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Prompt de Criação do 3D: você recebe uma planta baixa e algumas fotos de referência e constrói, do zero, uma casa 3D fotorrealista que dá pra percorrer no navegador. depois grava um vídeo-vitrine em plano único dentro dela. medida vem da planta, aparência vem das fotos. quando a câmera para no ponto de uma foto, a tela tem que parecer a foto. nada é entregue até isso se sustentar. - planta: [arquivo da planta baixa, de preferência PDF vetorial] - fotos: [fotos ou renders dos ambientes e da fachada] - local: [cidade, ou latitude e orientação do terreno, se souber] - estou fora e não vou responder perguntas. tome as decisões sozinho e registre cada suposição num arquivo de decisões, marcada como suposta. - liste tudo que recebeu, com data e versão. use a planta mais recente - confira a escala real contra uma cota conhecida, sem confiar no carimbo - converta a planta em um único arquivo de dados com paredes, aberturas, cômodos com área, escadas e vidros - sobreponha esse arquivo ao desenho original, meça a sobreposição e confira se as áreas batem com o quadro de áreas. só siga quando bater - pé-direito e alturas que a planta não informar, estime pelas fotos e marque como suposto - para cada foto, estime e registre a câmera (posição, direção, FOV) e a hora aparente do sol - tire as cores e os materiais dos pixels das fotos, não de paleta inventada - é contra essas câmeras que tudo vai ser julgado - three.js no navegador, em código. a casca sai do arquivo de dados da planta - construa os ambientes que aparecem nas fotos, mais a fachada e a área externa. feche as portas do resto - materiais PBR: pedra e revestimento com relevo, vidro com reflexo, madeira com veio, tecido que não pareça plástico - luz: sol calculado pela latitude e orientação do terreno, céu HDR, oclusão de contato, luz entrando pelas janelas, luz artificial quente nos pontos certos - cena viva: vento leve na vegetação, água da piscina refletindo o céu, entorno com céu e paisagem, nunca um vazio - decore como revista de arquitetura: plantas, livros, arte, mesa posta. fidelidade não é o mesmo que apelo - o passeio roda no celular: WASD e joystick no toque, colisão, minimapa - recurso novo entra desligado. desligado tem que ficar idêntico: grave imagens das câmeras com semente fixa e compare depois de cada mudança quem constrói nunca avalia o próprio trabalho. nota dada a si mesmo não conta. - depois de cada ambiente, renderize das câmeras das fotos e mande o lado a lado e a sobreposição a um crítico novo, que não viu nada do trabalho - ele responde sim ou não, com no máximo cinco problemas em ordem de gravidade, cada um com a correção em números, e diz o que já está bom - a nota é a da pior vista, não a média - corrija o pior primeiro e mande a um crítico novo. repita até o sim - em escolhas de gosto, mostre duas versões, a e b, e deixe o crítico escolher - o link do passeio hospedado - os dois vídeos - um contact sheet com cada ambiente lado a lado com a foto - o registro das críticas com as notas - o arquivo de decisões com tudo que foi suposto - uma nota sobre o que uma pessoa ainda deve conferir

claude fable 5.2 is f*cking insane it can turn 2d blueprints into full 3d walkthroughs that you can tour these go for $5k to $10k per plan and there's a huge market for them: > home builders selling homes off plan > architects presenting a design to a client > interior designers presenting a renovation > developers selling apartments off plan > kitchen and bath remodelers selling upgrades here's how to start this business: > pick one niche and find businesses with plans on their site > give fable the blueprint and their photos > it renders a few rooms with gpt image 2.5 or a short clip with seedance as the sample > send them the sample of their own plan before you pitch > once they pay, fable builds the full walkthrough to scale > charge per plan to do the rest of their catalog give this prompt to fable to get started: you find businesses that sell spaces from drawings and turn their 2d floor plans into photoreal homes you can walk through in a browser. you handle the outreach and the build. every room is judged against the client's own photos, and nothing ships until it holds up next to them. - niche: [home builders / architects / interior designers / developers / remodelers] - area: [state or city] - offer: a free sample of their own plan, then the full walkthrough per plan - my details: [name, email, calendar link] - i'm away and won't answer questions. make the calls yourself and keep going. - use the apify google maps scraper to pull every [niche] in [area] with a website - use the apify website content crawler on each site and keep the ones with floor plans or renders on their pages but no walkable 3d tour - for each one, save the plan drawing and photos of their best plan, the sales or owner contact, and a one line note on how they sell today - only use public pages and plain requests. never