could pair the photographer-first argument with the equipment or workflow a partner supplies.
It shows the product as it stands, who is building it and how Vladimir Mulhem announces a milestone—with named collaborators, a press link and a trial sign-up.
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A launch-day post announcing Voxelo.ai 2.0 and describing the product in plain, specific terms: one video produces a full 3D digital twin that is AR-ready, with product shots generated on demand and no 3D skills or studio required beyond a phone.
The post credits CTO Roman Bromidge for the engineering, names co-founders Ben McKay and Roman Bromidge, thanks investors, customers and the team, and links to a Prolific North article about the company alongside a free-trial link.
It also states the motivation directly: ecommerce should not settle for static images when buyers want to spin a product or place it in their own space.
For brands planning a campaign
Launch content is where a partner could reasonably expect to be included. The post shows that Vladimir Mulhem credits contributors by name and points readers to outside coverage—the format a co-announcement or joint press mention could take.
It turns the argument into something you can see and shows how Vladimir Mulhem works with makers to demonstrate the technology: one garment, one phone clip, one visible result.
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A short demonstration built around one concrete example: a Gaussian splat of a garment, captured from a 45-second phone video and running in a browser.
The post notes that this was not possible two years ago, credits the garment’s maker, Be Positive Taylored Brand, for designing and creating the piece, and says it was captured with Voxelo.
It closes by asking whether the garment’s beauty and craftsmanship really come across in 2D pictures alone.
The hashtags name the technique (3DGS, Gaussian splatting) alongside ecommerce and 3D.
For brands planning a campaign
This is a template for the partner content Vladimir Mulhem already produces: take a maker’s product, capture it and co-post with credit. A brand with a distinctive physical product could be the next example in this format, rather than funding a separate campaign.
Mulhem focuses on a capture-to-model pipeline: shoot product video on any phone, rebuild it as an interactive 3D model, and add it to a product page.
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Voxelo 2.0 is described as producing a full 3D digital twin from one video, AR-ready and runnable in a browser, with no 3D skills or expensive studio required.
A worked example shows a Gaussian splat of a garment made from a 45-second phone video.
The stated payoff is closing the gap between "I think I want this" and "I know I want this" that static product images leave open—a point they tie to shopper hesitation, returns, and checkout drop-off.
Leads with a demonstration and a before-and-after claim, then explains the three-step process: capture video, reconstruct, embed.
For brands planning a campaign
Strongest fit for visual-commerce platforms, ecommerce site builders, phone and camera hardware, and partners whose audiences already shoot product content but lack 3D capability. The natural co-marketing angle is a documented one-video-to-3D build on a real product, with the browser result shown in the piece rather than described.
3D as an extension of product photography, not its replacement
Against the common framing that automated visuals end photography work, Mulhem argues that product photographers are the key to 3D because they already know lighting and spend a day in the studio with the product.
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One shoot yields two formats: photographs for the hero campaign and a 3D model for the interactive layer. The post names the "photographers are doomed" angle directly, argues the opposite, then asks photographers what would make them adopt 3D tomorrow and what is in the way.
Speaks to a trade audience in day-to-day terms, acknowledges the threat framing, then recasts the new format as sellable additional work.
The pitch is explicitly a recruitment and opportunity argument aimed at photographers, not just brands, so it can work as channel-partner content as well as vendor content.
For brands planning a campaign
Useful for reaching photography communities, camera and lighting brands, studio networks, and ecommerce teams that already commission product shoots. The angle to reuse is "one shoot, two assets," with photographer adoption as the route to 3D on product pages.
Gaussian splatting as the format that made this practical
Mulhem presents Gaussian splatting as the reason interactive product visuals became viable now: two years ago, a photorealistic scene captured on a phone and running in a browser was not possible.
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In the example post, the visible argument is about detail that 2D images miss—the craftsmanship of a garment—shown in a partner-made piece captured with Voxelo and tagged with 3D and ecommerce hashtags.
Short demonstration posts featuring a concrete object, a capture-time figure, and hashtags aimed at 3D and ecommerce technical audiences.
For brands planning a campaign
Fits 3D, WebGL, and real-time graphics communities, as well as ecommerce technologists choosing rendering formats. A partner can explain the format while Mulhem supplies the captured product example, keeping the technical and commercial halves of the story distinct.
The launch post is written as an imminent event ("Tomorrow") and mixes product news with credit and thanks: six months of customer feedback, engineering by CTO Roman Bromidge, co-founder Ben McKay, and early investors, customers, and team.
