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Nacho Valenz's avatar
Nacho Valenz
proPucón, Chile
Channel, shape, finish.
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Channel, shape, finish.
Cover image for Brand Identity and Website Design for firendev Video Studio
firendev: brand identity and website. firendev is a video studio, and the name carries the whole brand. Fire, for the spark that starts every piece. Firenze, for a craft measured with proportion and geometry. Develop, in its two senses: developing film and developing software. One line holds it together: developed like software, finished like film. Everything else grows from that. The spark is the dot of the i. The floor is the herringbone brick of Florence's Duomo. The mark is a camera frame waiting for its spark. I'd love your honest take on the mark and the hero. Full case study: https://contra.com/p/bWEMrvZW-firendev-brand-identity-and-website
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Cover image for firendev: Brand Identity and Website
firendev: Brand Identity and Website
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Cover image for THE GOOD STUFF A corporation owns
THE GOOD STUFF A corporation owns everyone's dreams. REM sells bootleg ones out of the lining of his coat, in a parking lot, in broad daylight, and nobody walking past even looks at him. Every episode is one sale. You're the customer. The whole thing is shot through your glasses, so you never see your face, and neither does he. The pilot has REM working outside a big-box store. You walk up, he clocks you immediately, and he starts running you through the latest shipment. Dreams, fresh in, one color at a time. Then you ask him for something stronger. He always has something stronger. He'll judge you for it, and he'll sell it to you anyway. Where it goes next: same lot, same coat, a new customer every episode. That's the format, and the format is the joke. Whatever you came looking for, REM has a color for it and a speech to go with it. "This is what you're looking for." He says it every time, and it's always true. The pilot cuts right there, with the iridescent one already sold and no idea what's inside it. A spicy dream, or one last dinner with your parents on a school night. You decide what counts as stronger. The next episode opens that dream. And that's where the series starts showing its hand: every customer asks for one thing, but what they walk away with says a lot more about them than it does about REM.
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Cover image for KITTY. The bronze Cat at The
KITTY. The bronze Cat at The Met (56.16.1, Ptolemaic Period, 332–30 BCE) is not a statue: it is a coffin for a cat mummy, a gift to the gods. KITTY builds the world around the object: the embalmer who made it, and the moment before the cat became sacred. It imagines that cat alive, in an embalmer's workshop, on a table shared with two more objects from the collection: a set of limestone canopic jars guarded by the four Sons of Horus (28.3.57a, b) and Duamutef, the jackal headed funerary figure (12.182.37a). Thirty nine seconds, four takes, graded like a 1940s three strip Technicolor print. Everything was built inside FLORA. The Met's Open Access photographs became character sheets and a set plate with Nano Banana Pro; the base stills were composed from them and graded with Seedream 5 Pro as a strict LUT, so no object changed its hue. Every take was written by Claude Opus 5 running as a text node on the canvas and animated by Seedance 2.5 with native audio, one take at a time. The score is a small Ptolemaic ensemble generated with Suno; edit and museum labels in ffmpeg. The canvas was driven from Claude Code through FLORA's MCP, and every frame was approved by a human before a single credit was spent. About the museum piece: Cat, Ptolemaic Period, 332–30 BCE. Bronze with lead, H. 27.4 cm. The Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1956 (56.16.1), Gallery 134. A receptacle for a cat mummy, one of the luxurious offerings buried in temple precincts, especially those of the goddess Bastet. The gold ring in her pierced ear is now missing; the incised collar carries a medallion in the shape of a protective eye. Original artworks at The Met (Open Access, Public Domain): Cat, 56.16.1: https://www.metmuseum.org/art/collection/search/544118 (https://www.metmuseum.org/art/collection/search/544118)Canopic jar with jackal head, 28.3.57a, b: https://www.metmuseum.org/art/collection/search/559934 (https://www.metmuseum.org/art/collection/search/559934)Funerary Figure of Duamutef, 12.182.37a: https://www.metmuseum.org/art/collection/search/551149
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