work around bot checks - before any 3d work, render three rooms from the plan with gpt image 2.5, matched to their photos, or a short walkthrough clip with seedance - draft a short email with the sample and the offer. no invented prices, numbers or claims - put business, plan, sample, contact and email in a sheet and show me before anything is sent once a client pays: - trace the drawing into one data file of walls, openings and rooms. draw it back over the original and measure the overlap before any 3d work - build only the main rooms. entry, main living space, kitchen, patio, yard. close the doors on the rest - build everything in code. blender with python for the shell, furniture and textures. three.js for the viewer. no downloaded models or textures - bake the light with a film quality renderer so the browser only displays it. direct sun in every interior, picked by measurement not by eye - fidelity isn't appeal. style each room so it looks photographed and sells - their listed upgrades as options you can step into inside the room, with a running price and a lead form that records what the buyer explored - the deliverable is the live page, not a video. host it and make it run on a phone the builder never grades its own work. - after each room, send renders and the client's photos to a fresh critic that has seen none of the work - it answers with a yes or no, at most five problems ranked, each with a fix in numbers, and what is already good - fix the worst first, render again, send to a new critic. repeat until yes - for choices of taste, show a critic both versions labelled a and b and let it pick - the lead sheet with samples and drafted emails, for my approval - per paid client: the hosted walkthrough link, a contact sheet of every room, the critic log, and a note on anything a human should still check

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255M views on a 3D Short by Zack D. Films i tried to rebuild his style with ONE Claude prompt, then ran it on Opus 5.5 and Fable 5.2 (they did NOT make the same Short) the full prompt is below ↓ paste it into Claude Code in an empty folder and answer its 2 questions. it shows u the script and waits for ur go. u need Blender + its free MPFB add-on and a graphics card. give it a few hours (the prompt is minus one optional paid-voice line) Ask me 2 things, then wait: 1. The story in one line: a strange TRUE event where one person did one odd physical thing ("He tied 42 weather balloons to a lawn chair."). If I say "you pick", pitch 3 with one source link each and take the first unless I choose. 2. The voice. Default: Kokoro (free, runs on my computer), a calm, warm male narrator. Then tell me everything else is free: Blender (find my install, or tell me the one download), its free MPFB extension for human bodies (ask me before you install it) and into this folder a Python venv with FFmpeg (imageio-ffmpeg), kokoro-onnx + its model files (kokoro-v1.0.onnx and voices-v1.0.bin from the kokoro-onnx GitHub releases), faster-whisper (small.en), numpy and Pillow. It needs no API key or account and renders on my graphics card with EEVEE. The look: a clean, realistic 3D world, like a good game cutscene. Bright, saturated, a little filmic. - People: realistic bodies with generic faces and big readable expressions (shock, a smirk, a scream). Plain clothes, no logos. Never a real person's likeness: for a real person keep the face out of close-ups (hands, back, side, distance, straight top-down). - CALM shots only. Bodies in fast action or contact (running, jumping, fighting, falling) look stiff, so tell the story with frozen moments under a slowly moving camera, macro inserts of hands and objects, rooms, vehicles, the sky, top-down views and the aftermath. - One new picture for every caption chunk (2-4 words, about 1-1.5 s): a new framing, a new action or a camera move. Nothing ever holds still: every shot drifts, pushes in or orbits. - The shot kit: macro insert (extreme close-up of the key object or hands, very shallow depth of field), hero low angle (wide lens at waist height), god's-eye top-down with a slow rotate, tracked object, over the shoulder, smash zoom on the word that matters, whip pan between beats, glow highlight (the named object glows orange with a rim, then fades), a big 3D number lying in the scene, a thought bubble (a cloud ring showing what he hoped for), a TV in the scene replaying the event. - Light: a bright warm sun, blue sky with clouds, soft shadows. Night scenes use hard lamps and a dark sky. Wide lens up close, depth of field on every shot, motion blur on every fast camera move. - Captions: 2-4 words at a time, white bold rounded sans, about 64 px on a 1080 px-wide frame, centred, 78% down the frame, soft dark shadow, no box. Each chunk replaces the last on the same frame as its picture. - Banned: real footage, photos, downloaded textures or 3D models, logos, AI images or AI video, downloaded music, gore. 38-50 s, 100-140 words, 150-180 