Ben 🤖

you can just make things

I have a @framer file where I prep cover images for updates. There's never been a linear process in making those, and with AI it got even more fluid. Sometimes the idea sparks from an AI generation, then I continue it in blender until it feels right. Other times it's the opposite.

A little behind the scenes from some of my favorite Framer teasers 🧵 From giant newspapers in open fields to vintage PCs running MPEG-1 videos, every teaser started with weird and abstract ideas that somehow turned into real world setups. For the Spring Event teaser, we literally printed a massive newspaper and carried it into the middle of nowhere because the concept only worked if it felt real. No CGI, no AI tricks, just paper, cameras, wind, and a very confused print shop. For the Design Pages event teaser, I tracked down a collector with stacks of old monitors and early 2000s PCs until we found the perfect Dell machine. To get the teaser running on it, I had to export @benfryc’s video in MPEG-1, the only format the computer could actually play. Even the merch teasers became full productions. Every little detail matters when the goal is to make something feel memorable instead of just another promo. Probably my favorite part of working on these is figuring out how to turn weird and abstract ideas into something physical and real. More soon 💙

its always babu frik and never ben fryc

above and beyond is how we do things @framer. for the 3rd part of this series, lets go outside the atmosphere and see how I made the earth and space scene for the enterprise ad spot. space is mostly empty. with this scene at its core is nested spheres repeated in a line and a simple camera move. the starfield behind the planets is a single plane that's large enough in the frame so that the stars move in a realistic way. the day/night side is achieved with a vertex map rigged to a linear field. the emission map on the material uses the vertex data to only show the night sky lights when the data tells it to. this allows for a realistic day / night setup. the earth itself is built using an interior sphere for the surface, a slightly offset sphere for the clouds just above the surface. and a redshift volume sphere for the atmospheric glow. the material uses 40k and 50k textures so everything looks very crisp in 4k. in the video here you can pause and see how the materials are constructed. since i didn't have a good roughness map for the earth textures, i made to create a pseudo-roughness map using a color-splitter node and some clever use of ramps / gradients to map the colors in a way that makes the oceans more reflective and the land masses less so. the cloud material uses a single texture for the opacity and displacement nodes. the final result is a realistic orbital view of the earth as the camera swoops around. please let me know what you think and if you have any comments. one more to go. thanks for watching!

Working on the 2025 @Framer Awards with @MonMichalczyk, @BenFryc, and @Emili_IV was a lot of fun and a big challenge. Altogether, we received 1,002 submissions across 5 categories: → 79 Animations → 134 Interactions → 239 Storytelling → 524 Visual Design 📈 → 26 Big Site

loved all my time spent in Destiny over the years. 🫡

framer.com is one @framer project: · 171 pages · 72 CMS collections · 7,292 CMS items · 24 design pages · 632 components

@JoshieBoBoshi @andybroncek @framer yo! i made these in c4d and redshift 🖖

@andybroncek @framer Good question for @benfryc

The canvas is about to change

hype

We heard your feedback on the Basic plan, so we've upgraded it. Same price, more room to build. Basic site plans are now upgraded: ⚡️ 50GB of bandwidth (up from 10GB) 🗄️ 2 CMS collections (up from 1)

The fear of looking cringe online stops more people from creating than lack of talent ever will. I started posting tutorials on @framer’s social accounts because I couldn’t stop thinking: “More people need to know this exists, and I genuinely believe this tool is awesome” Not in a tech-hype way, but because it gives people the ability to be creative, build amazing things in just a few clicks, and actually publish them online. That still feels magical to me. But posting videos online, came with a lot of fear. What if this is cringe? What if people judge it? What if nobody cares? And what’s funny is I’m usually not someone who loves talking in front of a camera. It’s never felt super natural to me. But for these videos, it feels different because I genuinely enjoy sharing something I’m excited about. And honestly, I still feel that sometimes. But I realized most people aren’t sitting there waiting to judge you. They’re looking for inspiration, clarity, someone to show them what’s possible, or simply the confidence to try something themselves. So I kept posting. At first, it was one video every two weeks. Then it became every week, recreating viral websites in Framer, showing how to build the Apple scroll effect in under a minute, testing ideas, and sharing what I learned. And slowly, people started enjoying the content. That’s when I realized you don’t need to be perfect to create something valuable, you just need to start. So if there’s something you’ve been wanting to make, post the video, publish the site, share the experiment. The internet rewards people who create more than people who stay silent.

@oykun over-cooked

designers are “double”-dead now, i guess.

I like knobs

A few months back I was losing my mind trying to figure out why the audio recording setup that had worked perfectly for me for YEARS was suddenly sounding like shit. I had never had a problem with my trusty Sennheiser MKE600, Mogami Gold XLR cable, and Audient ID4 recording interface. But I was hearing a distinct (albeit faint) high-pitched buzzing ever since we moved into our new office space. One of those sounds that’s subtle enough to question whether you’re imagining it, but once you hear it, you can’t unhear it. Think Nokia cellphone getting a call sitting next to your PC speakers in the early 2000’s. I spent a good chunk of time isolating variables. Power, cables, interfaces, positioning, grounding. At one point I was walking around the studio with an EMF meter convinced I was about to discover a government conspiracy hidden in the walls. The EMF meter ruled out the issue being as simple as electricity itself. The working theory became RF interference coming from a neighboring unit leased by Verizon that houses telecom equipment. That factor was suspicious enough that I ordered an RF spectrum analyzer and started looking into shielding options. There was a very real possibility this was heading toward full Chuck McGill territory. Then came the breakthrough. It turns out the real culprit was likely the microphone itself. The Sennheiser MKE 600 we were using appears to be fairly susceptible to RF interference in environments like this. I picked up a Sennheiser MKH 416 to test the theory. The difference was immediate. Completely clean signal. No studio exorcism required. Honestly one of the most satisfying fixes I’ve had in a while. The kind where you spend days chasing ghosts and then swap one piece of hardware and the entire problem disappears instantly. Unfortunately the MKE600 is a really good antenna but thank god for the MKH416. And guess who suggested making that mic switch from the VERY beginning… ChatGPT.

threading the needle