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It ends with a free-trial link and a pointer to press coverage. The sign-off "dream big, build real, stay human" appears across more than one post, giving the writing a consistent voice.
Milestone announcement, customer-feedback framing, and a direct trial call to action, with named collaborators credited.
For brands planning a campaign
Works for launch-window co-marketing, product-news placements, and referral offers. Partners should expect a free-trial call to action rather than a gated demo, and build their own hook around a specific milestone or customer-feedback story rather than a generic feature list.
Voxelo is the business Vladimir Mulhem describes building: a service that turns phone video into interactive 3D models for ecommerce product pages.
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In the Voxelo 2.0 launch post, they name Ben McKay and Roman Bromidge as co-founders, with Bromidge as CTO. The posts do not state any sponsorship, affiliate, or client relationships; the other named brand appears as an example of Voxelo’s capture, not as a stated partner.
Voxelo
Owned business
Voxelo is the product-visualization business Mulhem describes building.
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One post announces the Voxelo.ai 2.0 release and explains how to capture a product with any camera, reconstruct it as an interactive 3D model, and place it on a product page.
It names Ben McKay and Roman Bromidge as co-founders, with Bromidge as CTO.
A later post explains why they are building Voxelo and how photographers can add 3D to shoots they already do.
A garment brand credited in a Mulhem post showing a Gaussian splat captured from a 45-second phone video with Voxelo.
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The post credits the brand with designing and making the piece and Voxelo with capturing it, then asks whether 2D pictures convey the garment’s craftsmanship.
Start with Vladimir Mulhem's launch note for Voxelo.ai 2.0, then read their longer argument for why product photographers are best placed to capture 3D, and finish with the short garment demo showing a phone-captured model in a browser.
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The posts offer three angles — announcement, trade argument, and demonstration — covering both the claim and the demonstration. For other perspectives on the same shift, compare Jeronimo Canale, Oubai Hendi, and Shmaya Grossbaum, who approach it through process, autonomous AI, and rendered catalogue assets.
Interactive 3D product visualsEcommerce product photographyGaussian splatting3D commerce technologyPhone-capture workflowsFounder build-in-public updatesShort demonstration postsProduct photographersEcommerce brands and growth teams
Jeronimo Canale
Canale's posts make the same core case as Mulhem's: hand-run product photography cannot keep pace with the volume of ecommerce creative, and a reusable digital product twin is the fix.
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The V.E.L.O. protocol — virtualise, engineer a library, publish everywhere — mirrors their approach: capture a product once, then reuse it across formats. Both writers point to cost and turnaround as reasons for brands to change.
Canale frames the problem as a supply-chain and production bottleneck, reports lead times and shoot costs, and offers a four-step sales checklist drawn from brands doing $100K and $100M a year, aimed at growth and creative leads. Mulhem targets product photographers and stays closer to the capture process, showing a garment rebuilt from a 45-second phone video and running in a browser.
Hendi posts about software that takes over ecommerce's visual work: an AR digital fitting room and an AI agent that shoots product photography and video, writes captions, and publishes to 14 platforms.
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Both writers argue that software can replace or sharply reduce studio-based visual production, and present the tool through their own company rather than as commentary.
Hendi's scope is wider and more autonomous: they pitch an AI that runs an entire ecommerce marketing operation.
Their posts are bilingual and include a personal account of moving from the UAE to the US and a CNN Arabic feature.
Mulhem focuses on one pipeline — phone video into an interactive 3D model on a product page — and argues photographers should capture it, positioning the trade as a partner rather than a cost to remove.
Grossbaum's 3D-rendering case studies make a similar case to Mulhem's: digital visuals respond faster and stay consistent, without the reshooting a photo shoot would require.
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Two examples carry the argument: an Amazon listing's colour mismatch fixed the same day, and nine aligned views of a several-ton industrial product built for a B2B catalogue, spec sheets, and sales pitches.
Grossbaum works from rendered 3D assets for Amazon sellers and B2B manufacturers, focusing on client quotations and listing maintenance rather than capture.
Their posts do not discuss how the 3D is made or photographers as partners.
Mulhem focuses on video from any camera, reconstruction, browser delivery, and selling the format through photographers a brand already uses.
Vladimir Mulhem's only measured audience figure in the posts here is a LinkedIn following of 8,747, recorded on 7 October 2026.