words a minute. The voice starts at 0.0 s. - Line 1: the most surprising physical act, in past tense, opening with "He" (or "She"). No name, date or setup. Frame 1 shows that act. - Then a cause-and-effect chain: every sentence starts with a hinge word (Then, Suddenly, So, Because, But, Later) and is ONE visible action. - The context arrives late, after "You see,". - A reveal: someone looks closer and the story turns. - The last line is the consequence. No call to action, no question. - Names are rare: use one only when it pays off. Title = "He ..." or "The Man Who ...". The cover is the first frame. Save every stage to disk so a crash never costs more than one stage. - sources.md: every fact with its link and the date you read it. Anything you can't verify stays out. - script.json: the lines and the caption chunks cut by hand (2-4 words, one picture each), each chunk with its shot: the set, the camera, what moves. - Kokoro reads the whole script in one take (speed 1.0-1.1) and pauses are squeezed to 0.35 s at most; faster-whisper times every word (pass it a 16 kHz numpy array, not a path); write chunks.json with each chunk's start and end. A picture and its caption switch together on frame round(start*30)+1. - blender/: Python scripts run headless (blender -b -P). makes one .blend with the sets, the cast, the props and every shot baked with a key on every frame. sets EEVEE with ray tracing, the AgX view with the Punchy look, motion blur, depth of field and bloom in the compositor. Bodies come from MPFB or are built by you; clothes, hair, props and sets are built in code. - Stills first: one half-size still per shot as a contact sheet. Look at every tile and fix what's off before any full render. Time one full-size frame and tell me the estimate. - Render 1080x1920 at 30 fps to PNG frames, skipping frames already on disk. - numpy only: a light music bed, a sound on every action (a whoosh on each whip pan, hits, wind, room tone), ducked under the voice, mastered to -14 LUFS on the whole stereo mix. - burn the captions in from chunks.json. Encode out/_9x16.mp4 (1080x1920, 30 fps, TV-range yuv420p) and out/_x_7x8.mp4 (1008x1152, under 10 MB, 2-pass): a crop of the 9:16 frame that keeps the subject and the caption. - Blender paths: pass absolute output paths (a relative one lands on the drive root). - MPFB headless: enable it with addon_utils.enable("bl_ext.user_default.mpfb"). Bake a body's shape keys before you pose it: the rig is fitted to the baked shape. - Clothes: cut them from the body mesh and push them 7-16 mm out along the normals; keep two rings of body faces under every hem. - Nothing coplanar: keep every resting object 1 cm off its neighbour and draw ground markings into the texture, or they flicker. - Hair: EEVEE draws hair only from a Curves object, hair type STRIP. Use a Principled BSDF on it (the Hair BSDF renders black). - Skin: keep subsurface weight near 0.2 (more turns faces black in EEVEE) and add a soft fill light from below under a noon sun. - Hands: a curled hand reads as a claw from the palm side, so shoot a grip from behind the knuckles. - Motion blur: shutter position START, a key on every frame, plus a key half a frame after each shot's last frame, so blur never reaches across a cut. - Check: run a black-frame and one-frame-flicker check on the render. Make a contact sheet (a frame every 0.5 s) and look at every tile: the act reads in the first 2 s, faces are lit, nothing clips through anything, captions stay off faces and key objects. Then step through the first 2 s, the middle and the end frame by frame. Fix, render only the changed shots again. Pitch (or take my story), then show me the script with the word count, the caption chunks with their seconds and the shot list with what the first frame shows. Build nothing until I say go. how the two runs went: one run each on the same PC, so it's one sample, not a ranking. both took under 3 hours on one shared 8 GB graphics card. the story for both: a man who tied 42 weather balloons to a lawn chair in 1982 where they split: -> Opus opened wide on the balloons over the yard. Fable opened on the man kneeling at the chair with his Jeep behind him -> Opus put 5 big 3D numbers in its scenes, Fable 2 -> Fable followed the caption spec (white text, soft shadow). Opus went ALL CAPS with a thick outline -> Fable pulled the Smithsonian's own record and ended on the chair in the museum. Opus ended on the $1,500 fine -> a few Opus shots are hazy and one opens on a blank grey frame save this for ur next Short. who did it better, Opus or Fable?

Fable 5.2 just built a Bugatti Tourbillon in Blender. It modeled every part, including the interior, then rendered the cinematic. All from a single prompt and reference images in 2.5 hours

Wow, Fable 5.2 is unbelievable at generating photorealistic scenes. "Can you write the most intricate photorealistic simulation of honey in WebGL in the browser" This video is completely physics-based realtime render.

