Blender 3D scene building

• Architecture
• Interior
• Lighting
• Camera animation
• 2 messages
• Attachments: plan drawing, plan JSON, room schedule

• Hard parts
• Built to the plan's measurements
• One named collection per room
• Message 2: golden hour, 25 s walk-through
• Two doors don't fit as drawn

A retired couple send their architect’s ground-floor plan three ways (a drawing, the same plan as numbers in a JSON file, and a room schedule) and want the bungalow built exactly to it: living room and kitchen-dining furnished, pool, terrace and garden at real size, every room in its own group named as on the plan. A second message asks for golden-hour light from the pool side and a slow 25-second walk-through from the front door to the pool. While reading the plan, the agent notices that two of its doors run 5 cm into the outside wall; it builds them as drawn and explains the fix in its reply.

The request, verbatim

Message 1

… My husband and I are retired and building our first new house, a two-bedroom bungalow near the coast. Before the builder starts in the spring, we would like to walk around it in 3D and get a feel for the rooms. The architect's plan is attached as plan.png. The same plan is in plan.json as numbers, and the room sizes are in room_schedule.csv. Please build it exactly to those measurements, with the doors and windows where the plan shows them. We'd like the living room and the kitchen-dining furnished properly, with a sofa, table, chairs and so on, so we can judge whether the space works. The bedrooms can stay empty for now. Outside we need the pool, which is 9 m by 4 m, plus the terrace, the lawn and some planting, all at real size. Our grandson wants to walk through it in a game engine later. He asked that each room be kept as its own separate group, named the same as on the plan. Could you have it ready in about three weeks? …

Message 2

Thank you, it's lovely to see it. Could you set the light to golden hour, with the low sun coming from the pool side? And please add a slow walk-through camera that starts at the front door, goes through the living room and out to the pool, about 25 seconds long.

From request to finished scene

1. Attachment

   

   The architect's ground-floor plan that came with the request: a 25 × 25 m plot, the house 12.30 × 7.20 m to wall center lines with 3.00 m ceilings, a 9.00 × 4.00 m pool and a 6.00 × 2.70 m terrace.

2. Message 1, tool call 27 of 125

   

   The agent's first test build with roof and ceilings hidden, seen from above and from the street side: seven rooms laid out from the plan's coordinates, door and window openings cut, floors already in oak, tile and carpet.

3. Message 1, tool call 45 of 125

   

   The furnished plan, seen through a camera that cuts the house at 2.9 m: a table for six in the dining room, sofa, armchair and rug in the living room, an L-shaped kitchen with a breakfast table, and the two bedrooms left empty as asked.

4. Message 1, tool call 54 of 125

   

   Test render of the living room: the sofa faces the TV wall, with a bookcase and an armchair. On the left the opening to the hall lines up with the open front door and the street; on the right is the sliding door to the terrace.

5. Message 1, tool call 66 of 125

   

   The garden side in daylight, before the second message: the 9 × 4 m pool with its entry steps, the terrace outside the sliding door, planting beds and the two trees from the plan.

6. Message 1, tool call 82 of 125

   

   The kitchen: L-shaped units with the sink under the window, hob and hood, oven and a tall fridge-freezer. The units stop short of the back door on the right so it can open fully.

7. Message 2, tool call 115 of 125

   

   Six frames of the walk-through (frames 1, 60, 120, 300, 450 and 600), rendered by the agent to check it: from the street end of the front path, through the open front door and the hall, a pause facing the TV wall, then across the lawn to the edge of the pool. With the sun low beyond the pool, the street side is in shade and the lawn is striped with long shadows.

8. Finished scene

   

   The delivered scene after the second message, in golden-hour light: the sun is low beyond the pool, and the shrubs along the back boundary throw long shadows across the lawn.

9. Finished scene, top view

   

   The same scene from directly above with the roof cut away, to set beside the plan: the furnished rooms, terrace, pool, the two trees, planting along the back and side boundaries, the driveway and the front path.

