Eine Vorführung reiner Rendering-Kraft: Fraktale, in die Sie hineinfliegen, eine Million Partikel, die zu einer Galaxie verwirbelt werden, Flüssigkeiten und Schleimpilz-Netzwerke, die sich selbst organisieren, prozedurale Planeten und pfadverfolgtes Licht — jedes davon live auf der GPU gelöst, Bild für Bild, mitten in der Seite.
A fullscreen WebGL2 fragment shader ray-marches a rising turbulent plume — domain-warped fBm density lit as blackbody emission near the hot base (deep red → orange → yellow → white) curling up into dark Beer-Lambert smoke on a black field.
A fullscreen fragment shader ray-marches an altitude slab of fBm-noise clouds with single-scattering, Beer–Lambert transmittance, a short sun-march for self-shadowing, and a Henyey–Greenstein phase that gives the sun-side a bright silver lining — all drifting on the wind over a graded blue sky.
A hydraulic-erosion solver runs entirely on the GPU: rain falls on an fBm-noise mountain, water flows downhill through a virtual-pipes grid, carves suspended sediment into branching drainage channels, and deposits it in valleys — all lit as a shaded 3D relief with translucent rivers and lakes.
A translucent jade-and-wax material studio: a custom shader fakes subsurface scattering so the object glows warmly where it is thin and back-lit — orbit it, push the translucency, and watch the light bleed through.
Sixty-five thousand Physarum agents crawl, sense and deposit into a 64³ trail volume on the GPU, self-organising into a glowing three-dimensional network of slime-mold veins — raymarched and slowly rotating against black.
A Gray-Scott reaction-diffusion system run on a full 64³ GPU volume — packed as an 8×8 atlas of z-slices, stepped in RGBA32F ping-pong, then raymarched as a slowly turning cube so Turing coral and mitosis blobs emerge in true depth.
A physically-based material showroom — drive metalness, roughness, clearcoat, transmission, sheen and IOR on a showcase mesh lit by a real reflected environment, and watch the surface go from brushed steel to lacquered car paint to clear glass in real time. Drag to orbit; metals genuinely mirror the room around them.
A progressive WebGL2 Monte-Carlo path tracer for a Cornell-box room — analytic ray-sphere/plane intersection, an emissive ceiling light, and diffuse, rough-metal, and glass spheres. Radiance accumulates into a float texture so soft shadows and colour bleeding converge from grain to clean within a second.
A WebGL2 GPGPU particle storm: up to a million points advected by an analytic curl-noise flow field, ping-ponged through RGBA32F position textures and drawn as additive glowing dots — a swirling galaxy of smoke that flows and reseeds in real time.
A furry sphere whose tens of thousands of fur strands grow from a Fibonacci-distributed root field and sway in an animated wind — bent by gravity, curl, and stiffness, all on the GPU.
A GPU murmuration of tens of thousands of birds — positions and velocities live in RGBA32F ping-pong textures, swept by a shared curl-noise wind field, a wandering attractor, and a darting predator so a starling-like flock folds, sweeps and reforms in soft additive trails.
A fullscreen WebGL2 fragment shader ray-marches volumetric aurora curtains over a night sky — thin emissive sheets that ripple and braid along a folded noise field, glowing green at low altitude and shading to magenta near the crown, flickering and drifting above a hash-sprinkled starfield.
Fly toward an Ellis–Morris-Thorne wormhole as a fragment shader integrates each photon through the curved throat — a lensed circular portal that warps two whole universes, one warm and one cool, into a single sky.
A fullscreen fragment shader ray-marches an endless signed-distance landscape — fBm noise terrain with atmospheric sky, soft shadows, and fog — that the camera flies through forever, morphing floating SDF columns in and out as you fly.
Ray-march a 4D quaternion Julia set sliced into 3D — the iteration q → q² + c sculpted into a gold-and-violet jewel that morphs as you push the fourth dimension through it, lit by soft shadows and ambient occlusion.
A volumetric plasma globe on the GPU — branching filaments of glowing gas writhe from a central electrode to the glass, flicker, and bend toward your pointer like a finger on the sphere.
