An interactive 3D particle system that morphs between Mobius... strips, toroidal vortices, spherical harmonics, Lissajous curves and fractal branches. Built with Three.js, features a sci-fi HUD, live stats, trails, and smooth camera controls.show more

How I built with Claude 👇 Prompt: "Design an... agency site where services are presented as supermarket product packaging in 3D" Use Three.js with WebGL to render all products in real time in the browser Use Blender to model the packaging then export as GLTF to load in Three.js Use GSAP for the smooth product rotation and hover interactions Save this if you want a portfolio that makes clients feel they are buying something premium 🛒show more

How a 22-year-old developer built a full 3D Jet... Ski racing game in just 40 minutes with zero manual coding He used Claude Opus 5 to generate physics, WebGL 3D graphics, HUD, and audio in a single prompt and turned single-prompt gamedev into a high-margin income stream. Costs: $423 He launched a single-prompt generation workflow that built the entire HTML5 project from scratch: Top layer: A Three.js and WebGL rendering pipeline dynamically creates 3D water physics, real-time wave dynamics, dynamic lighting, and jet ski fluid mechanics, all written autonomously inside one output file without external frameworks. Bottom layer: The Claude Opus 5 engine processed a massive 690-million-token context window to generate the complete gameplay logic, collision handling, dynamic sound generation, controls, and UI layout directly from a detailed initial system prompt. The trend of single-prompt 3D game creation is rapidly exploding across media and indie development. The author monetizes this tech stack through three main channels: 1. Viral Content & Media Systems: Short-form breakdown videos driving massive reach, monetized via promo placements, prompt-pack access, and private developer communities. 2. Rapid Hypercasual Prototyping: Testing 10+ WebGL mechanics per day, flipping fully functional browser games on itch io or CodeCanyon, and licensing prototypes directly to casual game portals. 3. Interactive WebGL Client Solutions: Delivering custom 3D promotional browser games and interactive brand experiences for clients in 48 hours instead of weeks. First month results: > WebGL games generated: 24 > Viral impressions generated: 3.8M+ > Total revenue across licensing & content: $21,400 The AI completely automated the core development lifecycle: Claude Opus 5 built the physics engine, rendered 3D graphics in WebGL, hooked up audio controllers, and generated interactive browser logic with zero manual line-by-line coding. Bookmark it and check article 👇show more

this guy 3D printed and vibe coded a tiny... Claude robot for his desk it's called "Clawd Mochi." runs on an ESP32 chip with a tiny display that shows animated expressions. > hosts its own WiFi hotspot. zero cloud and zero internet required. fully offline > live-switch between animated faces, a terminal emulator, and a drawing canvas from your browser > total cost: under $8 > takes less than an hour to build 3D print files AND the full build are both open source too this is the greatest thing anyone has built with vibe codingshow more

This guy built a visual scanner that reads 468... points on his face and 42 points on his hands from a regular webcam and turns them into a cloud of thousands of particles right between his palms. Inside, MediaPipe and TouchDesigner are linked: the first captures hands and face from the webcam with high accuracy, the second turns those coordinates into a live plane and feeds it into a POP system that instantly generates a swarm of particles in the shape of a head. No studio, no render farmer, no VR headset. Just a laptop, a webcam, and 1 TouchDesigner session. And traditional VJ studios keep teams of 5 people on a setup with lighting, custom hardware, and commercial plugins, while his expenses are only a TouchDesigner subscription and a regular USB camera. One laptop runs MediaPipe and TouchDesigner simultaneously, holds the camera stream at 60 FPS without drops, and in parallel processes 468 face points + 21 points on each hand. The camera captures frame after frame, MediaPipe in real time sends TouchDesigner the finger coordinates and face geometry, and the POP operator inside the engine translates those numbers into thousands of particle points with colors from bright pink to gold. This setup immediately defines the role of the tool and the limits of its autonomy. It knows where the fingertips are at every moment of the frame. It knows how to read the face geometry at any angle to the camera. It knows how to draw a swarm of particles between them with the right color and contour. → MediaPipe pulls 468 points from the face and 21 points from each hand, 60 times per second → TouchDesigner receives those coordinates, builds a virtual rectangle between the fingertips, and feeds it into the POP system → POP generates thousands of particle points in the shape of a head, coloring them in a gradient from bright pink to gold → The HUD layer adds green corners and a blue neon frame, styling the image like an AR interface → All layers assemble into 1 real-time frame that projects back onto the video in the camera window → The final image is recorded to a file or broadcast to a projector for a live installation And only when the guy spreads his hands wider does the plane between the palms stretch; brings them together, it narrows. Otherwise the system runs on its own. And when he moves from his home room to a concert hall, the same laptop with the same webcam launches the same TouchDesigner session in just 5 minutes, without reconfiguration, without a new team, and without a single line of new code. In his work setup there is no studio of his own and no team for assembly. On the desk sits a laptop with a webcam, on top run MediaPipe and TouchDesigner with POP operators, and the same setup through a USB camera moves to any concert without a new configuration. Out of everything I have seen this year, this is the cleanest Creative Coding setup on 1 laptop: 0 render farms, 0 studio lighting, and between them 3 libraries, thousands of particle points, and 1 webcam.show more