Holy shit!! Fable 5.2 is literally the most insane model I've ever seen take on the Star Wars Blender Bench. Done in 1.5 hours (20 min rendering time), Fable 5.2 presents the "First Battle of Geonosis"

Claude Opus 5.5 just cooked a 20-person motion studio... these are the 20 skills I actually use with Opus 5.5 for video, design, 3D, motion and gamedev. 770K+ github stars between them: VIDEO ┣ hyperframes · write HTML, get a video (81K★) ┃ ┗ ┣ openmontage · full agentic video studio, 12 pipelines (79K★) ┃ ┗ ┣ video-shotcraft · cinematic product promos (18K★) ┃ ┗ ┗ remotion skills · the official one, videos in react (6.7K★) ┗ DESIGN ┣ anthropic skills · frontend-design, canvas, algorithmic art (190K★) ┃ ┗ ┣ impeccable · /polish /bolder /critique, kills AI slop (107K★) ┃ ┗ ┣ open-design · open-source AI design workspace (107K★) ┃ ┗ ┗ hallmark · design that refuses to look AI-made (51K★) ┗ 3D ┣ blender mcp · claude drives blender, whole scenes (34K★) ┃ ┗ ┣ anatomy · any idea as a real working 3D object (26K★) ┃ ┗ ┣ unity mcp · claude runs the unity editor (16K★) ┃ ┗ ┗ blender-skills · 94 skills, blockout → export (2.3K★) ┗ MOTION ┣ gsap skills · official easing, timelines, scroll (18K★) ┃ ┗ ┣ anything2explainer · topic in, narrated explainer out (3.2K★) ┃ ┗ ┣ oil-motion · animation that follows scroll + mouse (2.9K★) ┃ ┗ ┗ herk edit kit · cut dead air, edit reels + shorts (2.7K★) ┗ GAMES ┣ universal-modder · mod any PC game you own (9.5K★) ┃ ┗ ┣ gamedev skills · 77 skills, godot to three.js (7.9K★) ┃ ┗ ┣ pixelfx · 244 pixel effects in code (6.2K★) ┃ ┗ ┗ sprite-gen · game sprites + animation atlases (3.9K★) ┗ all open source. the 3D scene on each card is mine, fully rendered in blender for that skill

code for review : Prompt : Create a 2D anime short for the web. It must look completely like real Japanese anime, as if it were taken directly from a finished theatrical anime film. This is traditional-looking, hand-drawn 2D anime, not a 3D animation, a moving illustration, or a stylized web graphic. Deliver the final result as a single, self-contained HTML file that plays offline, with a synthesized soundtrack. Use any tools, libraries, references, guides, literally anything etc. Use theatrical mecha and kaiju anime as the art style reference for the design, line work, painted backgrounds, color, and atmosphere. The film is 83 seconds long, in 39 shots. Its characters are a colossal silver archer robot, a fleet of container ships, and a leviathan. No people appear in the film. Use any tools or techniques you want, including 3D, as long as the final result looks 100% like hand-drawn 2D anime. SCENE A blazing sunny day on a coast. A massive armored archer robot, a hundred meters tall, stands in a deep lunge on a headland and draws a bow taller than itself. Close-ups: the hand on the grip, the limb and cable, the foot planted in the surf. Blue energy crawls along the arrow into the chest armor until the arrowhead blazes like crystal. The string snaps forward and a shockwave flattens the sea. The arrow is a harpoon trailing a thin cable. It tears the clouds into two walls above a ship's deck, climbs through the cloud tops, and reaches the edge of space in a blue flash along the planet's limb. Out at sea, container ships cross a colossal shadow. Four humpback whales breach beside a ship, with real arcs and full tail flukes, and dive tail last. From below, shapes move under the bright churning surface. Four whale heads rise from a boiling sea, and a ring of teeth rises around them: they are lures inside a mouth. They drop in and the jaws shut. The leviathan breaches through the fleet in one slow, enormous arc. Its belly slides past the bridge windows. The swell it leaves lifts the ships and stands one on end, spilling containers. Its ridged back and flukes sink into spray fog. High above, the arrow turns over and comes back red-hot through the atmosphere. Below the surface, the leviathan crawls through a luminous canyon on clawed forelimbs and swallows a fleeing whale. A thin streak meets the sea on the horizon and a white plume swells up. The harpoon drives through its back in a blue-white flash, lightning runs along its body, and the barbed tip punches out of its belly into the rock, which bursts apart. The cable stays attached the whole time, rising to the surface. A mountain of water swells from the sea. The dying leviathan erupts, rolls over between the ships and falls, and a wall of water takes the fleet. ANIME QUALITY STANDARD Every frame must look as if it was drawn by professional anime animators and painted by master background artists for a finished