Result

minutes

107

API requests

103

tool calls

125

objects

143

triangles

77,414

checks passed

11 / 11

• Physics simulation
• Animation
• Mobile game ad
• 1 message

• Hard parts
• All three buildings down
• Still for the last second
• Low tracking camera
• Tidy, named scene

A producer at a small studio that makes ads for mobile games wants an 8-second vertical hook: a giant bowling ball rolls down a bright toy-town street and knocks over three buildings of about 300 chunky blocks, filmed by a low camera that follows the ball. The blocks fall under real rigid-body physics: in the agent’s early runs the ball stalled against the cottage and then the tower, and loose blocks kept creeping and toppling until the last frame, but the brief needs everything still for the final second, where the end card comes in. The agent kept the ball on a guided path through all three buildings, slowed the last settling to a stop by frame 198 and baked the motion into keyframes.

The request, verbatim

… So I'm a producer at a small studio that makes short ads for mobile games and apps. One of our puzzle game clients has seen installs flatten out, so we're testing a few new hooks. The one everyone liked in the pitch is basically a giant bowling ball flattening a toy town, ha. What I'm picturing is about 8 seconds at 30 fps: a bright street with three buildings made of stacked toy blocks, roughly 300 blocks total, chunky and soft like plastic or clay toys. The ball rolls down the street and knocks all three over. By the last second everything has settled with nothing wobbling, because that's where our end card comes in. Camera low, down near the ball and following it, and vertical for phones. Sorry in advance, our editor is fussy, so a tidy, sensibly named scene would save me some grief.

From request to finished scene

1. Message 1, tool call 16 of 167

   

   The agent's viewport once the street is built: the red brick cottage, the blue-and-yellow tower and the town hall with its turrets, 292 blocks in all, before any physics runs.

2. Message 1, tool call 54 of 167

   

   An early camera move, checked as a 15-frame contact sheet from frame 1 to 240. The camera runs too close to the cottage: its bricks fly through the lens, and at frame 58 a red brick fills the whole picture.

3. Message 1, tool call 80 of 167

   

   Another 15-frame check from frame 1 to 240, after the agent measured how close every block comes to the camera, moved the roadside trees back to open a lane beside the street, re-ran the simulation and re-planned the camera move: no frame is blocked, and no block comes within 0.78 m of the camera.

4. Message 1, tool call 131 of 167

   

   Test renders of frames 1, 50, 96 and 240, after the agent toned down the ball's swirl and reworked its spin so that it rolls instead of skidding over the rubble and comes to rest with the finger holes toward the camera.

5. Message 1, tool call 151 of 167

   

   Full-resolution test render of frame 36: the cottage bursts apart around the ball, with motion blur and depth of field, while the tower and the town hall wait down the street.

6. Finished scene, frame 1

   

   The delivered scene through its camera: the ball rolls toward the red brick cottage.

7. Finished scene, frame 240

   

   The last frame: the ball rests on the rubble with its finger holes toward the camera, nothing has moved since frame 198, and open sky leaves room for the end card.

Result

minutes

94

API requests

157

tool calls

167

objects, 295 of them moving

364

frames at 30 fps

240

checks passed

5 / 5

• Mechanical
• Vehicle
• Hard-surface modeling
• Animation
• 1 message
• Attachments: 2 drawings, parts list

• Hard parts
• Sizes from two drawings
• 66 parts named as listed
• Seamless 3 s loop
• Parts clash as drawn

A volunteer at a heritage railway asks for a 3D model of a 0-4-0 side tank locomotive for a station display where visitors pick a part on screen and see its name. Side and front elevations (SVG and PNG) and a 33-line parts list come with the request: every visible part must be its own object named exactly as in the list, the engine 5.7 m over the buffers, with the wheels and rods turning once every 3 s in a seamless loop. The frames follow the agent from the drawings to the finished engine, including its overlays of both drawings on true-scale renders of the model. Reading the drawings and checking the motion, it found four places where parts pass through each other as drawn: it fixed two where the change cannot be seen in either drawing, and reported the other two in its hand-over note.