Fable 5 built this real-time ocean scene directly in... the browser using Three.js, WebGPU and TSL, with no engine and no baked assets. The interesting part is not just that the water looks good. The whole system is being simulated: wave spectrum, GPU FFT, foam generation and refracted-ray caustics, all running live. This is exactly where frontier models start becoming genuinely useful for technical graphics work. Not by replacing years of rendering research, but by compressing the path from complex math to a working interactive result. A small, focused scene, but technically very serious. Cc: Adem Vessellshow more

I built a full 3D #lego brick builder using... Claude 4.6. Took 12 iterations. Runs entirely in the browser. You pick a brick size, pick a color, and click to place. Snap-to-grid, collision detection, ghost preview, it feels like building with real bricks. But the fun part? Hit one of the template buttons and watch it auto-build a pyramid, a rocket, a house, or an Eiffel Tower. Bricks fly in from random directions, spin through the air, and snap into place with particle bursts. tech stack: → #Threejs for the full 3D scene → #Raycasting for click-to-place → Custom wedge geometry for slope bricks → Quadratic Bézier curves for the fly-in animations → #2d canvas particle system layered on top of the 3D scene → #InstancedMesh for the base plate studs The product potential: this could become a real educational toy. Kids (or adults) building in the browser, sharing creations, loading custom templates. No install, no app store. ( LEGO you may like this one! ) Want to try it? Link in the first comment 👇show more

Future of Travel When Your Flying Car Turns into... a Backpack Made with seedance 2.0 Prompt: Cinematic 8k video, ultra-realistic visual style, overcast daytime lighting outside a modern glass skyscraper in a futuristic city. Pedestrians on the sidewalk are holding smartphones and filming. A sleek, metallic purple hovercar with a glossy finish glides in smoothly from the main street and hovers steadily above the tiled pavement with a glowing purple neon ring underneath it. The vehicle’s vertical butterfly door opens upward, and an elegant Asian woman in a fitted black business suit and high heels steps out gracefully onto the sidewalk. She taps her red smartwatch, triggering a complex sci-fi mechanical transformation: the hovercar rapidly folds inward, panel by panel, retracting and shrinking down until it morphs into a metallic purple backpack hovering at shoulder height. She grabs the backpack, slings it over her shoulders, and walks confidently toward the revolving glass entrance of the skyscraper while amazed onlookers watch. Smooth camera tracking, natural reflections, photorealistic CGI VFX, seamless motion, 24fpsshow more

Wow! Send A File By Just The Camera! A... vibe coder used AI to build a file transfer system that sends data between two phones using only a screen and a camera. One phone displays a new type of animated QR codes while the other scans them to rebuild the file, with no Wi-Fi, Bluetooth, or cables needed. It is fully optical and local. The system uses fountain codes that create each QR frame as a random mix of file data. This keeps transfers working even if some frames are missed, reaching speeds of about 129 KB/s for a 2 MB image. The entire project was built in one night and released as open source. The idea came from a music project where the developer wanted to share MP3 files without streaming or using the same network. Animated QR codes became the solution, showing a creative new way to transfer files with everyday phone hardware. GitHub link:show more