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That is usable B2B scale for a niche technology account, but not a volume play: a single campaign would reach a large share of it.
The sensible placement is a precision, credibility-led slot alongside other creators, rather than the main reach driver.
LinkedIn is the only channel with audience data.
The three posts point to a defined readership: ecommerce brand and marketing people who own product pages, product photographers weighing 3D capture (the April 2026 posts ask that group directly what would make them adopt it tomorrow), and 3D/Gaussian-splatting practitioners.
For a 3D commerce company selling visual product storytelling to ecommerce brands, the topical alignment is strong, but audience composition is unverified.
Ask Mulhem for recent results on posts with comparable topics, depth, and format, and whether an audience survey or platform demographic report exists for the account.
LinkedIn followers
8747
LinkedIn profile record for linkedin.com/in/vmulhem · 2026-10-07
Vladimir Mulhem's posts promote Voxelo, the 3D product-visualization product they are building; they do not offer paid placements, sponsored posts, affiliate terms or media-kit packages.
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One announces the Voxelo.ai 2.0 launch and credits co-founders Ben McKay and Roman Bromidge; another explains why product photographers are well placed to add 3D capture to existing shoots; the third shows a Gaussian-splat garment model captured from a 45-second phone video and credits the brand that made it.
The closest thing to a partnership invitation is a direct question to product photographers about what would make them pick up 3D as a format—a community and customer-development prompt, not a defined commercial offer.
The posts provide no rate card, deliverable spec or sponsorship policy.
Buyers should ask directly about format, exclusivity and usage terms.
The public links point to voxelo.ai for free product trials and to a Prolific North article about the launch; neither is a partner or media inquiry route.
A 3D commerce technology company seeking a B2B creator to explain visual product storytelling to ecommerce brands and turn product photography into interactive 3D would find Vladimir Mulhem a strong fit.
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Their posts make the case: product pages have moved beyond a couple of photos to richer formats, but still leave shoppers unsure; phone video captured by a product photographer can become an interactive 3D model that runs in a browser.
The launch post claims one video produces a full 3D digital twin, AR-ready, with no 3D skills or studio required.
The Gaussian splat post makes the argument tangible with a 45-second phone clip of a garment.
The photographer post offers the clearest campaign hook: 3D is not a replacement for photography, but a second sellable output from the same studio day.
The audience supports precision B2B placement: 8,747 LinkedIn followers, recorded on 7 October 2026, with content aimed at ecommerce product owners, product photographers, and 3D practitioners—not mass reach.
Before booking, ask for engagement performance, audience job titles, and an official partnership route.
When to choose a specialist
A consumer footwear or apparel brand seeking broad paid reach for a mass-market launch across Instagram and TikTok, with guaranteed impressions and a ready-made sponsored format, is unlikely to find a fit here.
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The only measured audience channel is LinkedIn, with 8,747 followers; the posts publish no Instagram or TikTok audience data, demographic breakdown, or engagement history.
Nor do they document a sponsorship or partnership format: there is no rate card, deliverable spec, sponsored placement, or inquiry route.
The content focuses on 3D product visualization and product photography, so a general consumer-reach campaign would not use the topic authority that makes Mulhem useful.
For a campaign that requires volume reach and guaranteed formats, look elsewhere unless a direct conversation yields performance data and commercial terms.
A worked campaign example
Worked campaign angle: a “one shoot, two assets” build with a 3D commerce platform.
The brief: show ecommerce brands and product photographers that a normal studio shoot can produce both hero photography and an interactive 3D model from phone video.
Co-publish a documented build using a real product from a partner brand.
First, capture the product on a phone during the existing shoot.
Then reconstruct the clip as a Gaussian splat or interactive 3D model with the platform.
Finally, publish a joint piece that develops the argument from Mulhem's product-photography post and shows the browser result, using the garment example as the format model.
The call to action: a free trial of the platform, plus a photographer-focused question about what blocks adoption.
Measure qualified trial sign-ups from ecommerce and photography teams, replies to the photographer question, and saves or shares among 3D and ecommerce practitioners—not raw impressions.
Short outreach note: “Hi Vladimir, I lead partnerships at [3D commerce platform].
Your post on product photographers being the unlock for 3D is the clearest version of the argument we make to ecommerce teams.
We would like to co-publish a documented build: take one real product through a phone-video capture and interactive 3D model, then show the result alongside the photography from the same shoot.