The request, verbatim

… I volunteer with a small heritage railway, and we're putting together an interactive display in the station shed about the little quarry engines that worked the line before the war. We'd like a 3D model of one of them, built from the attached drawings. The vector versions are loco_side.svg and loco_front.svg, with loco_side.png and loco_front.png in case those are easier to read, and parts.csv is the parts list. It's a 0-4-0 side tank, 5.7 m over the buffers. The idea is that visitors pick a part on screen and see what it's called. So every visible part needs to be its own separate piece, named exactly as in the parts list. Just the engine please, no track or scenery, because we have our own backdrop. We'd also like the wheels and coupling rods turning through one full revolution in 3 s, looping smoothly so it can run all day. Accuracy matters more than shine to us. A few of our members know these engines down to the last rivet and will spot anything wrong!

From the attached parts.csv (4 of 33 rows):

From request to finished scene

1. Attachment

   

   loco_side.png, the side elevation at 1:20 with its main parts labeled: 5700 mm over the buffers, 3100 mm to the cab roof, 1000 mm wheels on a 1950 mm wheelbase.

2. Attachment

   

   loco_front.png, the front elevation: 2000 mm wide on 762 mm gauge track, smokebox 940 mm across, buffers 1300 mm apart.

3. Message 1, tool call 27 of 54

   

   The first full build, already with all 66 parts, seen from the side, from a three-quarter view, from the front and from above.

4. Message 1, tool call 32 of 54

   

   The agent rendered the model side-on at the drawing's 1:20 scale and laid the side elevation over it: the drawn lines fall on the edges of every part, from buffers and wheels to chimney and cab.

5. Message 1, tool call 33 of 54

   

   The same check from the front: roof arch, round front windows, smokebox door, tanks, buffers and wheels all sit on the drawing's lines, with its part labels still in place.

6. Message 1, tool call 34 of 54

   

   Twelve frames from one wheel turn (frames 1 to 67 of the 72 that make 3 s at 24 fps): the coupling rod stays level while the connecting rod and crosshead follow the crank.

7. Message 1, tool call 41 of 54

   

   A trailing wheel up close: twelve spokes as the parts list asks, the balance weight opposite the crank, and the connecting rod on its crank pin.

8. Message 1, tool call 42 of 54

   

   Both sides with materials shown. The request named no colors, so the agent chose them: green body, black smokebox, red buffer beams, brass fittings.

9. Finished scene

   

   The finished engine in 66 separate parts, with no track or scenery, as the request asked.

Result

minutes

47

API requests

46

tool calls

54

separate parts (18 moving)

66

triangles

47,536

checks passed

12 / 12

• Product model
• Furniture
• Materials and variants
• 2 messages

• Hard parts
• Exact size: 1800 × 420 × 800 mm
• One switchable collection per finish
• Message 2: fourth finish, first three untouched
• No lights or backdrop

A small furniture brand moving its catalog into an online configurator needs its mid-century sideboard modeled at real size: a timber body on a metal frame with legs, 4 doors, 3 drawers and handles on all of them. Oak, walnut and black finishes each go in their own collection so the configurator can switch between them; every finish must measure exactly 1800 × 420 × 800 mm, and lights and backdrop stay out because the configurator supplies its own. The brief names only the frame for the black finish, not the body, and once the first three are approved a second message asks for a fourth with the frame in steel blue.

The request, verbatim

Message 1

Type of project: Product model, furniture, paid About us: Small furniture brand. We're moving our catalogue into an online configurator this autumn. Description: We need our mid-century sideboard modelled for the configurator. It's a timber body on a metal frame with legs, with 4 doors and 3 drawers and handles on all of them. Overall size is 1800 mm wide, 420 mm deep and 800 mm high. It comes in three finishes: oak, walnut, and a matte black powder-coated frame. Each finish has to sit in its own collection called Oak, Walnut and Black so the configurator can switch between them. No lights or backdrop needed because the configurator supplies its own. We just need the product at real size. Deadline: End of next month …

Message 2

Thanks, this looks good. Sales now want a fourth option: the frame in … steel blue. Can you add that and set it up the same way as the other three, in its own collection? "Steel Blue" works for us as the name.

From request to finished scene

1. Message 1, tool call 34 of 198

   

   The agent's first look at its build in the viewport, from the front, three-quarter, top and right: body, four doors, three drawers, bar handles, frame and splayed legs.