Made with Gemini AI Introducing iPhone 17 Pro 🧡📱... A bold visual concept built around Pro performance, advanced cameras, and cinematic storytelling. Video Prompt 👇👇 Shot 1 Bold Opening Start with a powerful orange background and huge PRO typography. The iPhone 17 Pro enters the frame with a dramatic camera push-in. Shot 2 Lifestyle Hero Low-angle fashion shot of the model holding the iPhone 17 Pro toward the camera. Orange cap, modern streetwear, bold lighting, confident attitude. Shot 3 Camera Detail Extreme macro close-up of the iPhone 17 Pro camera system. Smooth rotation around the lenses with sharp reflections and premium product lighting. Shot 4 Performance Visual Show the phone surrounded by dynamic light trails and subtle motion graphics representing powerful performance. Keep the device crisp and centered. Shot 5 Pro Camera Experience Model captures cinematic footage with the iPhone. Transition from the phone screen to the real scene being filmed, highlighting a professional creator aesthetic. Shot 6 Cinematic Video Show a smooth sequence of the model walking through an urban environment while filming. Dynamic tracking camera, natural movement, premium smartphone-ad feel. Shot 7 Apple Intelligence Moment Close-up of the iPhone display showing an intelligent feature in action. Clean interface, subtle animations, modern orange environment. Shot 8 Final Product Reveal The iPhone 17 Pro floats against a vibrant orange background. Camera slowly circles the device before landing on the camera module. Shot 9 Final Frame Bold iPhone 17 Pro typography appears alongside the hero device, with a clean premium finish and dramatic lighting. Overall style: bold orange campaign, premium smartphone advertising, fashion + technology aesthetic, cinematic camera movements, realistic product details, glossy highlights, high-energy commercial visuals.show more

Grok Imagine Cinematic Prompt A cinematic, wide-angle shot of... a massive, heavily armored mecha sniper emerging from a thick layer of ice and snow in a desolate arctic tundra. The mecha is pristine white and industrial, featuring a colossal railgun-style sniper rifle with glowing blue energy components. It shifts into a stable firing stance, shedding chunks of ice as it moves. The Shot Sequence: The Activation: Close-up on the barrel as blue electrical arcs and a swirling energy vortex charge up at the muzzle. A high-tech digital HUD overlay flickers across the screen with targeting data. The Firing: The railgun fires a powerful kinetic blast, creating a massive sonic boom and shockwave that clears the snow. The Impact: The camera follows a high-speed projectile or a jet-propelled craft streaking across the frozen plains at ground level, leaving a dual trail of displaced snow behind it, culminating in a massive explosion against a distant ice wall. Environment & Atmosphere: Setting: A vast, wind-swept arctic landscape with towering icebergs and a heavy, overcast grey sky. Lighting: Cold, diffused natural light with high-contrast glowing blue accents from the mecha’s sensors and weaponry. VFX: Realistic particle effects for falling snow, shattering ice, and swirling mist. Heavy motion blur on the high-speed chase sequence. Style: * Ultra-realistic 3D animation, 8k resolution, cinematic sci-fi aesthetic, reminiscent of Armored Core or Metal Gear Solid. Quick Tips for AI Generation: Keywords: "Mecha," "Railgun," "Arctic Tundra," "Energy Vortex," and "Cinematic HUD" are your best friends here. Lighting: Specifying "Cold lighting" or "Overcast" helps maintain that desolate, frosty mood.show more

NovaToon x Mansory x Base is now LIVE! MANSORY... takes center stage in the newest NovaToon drop - now fully onchain on Base. 🔥 This next story in Astra Nova’s web comic dApp blends high-stakes story-telling, giving readers a deeper connection to the universe. ✨ NovaToon is Astra Nova’s Web3 comic dApp that blends immersive digital storytelling with blockchain-powered ownership. Built on Base, NovaToon allows users to read, collect, and truly own comic chapters and narrative assets. This new NovaToon chapter features a unique story with one of our partners, Mansory, all set within Astra Nova’s expanding sci-fi universe. Designed for both fans and collectors, NovaToon redefines how stories are experienced, shared, and owned in the decentralized era. Download NovaToon and read Chapter 1 now - The engine of fate ignites. The stars align. Drive into the unknown and don’t forget who you are…show more