A real-time spectral Gerstner ocean — rolling swell, choppy wind waves, foam-capped crests, sky reflection, and a sun glitter path to the horizon, all raymarched on the GPU.
A WebGL2 fragment shader runs Newton's method on a complex polynomial per pixel, coloring each by which root it converges to — the famous interweaving basins of attraction with their delicate fractal boundaries — then lets you warp them with a complex relaxation factor and zoom into the self-similar seams.
A fullscreen fragment shader raymarches a living cloud of fractal gas — drifting, domain-warped fBm lit by internal scattering and a glowing core — so the camera floats forever through a self-forging volumetric nebula painted across a deep cosmic palette.
A molten blob of orbiting spheres melted together by a smooth-minimum distance field — a fullscreen ray marcher sphere-traces the SDF, shades it as chrome, iridescent goo, glass or lava, and lets the droplets merge and split into ever-shifting mercury topology as you drag to orbit the camera.
An endless dive into a 3D Menger sponge — a fullscreen ray marcher folds an iterated box fractal in real time, lit by SDF soft shadows and ambient occlusion, with orbit-trap glow, drifting fog, and morph knobs for iterations, scale and fold that reshape the infinite cavern as you fall through it.
Watch a triangle mesh get carved out of a 3D scalar field in real time — a handful of drifting metaball sources sum into a potential, and the classic 256-case marching-cubes algorithm extracts the f = isolevel isosurface every frame, fusing and splitting into one molten organic blob you can orbit; flip on the wireframe to see the raw triangles, and crank the grid from blocky to silk-smooth.
A WebGL2 fragment shader iterates z = z² + c per pixel with smooth continuous coloring, then lets you click-to-dive, scroll, and pan through the Mandelbrot set — or sit back as it auto-zooms forever into a glowing seahorse valley.
A real-time dive into the limit set of a Kleinian group — a fullscreen ray marcher folds and inverts space through tangent spheres to grow an infinite froth of nested glowing bubbles, lit by SDF soft shadows and ambient occlusion with iridescent orbit-trap colour, and breathes as the fold parameter c slowly morphs the foam.
A real-time Eulerian fluid solver living entirely on the GPU — drag to stir glowing dye through swirling, curling currents as ping-pong float textures advect velocity, project out divergence, and confine vorticity sixty times a second.
Half a million GPU stars wound into logarithmic spiral arms — hot blue-white youngsters tracing the arms, a warm amber bulge blazing at the core, dust lanes shadowing between, all drifting in differential rotation you can orbit and fly around like a god looking down on the Milky Way.
Ray-trace a faceted gem on the GPU — light bends entering the crystal, bounces by total internal reflection, and splits into rainbow fire as red, green and blue refract at slightly different indices.
The shimmering net of light on a pool floor, solved live: sunlight refracts through an animated water surface of summed Gerstner waves, and a per-pixel ray Jacobian focuses neighbouring rays into the bright, restless caustic web — with godray shafts and a wavy surface tint over a tinted floor.
Ray-trace light bending around a Schwarzschild black hole — a Doppler-beamed accretion disk, a bright photon ring, and a gravitationally lensed starfield, all on the GPU.
A ray-marched 3D Apollonian gasket — the famous self-similar packing of ever-smaller spheres, rendered as an infinitely nested bubble structure via a folding distance estimator, glowing with orbit-trap iridescence; orbit the camera, breathe the packing density, and watch the gasket pack space forever.
Ein Tesserakt, der sich durch die vierte Dimension dreht. Zwei unabhängige 4D-Rotationsebenen lassen den Hyperwürfel rotieren, dann wirft eine Perspektivprojektion seinen Schatten in den 3D-Raum — die Kanten sind nach ihrer Tiefe in w eingefärbt.
Ein Mandelbulb in Echtzeit per Ray Marching — das 3D-Fraktal, in jedem Bild durch Distanzschätzung gelöst. Umkreisen Sie es, zoomen Sie in die Oberflächendetails und verändern Sie seinen Potenz-Exponenten live.