theatrical film. Archer: A massive, heavy anime mecha with sculpted overlapping armor plates, panel lines, bolts, markings and a faceted chest reactor that glows blue. Hands really grip the bow and string. The arrow never passes through the armor. Keep it on-model from every angle. Leviathan: Whale-like and colossal, always dwarfing the ships. Rough, dark grey-teal wet hide with barnacles and scars, a pale ribbed throat, a spined back, huge clawed flippers, and a cavernous maw with uneven teeth. A real bending body with weight, never a stiff model hanging on pillars of water. Whales: Real humpback anatomy with tail stock, big notched flukes and long curved flippers rooted in the body. Ships: Detailed container ships with corrugated multicolor containers, lashing bars and a white bridge tower. Line art: Confident, delicate, hand-inked anime line work with subtle variation in thickness and pressure. Coloring: Traditional anime cel coloring with clean color areas, hard-edged cool lavender-blue shadows, crisp highlights, and a bright, high-key, saturated palette. Never gloomy, grey or muddy, even in the darkest moments of the story. Backgrounds: Richly detailed, hand-painted anime backgrounds in a gouache style: towering white cumulus, a cobalt-to-turquoise sea at kilometer scale, a painted coast with a far town, Earth from orbit, a port city from the stratosphere. Underwater: Luminous cyan depth with god rays, a rippling surface seen from below, jagged canyon rock, silt and fish. Bright, not black. Lighting: Summer sun with colorful shadows, and a separate character key light so that nothing sinks into shade. Effects: Bold drawn anime FX on twos and threes. Sharp lightning with a white core, plasma trails, sheets of water pouring off the body, plumes, spray and a wall of water with real mass. Never particle mush or cotton-wool clouds. Animation: Authentic hand-drawn anime timing, with characters on twos, strong key poses, natural holds, and overlapping movement. Huge things move slowly and heavily. Nothing clips, slides or floats. Sound: An original epic score with ominous drones, brass and choir, near silence before the impact, then a colossal hit. Add a recurring whale-song motif, bow creak, charge whine, sonic boom, thunder and the sea, muffled underwater, all timed to the picture. Direction: Cinematic shots, macro close-ups against huge wide shots, thoughtful staging, and pacing that builds from quiet tension to a devastating climax. IT MUST NOT LOOK LIKE - 3D: No plastic materials, CGI shading, visible polygons, game-engine lighting, or computer-perfect perspective. - Blocky "Minecraft" shapes: No plain boxes, empty flat surfaces, or toy-like proportions. Every surface carries design detail. - SVG or vector art: No simple geometric shapes, perfect curves, uniform outlines, flat corporate illustration, or basic gradients. - Web animation: No sliding layers, constant bobbing, floating parts, smooth software easing, or puppet-like joint rotation. - Pasted-on elements: No 2D sprites floating in a 3D scene. - AI art: No warped shapes, melted details, flickering, or changing designs. - Non-anime art: No Western cartoon designs, realistic rendering, soft painterly shading on the characters, or generic digital illustration. - Amateur work: No stiff poses, empty backgrounds, muddy colors, clip art, placeholders, or unfinished details. You are free to change any part of the prompt, if it would result in better results. The result should feel enormous, terrifying and beautiful, a blockbuster in bright anime colors. Before finishing, inspect random frames as still images. If any frame does not look completely like real 2D anime, keep improving it. Do not stop until every frame could pass as a still from a theatrical anime film.

This is not a mockup, and it's not a render made for marketing. What you're watching is LUSCA's live interface, showing our chain agents reading real programs and contracts as it happens. Nobody picks the addresses. The agents find them on their own, read them on-chain, and decide what's worth keeping. Every call on screen is a real call. Solana reads run through @helius, and each field appears the moment its call returns: upgrade authority, proxy and implementation, instructions, verified source. Then the verdict: kept for SEPIA-1's training data, or rejected with the reason. Why it matters: AI training data is usually a black box. You're told what a model learned from and you take it on trust. Here you can watch the data being collected and checked, live, one read at a time. Our biggest update so far. More than 15,000 reads and counting.