2. Message 1, tool call 88 of 198

   

   Test render of the Black collection: a black-stained timber body on the matte black frame. The brief names only the frame for black, so the agent flags this reading in its hand-over.

3. Message 1, tool call 101 of 198

   

   The walnut texture the agent painted in code, shown whole. The file packs it at 4096 × 2048, next to the oak and black-stained timber maps from the same script.

4. Message 1, tool call 105 of 198

   

   The Oak collection from the same camera as Black. The agent renders every finish from this view to compare them.

5. Message 1, tool call 107 of 198

   

   The Walnut collection from the same camera: the same 20 parts as Oak, with a walnut body.

6. Message 2, tool call 181 of 198

   

   The fourth finish from the second message, from the same camera: frame and legs in steel blue under the oak body, handles still matte black.

7. Message 2, tool call 182 of 198

   

   Close-up of a steel-blue leg where it meets the frame.

8. Message 2, tool call 183 of 198

   

   The same close-up of the Oak collection, rendered for comparison: its black frame and legs are as approved.

9. Finished scene, door and drawer open

   

   The delivered file, rendered with one door swung open and the middle drawer pulled out, using the hinge and slide-direction data the agent stored on each door and drawer. Inside is a shelf; below, the steel-blue frame.

Result

minutes

169

API requests

114

tool calls

198

finishes × parts (80 objects)

4 × 20

triangles per finish

6,072

checks passed

8 / 8

• Interior
• Scene assembly
• CV training scene
• 1 message

• Hard parts
• No person shapes, no screen content
• One object per item, 12 fixed classes
• Real size: 11 × 6 m hall
• Movable posts, belts follow

A four-person computer-vision team wants one realistic small post office for rendering the frames that train their queue-length estimator: an 11 × 6 m counter hall with a 2.8 m ceiling and a 3.5 × 2.5 m parcel-locker alcove. Every item has to be a separate object named by class and two-digit index (locker_bank_01), using only twelve given classes, and nothing person-shaped and nothing on any screen may appear anywhere, because either would poison the labels. The frames run from an early screenshot through the agent’s test renders of each zone, where it caught the entrance glass rendering black and fixed the cause, to the finished hall with 68 labeled objects.

The request, verbatim

We're a four-person CV team generating synthetic frames to train a queue-length estimator, and the next target domain is small post offices. We need one realistic interior: counter hall plus a self-service locker alcove. Target is end of the month. 1. Hall: 11 m x 6 m floor, 2.8 m ceiling. Main entrance on one of the 11 m walls, counter along the opposite one. 2. Alcove: 3.5 m x 2.5 m, open to the hall through a wide opening, same ceiling height. 3. Parcel lockers: 3 banks in the alcove with mixed compartment sizes. One bank has a small terminal. 4. Service counter with glazing above it, long enough for staff at several positions. 5. Queue: belt stanchions forming a lane with two switchbacks that ends at the counter. We will move these between variants, so each post stays a separate object. 6. Seating: 8 waiting seats. A mix of single chairs and linked rows is fine as long as each seat is its own object. 7. Writing desks (2-3) with a leaflet stand nearby, plus bins, plants, ceiling lights, wall displays, signs and doors. 8. Units: real metres everywhere, nothing scaled up or down. 9. Naming: one object per item, <class>_<nn> with a two-digit index. Classes are limited to locker_bank, counter, stanchion, waiting_seat, writing_desk, door, ceiling_light, wall_display, plant, leaflet_stand, bin, sign. One collection per class. Hard stop: no human figures, mannequins or silhouettes anywhere, and no screen showing anything. Locker terminal and wall displays are flat dark panels. Anything person-shaped or any text on a screen poisons our labels. Not in scope: animation, exterior, street facade.

From request to finished scene

1. Message 1, tool call 20 of 87

   

   The room shell with the counter, three locker banks and twelve queue posts in place, seen from above and from outside the entrance wall with the ceiling hidden. The counter runs along the wall opposite the entrance, and the alcove opens off the right-hand end of the hall.