We would handle platform access, technical support, and promotion, and credit the photographer and brand.
Would you be open to a 20-minute call to scope it?”
Jeronimo Canale is a better choice when the campaign decision turns on the cost and delay of producing product visuals at scale, not on showing an interactive 3D layer.
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A post dated 12 January 2026 argues that “affordable” product photography hides a $200k-a-year cost in slower campaigns and that scaling brands should install visual infrastructure: a perfect digital twin of the product, so new campaigns do not need shipping, studio time, or reshoots.
A post dated 6 October 2026 gives a conversion checklist for brands at $100K and $100M a year: make the value obvious, find the real reason customers buy, keep the ad promise through checkout, and offer a useful next step.
For a 3D commerce platform selling to CPG or Shopify growth teams, that is the sharper opening when the buyer needs a creative-operations and conversion argument rather than a photographer-enablement story.
The tradeoff is proof focus.
The posts make the case for digital twins and faster creative production, but they do not show phone-video capture, a browser-based Gaussian splat, or an AR-ready interactive product page.
They also put less emphasis on product photographers capturing the source material.
If the campaign promise is “same shoot, two assets” and the proof is an interactive browser model, Canale is the stronger fit for the commercial argument, but not for the 3D interaction proof.
Oubai Hendi is a better choice when the campaign decision depends on AI-generated product media, multilingual social publishing, and AR try-on rather than a photographer-led 3D capture workflow.
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A post dated 13 November 2025 shares a CNN Business Arabic feature about twigBIG, generative AI, and a patented Digital Fitting Room for ecommerce and virtual spaces, emphasizing credible, human-centered AI and data behind the content.
A post dated 23 June 2026 introduces Soshify, which photographs and videos products, writes captions, runs ecommerce social media, and publishes to 14 platforms, with claims of studio-quality output, 100+ languages, voice or chat control, and eventual autonomous marketing.
For a 3D commerce platform selling to brands already thinking about AI content generation and virtual try-on, that is the closer match.
The tradeoff is the route to the 3D asset.
The posts describe AI generation and automation across product photography, video, captions, and publishing.
They do not document a product photographer capturing a short phone video that becomes an interactive 3D model in the browser, the specific proof in Mulhem’s posts.
The comparison also depends on platform claims in the posts themselves; no independent performance data or commercial terms are published.
If the buyer needs a creator who can demonstrate the capture-to-3D handoff, Hendi is a stronger match for adjacent AI commerce services than for that exact approach.
Shmaya Grossbaum is a better choice when the buyer needs accurate, consistent product visualization for physical or industrial goods, especially Amazon listings and B2B catalogs.
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A post dated 29 April 2025 describes a client whose inventory arrived in the wrong color; instead of reshipping and rebooking a shoot, the visuals were revised digitally and delivered the same day, preserving listing accuracy and avoiding storage and downtime costs.
A post dated 12 May 2025 shows a Canadian manufacturer with a 20-foot, multi-ton product; the response was nine aligned 3D rendered views per variation, with and without shadow, on white, for catalogs, spec sheets, sales pitches, and internal use.
For a 3D commerce platform targeting Amazon sellers or industrial manufacturers, that is the more specific proof of speed and consistency.
The tradeoff is format and audience.
The posts show static rendered views and digital revision workflows, not an interactive browser model built from phone video.
They also say less about product photographers extending an existing studio shoot or about AR placement.
If the campaign is a B2B creator partnership explaining how photography becomes interactive 3D, Grossbaum is the stronger fit for render accuracy and industrial listing problems, but not for the interactive capture and photographer-enablement angle.
Vladimir Mulhem's LinkedIn posts include a launch announcement for Voxelo.ai 2.0, a longer post arguing that product photographers are the people best placed to capture 3D, and a demonstration of a garment captured as a Gaussian splat from a 45-second phone video.
The posts carry no publication dates, so they are not presented in chronological order and no development over time is claimed.
The LinkedIn account shows 8,747 followers on 7 October 2026; this is a follower count, not an engagement measure.
Comparisons draw on posts by Jeronimo Canale, Oubai Hendi, and Shmaya Grossbaum.
Interviews, press coverage, talks, and other channels are not covered here, and sponsorship or client documents are not discussed, so earlier work and any shift over time remain open.
Gaps that would change a decision — post dates, engagement data, audience job titles, and commercial terms — are noted where they affect the choice rather than treated as settled.