CLIENT ASKED 20 YEAR OLD TO BUILD A "SIMPLE"... WEBSITE THIS IS WHAT IT DELIVERED most websites look like this: -> Hero section -> Some text -> A few buttons -> Done Claude had other plans Here's what it built: -> Cinematic landing page with immersive animations -> Interactive particle effects -> Smooth scroll storytelling -> Premium UI inspired by Apple and luxury brands -> Responsive design without sacrificing performance → Production ready code in minutes the crazy part? there was no design agency no frontend team no weeks of back and forth revisions just one prompt and Claude Code while most developers are using AI to autocomplete code others are using it to build experiences that would've taken an entire team the gap isn't AI anymore it is imagination Bookmark this before every website starts looking like thisshow more

Opus 4.6 vs GPT-5.4 (4/9) prompt: Build a production-quality... 3D flight-tracking web app using React + Vite + Three.js (react-three-fiber + drei) that visualizes live OpenSky aircraft data on a rotatable 3D Earth, with real-time plane motion, smooth interpolation, altitude-accurate positioning, and polished lighting/post-processing. Both models did really well on this one and honestly I’m impressed with both. GPT-5.4 had the nicer post-processing out of the box. I really liked the subtle light shimmer on the airplanes when rotating the planet, and the camera work when clicking a plane felt better overall. Opus 4.6 though had a few details I liked more. It automatically went and found a much nicer Earth texture on GitHub, while with GPT-5.4 I had to reprompt it to go look for a better one. I also preferred Opus’s plane model overall, it just looked more polished, whereas GPT-5.4’s plane asset looked a bit funny. One thing I noticed with GPT-5.4 is that when you click into the plane, the camera sometimes clips through the planet, which breaks the effect a bit. Opus handled that part more cleanly. Overall this felt like a strong result from both, just with different strengths. GPT-5.4 felt better on presentation and post-processing, while Opus had better asset choices and a more premium-looking Earth/plane combo.show more

claude fable 5 is live. spawn 5.0 was built... with it: 1,687 prompts, 102 sessions, my job shifted from architecture to judging taste. what we built, each of which would've been at least a month with a whole team on opus: — a from-scratch physics engine (mantle) that rivals rapier, testable in a day as a side thread — clustered froxel lighting: 8 lights to 1,000+ fully dynamic ("it's stupid fast" — creator of threejs) — realtime diffuse GI on webgpu, on your phone (landing in the next update) — million-particle gpu vfx with a shader architecture beyond what unreal and unity ship — mmo-scale netcode plus, for good measure: an (alpha) native ios app. all of it in about a week. all of it running on mobile. and the list doesn't include half of what we shipped — full changelog in the thread below. and the part the benchmarks won't show you: this model has a wonderful personality. it's genuinely funny. i laughed so hard i cried multiple times, mid-physics-rewrite. the genius and the character aren't separate features.show more