2. Message 1, tool call 49 of 87

   

   Test render of the alcove: three locker banks with mixed compartment sizes, the middle one carrying the terminal, whose screen is a blank dark panel. The wall display on the left is blank too.

3. Message 1, tool call 50 of 87

   

   First test render of the entrance: the panes of the left sliding door, and part of the right one, come out black where daylight should show through. The agent renders the doorway again with the door hidden and shown to find out why.

4. Message 1, tool call 59 of 87

   

   The same view after the fix: the glass material also reflected on the inner face of each pane and trapped the light there, so the agent limited reflection to the front faces. The portrait display by the door stays blank, and the signs use only arrows and icons.

5. Message 1, tool call 66 of 87

   

   The counter seen from the hall: clear glazing with a speaking grille, a deal tray and a card terminal, and a wall display on the staff side that is a blank dark panel.

6. Message 1, tool call 68 of 87

   

   The waiting area: two linked rows of three seats and a single chair, each seat its own object, with a writing desk, a plant and another blank wall display.

7. Message 1, tool call 75 of 87

   

   Looking from the counter toward the entrance: the queue posts with their belts and arrow signs. Each post is a separate object, and the belts attached to it follow when it is moved.

8. Finished scene, top view

   

   The finished layout from above with the ceiling and lights hidden: counter and staff area along the top wall, entrance at the bottom, writing desks in the top-left corner, waiting seats along the left and bottom walls, and the locker alcove on the right.

9. Finished scene

   

   The finished hall through the camera saved in the file: the counter with four numbered positions, the queue posts, the locker alcove at the far end and waiting seats under the windows.

Result

minutes

55

API requests

60

tool calls

87

objects, 68 of them labeled

93

triangles

64,718

checks passed

12 / 12

• Optimization
• File cleanup
• Web 3D
• 1 message
• Attachment: .blend, 6.5 MB

• Hard parts
• Someone else's messy file
• Under 30,000 triangles, at most 12 materials
• Nothing rearranged, same camera view
• Nothing floating or doubled up

Someone has inherited a café props file from a freelancer who quit, and it is far too heavy for their web viewer. It has to come in under 30,000 triangles with at most 12 materials, get sensible lowercase names and lose anything floating or doubled up, while every prop stays its own object, nothing is rearranged and the picture from the existing camera stays the same. Inside, the agent found simple flat-sided shapes subdivided over and over, five objects with an exact copy stacked in the same spot, eight props hovering above their surfaces and 21 materials that were mostly near-identical copies.

The request, verbatim

inherited cafe_props.blend from a freelancer who bailed. way too heavy for our web viewer, need it under 30k tris total and max 12 materials. sensible lowercase names, nothing floating or doubled up. keep each prop its own object and don't rearrange anything, should look the same from the existing camera.

From request to finished scene

1. Attachment

   

   The supplied file through its existing camera: three tables with ten chairs, a counter, two plants, a floor lamp and a menu board. It holds 150,174 triangles and 21 materials in 6.5 MB.

2. Message 1, tool call 12 of 52

   

   A close look at the counter from the front and from a three-quarter view. The counter and espresso machine are simple flat-sided shapes yet carry 10,752 and 21,120 triangles, and the small grinder carries 43,008: half the file in three objects.

3. Message 1, tool call 20 of 52

   

   On the left table, the shaker on the left hovers 7 cm above the top; its shadow falls on the table some way from its base.

4. Message 1, tool call 26 of 52

   

   A test on the grinder: subdivision level 1 instead of 4 leaves 672 triangles, and the knob and body turn visibly faceted.

5. Message 1, tool call 28 of 52

   

   At level 2, 2,688 triangles, the grinder is smooth again. The agent kept this level, within 1 mm of the original shape.

6. Message 1, tool call 45 of 52

   

   The agent's difference image of two renders from the existing camera, before and after its changes. Red marks the pixels that changed, and they sit only on the props it set down and their shadows.

7. Message 1, tool call 50 of 52

   

   The same view of the left table afterwards: the shaker stands on the top, its shadow meeting its base.

