The headline card never moves — it's several wildly different 3D worlds cutting in and out behind it, one full scene swap per scroll segment, that does the selling, before the page settles into an ordinary project grid with real case-study photography.
A showreel with a scroll bar — an agency demonstrating range by refusing to stay in one rendered world for more than a screen's height, playful and slightly showoff-y, before getting serious in the actual portfolio.
Colors
Every scene owns its own fully saturated palette with no attempt to match the next one — warm sand and wood, then aqua blue with a candy-pink blob, then acid green wireframe on black, then indigo and cyan isometric blocks. The one constant is the black-on-white headline card, kept neutral so it reads against any of them.
Type
A bold condensed sans headline sits inside a solid black box like a caption slide. A small uppercase wordmark pins the top-left corner, plain nav links the top-right. Further down, a colored all-caps eyebrow label plus a plain grey body paragraph replace the black box entirely.
Layout
The headline card is fixed in the same screen position — left-aligned, mid-viewport — for the entire scene-cycling stretch, while a full-bleed 3D canvas behind it swaps completely on each scroll segment. A two-up split appears as the world sections resolve into project panels, then the page drops 3D altogether for a stacked grid of real photography.
Motion
Not a camera path — a cut. Scroll advances through discrete scenes and each transition swaps the entire 3D environment behind a card that never moves and barely changes text, the opposite move from a continuous fly-through. Partway through, the card's own copy changes once (the hero line becomes a short 'Our Work' statement) while the scene-cutting continues, then the mechanic retires entirely into a normal photographic grid.
Texture
Deliberately inconsistent on purpose — realistic sand and timber, a glossy liquid-metal blob and podium, neon wireframe glow, flat-shaded low-poly blocks. Each scene is rendered in whatever style suits it, because the inconsistency is the demo.
Imagery
Each scene needs its own concept still with a distinct palette and render style (sand/wood realism, glossy blob, neon wireframe, flat-shaded isometric), generated with kie-ai or nanobanana before build. Build the scenes as lightweight three.js / React Three Fiber environments or baked loops; the closing grid needs real project photography, not generated stand-ins.
Don't
Don't smooth these into one continuous camera journey the way Igloo or Emons do — the entire trick here is a hard-cut scene cycle behind a stationary card, and easing a camera between them collapses the 'look at everything we can build' effect into a single boring world. Also don't let the 3D cycling run forever; it has to hand off to real project photography or the showreel never closes the sale.
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