Can a handcuff made of paper really lock your... heart in place? 回帖里还有另一版，哪个更好？ Seedance prompt: 👉👉👊👊Presented in a style that resembles real video footage captured with an unprocessed iPhone handheld camera. All camera settings are automated. The footage features noticeable handheld shake and operator breathing sounds. Autofocus operates quickly in dim environments, frequently searching for targets among colored lights, with delays. Automatic white balance changes dramatically with the shift between purple-blue lighting on the stage and skin highlights. The image is generally dark and noisy, but retains real lens flares, overexposure in high-light areas, motion blur, and severe background blurring. Only in-built environmental sounds are used: low-frequency electronic music from the nightclub (severely distorted through the phone microphone), noise from crowds, and drumbeats with a sense of vibration. The microphone also has significant distortion at low frequencies. The footage is captured from the perspective of real people/audience members. The composition is occasionally imperfect, with slight tilts or cropping at the edges. A young Asian woman is used as a reference for the appearance of the character. She has long black wavy hair, and she is wearing… She wore a golden sequined dress, standing on the stage of the nightclub. At 0-3 seconds, the camera pans slightly within the crowd at the nightclub, with the image being slightly dark, focusing on the stage. In front of her, a black-clothed person wearing a mask handed her several folded white strips of paper. She took the papers, then slowly wrapped them around her wrists, simulating the effect of being tied with ropes. Her movements were deliberate and slow. The white paper left obvious marks on her wrists. From time to time, she would look up at the camera, with a playful smile on her lips. The stage was illuminated by purple-blue lights, with the camera adjusting its exposure between the lights and the person in front of it, resulting in slight overexposure and noise in the image. In the background, we could see the stage lights reflecting off the crowd and equipment, with noisy environmental sounds in the background. At 3-7 seconds, the camera moves forward, switching to a closer handheld perspective.She wore white strips around her wrists (simulating ropes), and began to perform in a seductive dance pose before the first-person camera. Her body moved slowly, with her hands “bound” by the strips, either overlapping or raised forward. Her waist and hips swayed gently to the rhythm of the music, her eyes fixed straight at the camera, with a hint of teasing and inviting gaze. Occasionally, she would look down at her wrists, then raise her head again, her eyes casting an even more suggestive light toward the camera. She leaned forward, her movements full of seduction yet elegant. The golden sequin dress shimmered under the colored lights, and the camera quickly locked onto her image. The male singer and stage lighting in the background were heavily blurred, creating a strong mobile phone-style background blur and light spots. The low-frequency music was severely distorted through the microphone, and the camera shook slightly due to the operator’s proximity, along with the sound of breathing.The entire scene depicts a dark, noisy, and unstable environment, reminiscent of a real nightclub setting. At the end of the scene, the camera focuses on her hands, wrapped in white paper, as she maintains a seductive dancing posture. Her eyes are fixed straight ahead, and the camera moves slightly back and forth.show more

Made a Haaland FIFA edit with Seedance 2.0 Prompt:... A high-end 3D Pixar-style digital animation. The subject is a cute, chubby toddler caricature of professional footballer Erling Haaland standing on a vibrant green grass pitch inside a massive, packed football stadium at night. The toddler has oversized features, including a round face, an exaggerated pouty and grumpy expression, and his signature long blonde hair tied neatly into a top-knot bun with shaved sides. He is wearing a detailed light blue Manchester City FC home kit, complete with matching shorts and golden football boots. He stands confidently with his arms tightly crossed over his chest, rocking slightly back and forth to the rhythm of music, giving a playful and defiant attitude. One foot is planted firmly on top of a classic star-patterned UEFA Champions League football. The camera angle is a dynamic, low-angle full-body shot that makes the character look heroic yet adorable. The background is softly blurred with bokeh, showing a massive crowd under intense, bright stadium floodlights that cast crisp highlights on his hair and clothes. Cinematic lighting, rich colors, ultra-detailed textures on the fabric, hair strands, and grass blades, rendering in smooth 4K resolution.show more

OPUS 5 + HIGGSFIELD TURNED RETRO MARIO INTO A... HYPER-REALISTIC NEXT-GEN SHOOTER I built this entire concept without relying on traditional game engines, hiring expensive 3D artists, or waiting through a decade-long development cycle, simply because I decided to take a harmless 8-bit childhood platformer and ask a single question: what if it was rebuilt today as an aggressive AAA tactical FPS? this is what came back. 00:00 - the pixelated 2D platformer abruptly morphs into a photorealistic tactical arena right as the camera swings into action 00:03 - the hero pulls up a custom assault rifle featuring a glowing 'M' emblem while racking live ammunition in sharp first-person view 00:06 - I strafe behind a crumbling brick wall to spray full-auto rounds directly at terrifying, realistic Goomba-monsters charging forward 00:09 - a final grenade launch hits a burning Bowser castle while real-time hit-markers flash continuously across the screen The sequence delivers true first-person bodycam immersion complete with heavy weapon recoil and a fully functional tactical HUD tracking ammo, health, and minimap positioning. Every single frame was generated seamlessly in real time without a single 3D model being crafted by hand. While Nintendo spends tens of millions of dollars dragging out massive production cycles, I pulled this entire demo off in one afternoon using a single text prompt and zero lines of code.show more

