WHERE TO? Did I wake up at the mall, or inside a dream of one? Either way, somebody left a key on my pillow, a bike under a cover started asking questions, and the only way to find out was to go. I tried to squeeze the whole idea, and the whole trip, into the time limit: a guy farming aura all the way down to CapCut World LA, through a bay, a side quest, a wardrobe change he never asked for, and a city that can’t decide whether it’s real or rendered. The credits ran out before the trip did. So the edit got creative: rescue cuts, two takes braided into one, and a render error that stayed in because it earned its place. Whether he lands in Los Angeles or in the dream of it, you’ll have to watch. Generated in CapCut Video Studio (Seedance 2.5, Seedream 5.0 Pro, Nano Banana Pro). #CapCutWorld #CapCutWorldLA #1000WaysToCCW @CapCut

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firendev: Brand Identity and Website

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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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Title: FOLLOWER OF FOLLOWER OF wakes a painting nobody signed. "Christ's Descent into Hell" (The Met, 26.244) is by an anonymous follower of Hieronymus Bosch, sold as a Bosch in Prague in 1926 and still unattributed. I chose it because I love Bosch, and because a painting by a follower asks the question the whole panel is about: who follows whom. For a hundred seconds the painting comes to life without ever leaving the surface of the paint. A lantern wakes it. Light breaks the gate of hell. Adam and Eve beg with empty hands, the saved climb the stairs, Saint Christopher slips away from the devil's army with the child on his shoulders, Judas will not let go of the bag, Sisyphus keeps climbing, and the ones who stay behind keep living by the giant head. The ending comes from the Met's own technical notes: the blue corner of the sky was painted over fire. The painter changed his mind. Every shot starts from a crop of the Met's open access image: no new figures, no new colors, only what the painter left. Each crop was upscaled with Magnific Precision Upscaler, animated with Kling 3.0 Pro, with prompts refined by Claude Opus 5 inside FLORA. The narration is Gemini TTS, the score is ElevenLabs Music: a sixteenth century Franco-Flemish consort reimagined for a painting of hell. The whole pipeline ran from Claude Code on the desktop through FLORA's MCP: the agent built the graph, ran the models and kept the production ledger, and every creative decision stayed with me. Structure, shot list and sound design follow a kishotenketsu: the turn is not a fight, it is a painter changing his mind. Christ's Descent into Hell, Follower of Hieronymus Bosch (Netherlandish, second quarter of the 16th century). Oil on two oak planks, 53.3 x 116.8 cm. The Met, Harris Brisbane Dick Fund, 1926 (26.244), on view in Gallery 613. A panoramic hell where Christ breaks the gate to free the just: Adam and Eve, Noah, Abraham, David and the patriarchs climb a ruined tower, Sisyphus heaves his stone up the rock on the right, and Judas is dragged back. Paint analysis shows the orange of the burning sky continuing under the blue in the upper left corner: more of the sky was originally on fire. Public Domain, Open Access. Original artwork (The Met, Open Access): https://www.metmuseum.org/art/collection/search/435725

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Nacho Valenz

Channel, shape, finish.