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The house at 18:05, opened up, copper running from the battery to the rooms in use

00 / Duracell Energy · Concept · 2026

An immersive 3D
web experience.
Six days, one person,
sixteen dollars of AI.

A house modelled in Blender, finished frame by frame by an image model, moved by a video model, and played back in the browser against scroll position. Six hundred and forty-nine frames, and the viewer decides how fast the day runs. Five years ago I made the same argument for the same client as a rendered film on a fixed timeline, and that took a studio, a schedule and a budget. This does things that film could not do at all.

The short version

Twenty-eight seconds, if you have twenty-eight seconds.

A day at two and a half times speed, then the evening peak, the pull-out to the neighbourhood, the bunny, and the button. Cut from the page itself rather than rebuilt for it, which is why the motion is identical.

Everything below is the long version. Open the page itself Live · unlisted · scroll is the clock to run the day at your own pace.

01 / The remake

Scroll is the clock.

In 2021 I made Puredrive's savings film: one house, a clock running at twenty-four minutes a second, and a battery gauge in the corner. It answered the question the industry asks. It could not answer the one a homeowner actually has, which is what happens at six in the evening.

So the house never leaves the frame. The day changes around it, the numbers change with it, and the viewer decides how fast the day runs. Stop on the hour that matters and the day stops with you, which is the one thing a rendered film cannot do.

Six hundred and forty-nine frames play back against scroll position. Every number on screen, the clock, what the house is running on, the state of charge, is HTML read from that day's data rather than burnt into a frame.

The day film, thirty seconds. Midnight to midnight, played by scroll at thirty frames a second.

02 / The day

A real day, not an average one.

Sunday 6 September 2026, on London's real Octopus Agile prices and the real carbon intensity of the grid that day. Midday was cheap and clean, so the battery took it. At half past five the grid hit its dirtiest half-hour of the day, and the house stopped buying.

Grid carbon through the day, with the half-hours the house bought power marked in copper
Copper marks the half-hours the house bought power. Carbon: National Grid ESO. Prices: Octopus Agile, London. The household is modelled and labelled as such.
42 gCO₂ per kWh the house bought, averaged over the day
69 gthe grid's own average that day
133 gthe grid at 17:30, its dirtiest half-hour
0 kWhbought through the evening peak

03 / The peak

The peak. The house buys nothing.

At 18:05 the house turns to x-ray. The walls go, the copper stays, and you watch stored power run the rooms in use while the grid is at its most expensive and its most polluting. It is the whole argument for a home battery, and it is the part every film skips because it lasts about two hours of a twenty-four hour day.

17:00 to 19:00, held on 18:05. The x-ray is a Blender control render finished by an image model, moved by a video model.

04 / The flip

One house, then the street, then the grid.

The last thing I wrote about the 2021 job was that it had been my first piece of work on a distributed system, thousands of small nodes each generating and storing locally, worth far more together than apart, and that I had been drawing that diagram years before I could describe it.

This is that diagram, built. The camera cranes off the street, pulls out through cloud, and the copper you have been watching in one house is running down every street in the neighbourhood.

Puredrive's own words sit over that shot: their infrastructure point, that Britain's grid was built for a centralised system and not for millions of homes that generate electricity, and their long-term focus on decentralised, resilient energy.

Two Kling clips and a pull-out through cloud, with no cut in it. The house sits inside the neighbourhood at 13.9% of its width, placed by template match rather than by eye.

05 / The range

Then he arrives.

The bunny crosses once, too fast to see properly, and leaves a copper line that threads every product section from there to the Get a quote button: Dura16, Dura5, the Dura-i inverter where the line branches to sun, battery, home and car, the charger, and the app.

Duracell Energy's claims are their own, quoted from their product pages. 16.1 kWh and 8,000 cycles on the Dura16. One hour to fill or empty a Dura5. Sixty per cent to ninety per cent of a bill saved with Tariff Intelligence on a dynamic tariff.

The third of three directions we tried, the grid runner: a speck at the end of a wet street, then past the lens, and the kerb's copper line ignites behind him.
The Dura-i inverter with the copper line branching to sun, battery, home and car
The line reaches the inverter and branches.
The close: take more control, and drive your energy bills to zero, with the copper line landing in the button
And lands in the button.
The same models, filmed in a black studio: the Dura5 and the Dura-i at their datasheet sizes on a live line, then a second Dura5 drops in. Thirty seconds, rendered in Blender. A concept pitch, not commissioned by Duracell; the words on screen are our proposal.

06 / How it was made

A model first. Then the paint. Then the motion.

Nothing here was prompted into existence. The house is a real three-dimensional model, built to spec, and every frame of the film starts as a render of it. That order is the whole method: the render decides what is true, and the image model only decides what it looks like.