$RIVN Alright, I wanted to drive the 2026 Rivian... R1T at least 300 miles before showing it off. First time EV buyer and traded in a 10 year old car. Buying process was simple; I did everything on my phone. I was assigned a sales specialist, and he answered all questions via text. Delivery day, I signed a few papers, and they handed me the keys. Someone spent an hour with me explaining the most important features. Build quality: everything was perfectly built. One scratch from transportation, and I submitted a ticket. 🏁 Ride quality is smooth. I can’t feel anything. No noise whatsoever. 🎶 Sounds: I have no idea what people were talking about. The sound is perfect with a huge bass. 🔋Range: I picked it up with 10 miles on the odometer and a full charge (420 miles) Friday. Drove it for 301 miles, and I still have 91 miles of range left. ▶️ Infotainment system is very responsive. You won’t need your phone; everything is right here. It’s a joke that people say CarPlay is better than this infotainment system. 🤣🤣 🤖Tried the highway assist for at least 10 miles on the freeway, and it handles like a champ. Just my initial experience!!! $tsla $lcid $evshow more

MiniMax H3 - Text to Video A city painted... into existence. Change the city name and quote text and use it for any city. Prompt: [CITY_NAME] = EDINBURGH [QUOTE] = A city carved from stone and story. Create a fast, dense, cinematic 16:9 macro travel film where the entire identity of [CITY_NAME] is continuously painted into existence by living oil paint. Use a low grazing macro camera with extremely shallow depth of field. The world is a vast canvas covered in thick wet impasto paint, sculpted brushstroke ridges, carved grooves, glossy reflections and dense gold glitter. The paint must behave like an active force at all times. It flows like rivers, sweeps like brushwork, gathers like tides, curls at the edges, spills into new paths and physically constructs the city in real time. The film must feel fast, rich and uninterrupted. Use one continuous flowing camera move with no cuts. The camera races across the canvas, skimming over wet paint valleys, weaving between rising structures, accelerating through the city as new landmarks constantly appear ahead. Avoid slow drifting. Keep the visual progression energetic and tightly packed. Start with abstract moving pigment and rapidly transition into recognizable city formation. Show thick paint strokes being laid down, dragged, folded and pulled into shape by an invisible artistic force. Let streams of pigment split and merge like waterways, while dimensional brushstroke masses rise into streets, bridges, domes, towers, rooftops, plazas, canals and layered miniature architecture. Make the city feel as if it is being painted and built at the same time. Reveal many landmarks across the journey, not just one. Let the camera travel seamlessly through the whole city, with one landmark flowing directly into the next. As the camera advances, fresh paint forms arches, facades, bell towers, canal edges, stairways, statues, porticoes and skyline silhouettes associated with [CITY_NAME]. The transitions between landmarks should feel fluid and continuous, with brushstrokes extending forward to pull the viewer deeper into the city. Make the paint motion highly visible and expressive. Show pigment actively spreading across canvas, pouring into channels, stacking into forms, curving into structures and leaving wet textured trails behind. Gold glitter should move with the paint and collect along ridges and valleys, creating sparkling highlights that emphasize speed, direction and shape. Use warm golden key light from the lower left to ignite glossy paint and glitter. Add cool purple-blue ambient fill from the upper right to maintain a dreamy dusk atmosphere. Keep the distant background soft with haze and circular bokeh, but preserve strong clarity on the active foreground paint and newly formed landmarks. Toward the end, the camera rises and pulls back just enough to reveal a broader final view of the fully formed painted city, making it clear that the viewer has traveled through an entire living city built from moving paint. End on a striking travel-poster composition. Place elegant typography in the top left with generous breathing room. Show [CITY_NAME] in refined serif uppercase, with [QUOTE] beneath it in smaller delicate type. The overall feeling should be luxurious, poetic and visually intense, with continuous motion, dense landmark reveals and the clear impression that the whole city is being painted alive in real time.show more