8. Finished scene

   

   The returned file through the same camera: 8,006 triangles, 12 materials, 1.35 MB.

Result

minutes

17

API requests

41

tool calls

52

triangles

150,174 → 8,006

materials

21 → 12

checks passed

4 / 4

• Motion graphics
• Logo
• Animation
• 1 message
• Attachment: SVG logo

• Hard parts
• Built from the SVG's own shapes
• Seamless loop on repeat
• Exact hex brand colors

For a family bakery’s 25th anniversary, the request attaches the shop’s wheat logo as an SVG and asks for a big, chunky 3D badge, slowly spinning in a square frame, in two brand colors given as hex values, 6 seconds at 30 fps. The clip will play on repeat, also on the shop’s TV, so the loop has to be perfect. The agent builds the badge from the SVG’s own shapes, tunes the lights until the face-on render reads as the two hex values, and checks the seam on a low-resolution render of all 180 frames.

The request, verbatim

… I'm writing on behalf of my mum, who has run … for 25 years. For the anniversary we're redoing her socials and want the wheat logo (logo.svg) as a big chunky 3D badge, slowly spinning. The loop has to be perfect because it'll play on repeat, on the shop telly too. Square frame. Colours #6B4226 and #E9B949. 6 s at 30 fps please. I'll do the rendering and posting on my end. Hoping for it by the 20th. …

From request to finished scene

1. Attachment

   

   The logo file sent with the request (logo.svg), shown on white: a brown ring around a gold wheat ear made of a stalk and 11 grains. The ring is open in the middle.

2. Message 1, tool call 10 of 82

   

   The stalk and 11 grains, read straight from the SVG's paths and given thickness and rounded edges, seen head-on and from an angle. The agent zoomed in here to check that the grain tips stayed clean.

3. Message 1, tool call 13 of 82

   

   The wheat on the badge body: a disc with a recessed face and a raised rim sized to the logo's ring. The agent checked it from four sides in plain gray, then made it thicker, a fifth as thick as it is wide.

4. Message 1, tool call 17 of 82

   

   First look through the square camera, in the two brand colors on a flat gold background. The brown came out too light and the metal gold too dark, so the agent sampled pixels in its test renders and reworked the lights until the face-on brown and gold came within a few points of the hex values.

5. Message 1, tool call 27 of 82

   

   A turnaround of test renders at 0°, 20°, 40°, 60°, 80°, 100°, 140° and 180°. The gold went dull at 20° and 40° and a gray sheen washed over the face at 60°, so the agent added a bright ring of light around the scene for the gold to reflect, raised the rim lights and moved the camera closer.

6. Message 1, tool call 77 of 82

   

   The agent's seam check, built from its low-resolution render of all 180 frames. Top row: frames 43 to 47, where the badge passes edge-on; bottom row: frames 179, 180, 1, 2 and 3, across the point where the loop starts again.

7. Finished scene, frame 37

   

   72° into the turn, a fifth of the way around. Seen nearly side-on, the badge shows its thick polished edge and the raised wheat.

8. Finished scene, frame 73

   

   144° into the turn, the back of the badge faces the camera. The wheat is on both faces, so the logo reads from either side.

9. Finished scene, frame 180

   

   The last frame of the loop, 2° short of a full turn, so the step back to frame 1 is the same 2° as every other step.

Result

minutes

101

API requests

71

tool calls

82

frames (30 fps, 1080 × 1080)

180

triangles

104,864

checks passed

4 / 4

• Characters
• Rigging
• Animation
• Low-poly
• 1 message

• Hard parts
• Max 2,000 triangles each
• Six palette colors only
• Knees bend, no stretch
• Seamless 2 s idle

A four-person team making a cozy mountain-village building game asks for a goat and a goose in its storybook low-poly style: flat colors from a six-color palette, at most 2,000 triangles each, sized in meters, with the pivot on the ground between the feet. The hard part is the motion: each animal needs a rig whose legs bend at the knee instead of stretching, and a 2-second idle loop at 24 fps (breathing, a small head turn, a tail or wing twitch) that ends on the pose it started with. The frames show both models taking shape, a crouch test of the goat’s leg rig, the agent’s frame-by-frame checks of both idle loops, and the finished pair. The delivered goat has 30 bones and 1,228 triangles; the goose has 21 bones and 1,006.