Given the same prompt and no control, four other image models produced a different house, a different camera or a different roof. The control is what makes six hundred and forty-nine frames one building.

The house as an untextured grey clay render, walls on, from the film's own camera
01 Build Blender. 952 meshes: the house, the rooms, the site, the car, the lighting rig and the camera path. Grey, because at this stage nothing is a look and everything is a measurement.
The same frame rendered in Cycles with the front wall removed and the rooms in use lit
02 Light and cut The same camera at 18:05, with the front wall taken off and only the rooms in use lit. Cycles, 1820 × 1136. This is the control.
The same frame after the image model painted the finish on the control
03 Finish Codex image_gen paints the look straight on to that control. The building cannot drift, because the geometry underneath it never moves.
The same grey model from the street, the film's opening angle
The same model from the road, the film's opening angle.
The same grey model from the garden, looking at the living room glass
And from the garden, at the living room glass. Nothing is generated at this stage, so the camera can go anywhere and the house stays the same house.
Four frames across the bunny clip, from a speck to rushing past the lens
04 Move Kling runs four seconds at a time between two finished stills it has already agreed with. Twenty-seven clips, each join measured against the frames either side. A bad join is a reshoot, and the takes that were thrown away are still on disk.

05 Play

The last step is the one that makes it a page rather than a film. Six hundred and forty-nine finished frames are decoded in the browser and played back against scroll position, and the clock, the tariff, the state of charge and what the house is running on are live text over the top, read from that day's data. Nothing is burnt in, so stopping the scroll stops the day.

What did what

Blender 5.2, CyclesThe model, the camera path, the lighting rig, the copper routes, and a control render behind every frame of the film
Codex image_genThe finish, painted on each control. Five image models were tried on one control and only this one kept the house, the camera and the light
Kling v3 ProMotion, four seconds at a time between two finished stills. Twenty-seven clips kept
VeoTwo tests, not used
HTML, CSS, JavaScriptThe page itself. The film plays by scroll; every number on screen is text, not a frame
Playwright, ChromeThe capture rig. Scroll is commanded per output frame at a fixed eased speed, so every take runs the film identically
ffmpegLossless masters first, then the copies that play
Octopus Agile, National Grid ESOThe day itself: London prices and grid carbon for Sunday 6 September 2026

07 / The visual language

The brand decided the look, not the other way round.

The palette is Duracell Energy's own, read out of the CSS on their live site rather than invented for this. Copper is the single accent and it is used as a fill, never as small text on white, where it falls to 2.3 to 1. Figtree stands in for Brown, which is theirs to licence and not mine to ship.

Two values are derived rather than found: a studio black and a control slate, for the dark sections their live site has no equivalent of. Everything else on every screen of this project, including the four pieces below, comes out of this row.

#232323 ink
#E39B65 copper, a fill
#EBECE9 mist
#FFFFFF paper
#0B0B0B studio black, derived
#172027 control slate, derived

Which is why it travels

One language, one set of masters, and four formats cut from the page rather than rebuilt for it.

A carousel slide at 1080 by 1350
Carousel Twelve slides at 1080 × 1350. Four of them are the page itself running at 4:5, not a screenshot on a colour.
A frame from the vertical reel
Reel Twenty-eight seconds at 1080 × 1920, carried by the flip and the bunny.
An A3 deck page
Deck Sixteen A3 pages, printed at 420 × 297 mm, two of them playing video in the browser.
The top of the email
Email The same story at 600px, on the mist rather than the black, because a dark email gets inverted.

08 / Before and after

The film I made in 2021, and this one, on one clock.

The new film was driven by the old film's clock, frame for frame, so the two run in step all day. It is the same house style, the same twenty-four hours, and five years of tooling in between.

2021 on the left, 2026 on the right. One day, run twice.

09 / What it cost

Sixteen dollars and seventy-three cents.

Six days, 11 to 17 September 2026. The stills were made on a subscription, so they cost time rather than money. The video did not.

$14.85video: 27 Kling clips, two Veo tests, one upscaler test
$1.88one control, five image models, to settle which one keeps the house
649frames in the film, every one played by scroll
6days, first line to a running page

10 / What this is

A concept, made without a brief.

Built to show what a home energy film can be now, on a real range, with real prices, in a browser.

It carries the Duracell Energy logo, their taglines and the bunny, because a concept that hedges on brand is not a concept. Every product claim on it is theirs, quoted from their own product pages, and the household is modelled and labelled as such.

It is unlisted and carries no index, like this write-up.

Open the page itself Live · unlisted · scroll is the clock Download the walkthrough 1920 × 1080 · 87 s · 21 MB The deck 16 A3 pages · PDF · 3.6 MB

The 2021 job is written up separately: Puredrive Energy, in-house design, 2021–22.

BlenderCodex image_genKling v3 Pro Scroll filmOctopus AgileNational Grid ESO