The request, verbatim

… We are 4 people making …, a cosy mountain-village builder for PC, storybook style, low-poly and flat shaded. We add farm animals before our trailer and need two of them. Goat - mesh name 'Goat', max 2000 tris including horns. About 0.9 m tall at shoulder. Goose - mesh name 'Goose', max 2000 tris including beak. Colours: flat colours only, from our palette #F7F3E3, #D6CFB4, #A3A380, #6B705C, #CB997E, #3F4238. No textures. Scale in metres, pivot on ground between the feet, both facing same direction. Rig: simple one for each, legs, neck and head must move. Legs should bend on the knee, not stretch. Idle: one loop per animal, 2 s at 24 fps, first and last frame same pose. Breathing, small head turn, and tail twitch for goat, wing twitch for goose. No lighting, no camera needed. …

From request to finished scene

1. Message 1, tool call 13 of 85

   

   The goat from four sides: cream body, clay head and neck with a cream face stripe, sage horns, charcoal hooves. Every color comes from the six-color palette in the brief.

2. Message 1, tool call 19 of 85

   

   A test of the goat's leg rig, bones drawn over the mesh: with the body lowered 6 cm, the front knees bend forward, the hind hocks bend back and the hooves stay where they were. The small bones floating in front and behind are the knee targets.

3. Message 1, tool call 34 of 85

   

   The goose from four sides: cream body, sand wings, clay beak and feet, charcoal eyes.

4. Message 1, tool call 46 of 85

   

   Six frames of the goose's idle loop from the front (frames 0, 18, 29, 31, 34 and 37): the head turns to one side and back, and at frame 31 both wings lift away from the body.

5. Message 1, tool call 48 of 85

   

   Six frames of the goat's idle loop from behind (frames 0, 13, 20, 27, 29 and 31): the head turns to the side, and from frame 27 to 31 the tail flicks from side to side.

6. Message 1, tool call 78 of 85

   

   The agent's last look before the final save: both animals from four sides, facing the same way.

7. Finished scene

   

   The delivered file, goat and goose side by side: flat shaded, no textures.

Result

minutes

41

API requests

64

tool calls

85

triangles (goat + goose)

1,228 + 1,006

bones (goat + goose)

30 + 21

checks passed

12 / 12

• Game props
• Low-poly
• Real-time assets
• 8 props
• 1 message

• Hard parts
• At most 800 triangles each
• One UV map, pivot at the base
• 6 m quay tiles end to end
• Names exactly as listed

The developer of a cozy fishing-village builder game asks for eight quay props for a small modern harbor: a 6 m quay section that has to tile end to end, a bollard, crate stack, net drum, ladder, lamp post, fuel pump and harbor office. The kit goes straight into a game engine, so each prop gets at most 800 triangles, one UV map and a pivot at its base, and keeps the exact name from the list. The frames follow the agent as it inspects each prop from several sides, reworks details it is not happy with, and tests the fit with three quay sections end to end before laying out the finished row.

The request, verbatim

Quay props for my cosy fishing-village builder. Small modern harbour, stylised low-poly, going into a game engine. SM_Quay_6m (6 m edge section, should tile end to end) SM_Bollard SM_CrateStack SM_NetDrum SM_Ladder SM_LampPost SM_FuelPump SM_HarbourOffice Max 800 tris each, one UV map each, pivot at the base, laid out in a row. No lights or camera needed.

From request to finished scene

1. Message 1, tool call 8 of 55

   

   The 6 m quay section (250 triangles) in four views: granite coping blocks on a concrete wall, timber fenders, and darker wet and algae bands near the waterline. The agent finds the algae band too grassy and tones it down later.

2. Message 1, tool call 10 of 55

   

   The crate stack (608 triangles) in four views, one of them straight down: red and blue fish crates on a pallet, one holding ice and three fish. The agent finds the fish too faint and adds contrast.

3. Message 1, tool call 11 of 55

   

   The net drum (584 triangles): green net and orange floats on a teal drum, on a steel stand with a crank. The agent thinks the dark patches make the net look like a quilt and makes them lighter and fewer; because the ladder blocks one view, it then hides the other props for its close-ups.

4. Message 1, tool call 15 of 55

   

   First pass of the fuel pump (352 triangles): red and cream body, display, sign panel, nozzle and hose. The agent finds the hose loop thin and wobbly and makes it thicker and smoother.

5. Message 1, tool call 17 of 55

   

   The harbor office from four sides: blue cabin with a red door, white trim, flower box, stove pipe, flag and lifebuoy. At 699 triangles it is the heaviest prop in the kit.

6. Message 1, tool call 29 of 55

   

   Fit test with temporary copies: three quay sections end to end, two ladders against the wall, and two bollards, a lamp post, the net drum, crate stack and fuel pump on the deck. Coping joints and fenders stay evenly spaced across both seams; the agent deletes the copies afterwards.

7. Message 1, tool call 35 of 55

   

   After the rebuild: the fuel pump with its thicker, smoother hose, now 364 triangles. The agent rechecks each prop it changed in a close-up like this one.

8. Finished scene

   

   The finished kit in the viewport: all eight props in one row as asked, from the quay section to the harbor office, 3,621 triangles in total.

Result

minutes

39

API requests

38

tool calls

55

props (250–⁠699 triangles each)

8

triangles in total

3,621

checks passed

12 / 12

• 3D printing
• Parametric model
• Geometry Nodes
• 2 messages

• Hard parts
• Watertight, printable as is
• Millimeter units
• Size, dividers adjustable
• Message 2: print didn't fit the drawer

The request asks for a printable bin for a tool drawer: 42 mm grid, stacking lip, magnet holes in the base, two dividers. It must be one watertight solid modeled in millimeters, with width, depth, height and divider count left adjustable, so every size the settings produce has to print as well. The agent builds the bin as a Geometry Nodes generator; when the second message reports that the print is too tall for a drawer 58 mm high inside, it adds an overall-height setting that takes the bin from 60.4 to 56.0 mm, lip included.

The request, verbatim

Message 1

Reorganising a tool drawer, need bins for every compartment. Standard 42 mm grid, 7 mm height units, stacking lip on top, magnet holes in the base (6 mm). Start with 2x4 units, 8u tall, 2 dividers across the long side. Width, depth, height and divider count need to stay adjustable so I can make the other sizes myself. Modelled in mm, solid watertight mesh, printable as is.

Message 2

Printed it. Doesn't fit, drawer is only 58 mm tall inside. Same 2x4 with 2 dividers, just bring the overall height down, lip included, so it clears with 2 mm or so to spare.

From request to finished scene

1. Message 1, tool call 12 of 49

   

   First look at the bin (83.5 × 167.5 × 60.4 mm) in four views: three compartments and the stacking lip on top, eight feet with 32 magnet holes underneath.

2. Message 1, tool call 16 of 49

   

   Trying other settings: 3 × 2 units, 4 units tall, a divider added along the long side and magnets only at the outer corners give six compartments. Just before this, the agent built 14 combinations from 1 × 1 to 6 × 6 units, and each came out as a single watertight solid.

3. Message 1, tool call 18 of 49

   

   Close-ups of the default bin: the underside with its chamfered feet, the grooves between them and the magnet holes, and the inside of one compartment.

4. Message 1, tool call 20 of 49

   

   A close view at one corner of the rim. The camera is so close that it cuts through the walls, showing the stepped profile of the stacking lip in section on both of them.

5. Message 1, tool call 24 of 49

   

   Test render through the scene camera of the bin as handed over after the first message: 60.4 mm tall overall, lip included.

6. Finished scene

   

   The bin after the second message: 56.0 mm tall overall, lip included, 2 mm under the 58 mm drawer. Footprint, lip shape and feet are unchanged; the walls are 4.4 mm shorter.

Result

minutes

31

API requests

38

tool calls

49

final size, mm

83.5 × 167.5 × 56.0

triangles, one watertight mesh

7,540

checks passed

3 / 3