Petals

Petals AI

Petals AI

Petals AI

Petals AI

Petals AI

Petals AI

Petals AI

Petals AI

Petals AI

Petals AI

Spent an evening making a launch video with Claude + Blender MCP

Solo dev working on a habit tracker app (Spira — habits become flowers that bloom over time). Needed a 10s vertical video for App Store / TikTok and didn't have a week to spend on it. Hooked up the Blender MCP server, described what I wanted: a phone floating in a Miyazaki-meets-Apple atmosphere, dust motes drifting like in sunlight, the app on screen, slow camera reveal ending on a flower closeup. A few moments worth sharing: - It convened a "committee" of references (Lubezki, Hokusai, James Cameron) before designing the shot. Felt overengineered until I saw the output. - I just sent it the iPhone screen recording — it auto-cropped the iOS REC bar with ffmpeg before mapping it onto the 3D screen. - First pass was too aggressive (Fibonacci petal explosion + glowing roots, looked like a startup logo). Told it "make it gentler, like a Miyazaki dream" — got the version below. Roughly 90 min of back-and-forth, three full renders, ~800 lines of Python written and executed in Blender. Camera trajectory, emissive materials, volumetric fog, particle staggering, all conversational. Final video attached. submitted by /u/Positive_Camel2086 [link] [comments]

Claude is surprisingly good at critiquing photographs

I'm an enthusiast photographer, and out of curiosity showed some of my photographs to Opus 4.7 to see what it would say. And I was genuinely surprised by how good its critique was - it showed genuine insight, a strong aesthetic sense, and delivered pointed criticism where warranted. Some selected excerpts: "The cheetah and the elephant I'd put in a middle tier for me. Both are well-made — the cheetah's isolation in that sea of grass with the negative space above is working the 'small subject, big environment' thing that safari photography often overreaches on, and you didn't overreach. But they're more conventional than the heron or the alligator, in the sense that the compositional choices are ones I've seen a lot of good wildlife photographers make. They're competent versions of a recognizable genre. The elephant in particular leans on the black-and-white conversion to do some of the emotional lifting that the composition alone might not carry — it's a frontal, symmetrical portrait, and those tend to live or die on the subject's presence, which in this case is substantial but not extraordinary." "The foggy tree at night is the one I'd probably be most drawn to hang on a wall. It's doing something compositionally harder than the others — it's a photograph about atmosphere and negative space more than subject. The lamp is almost too bright, threatening to blow out, but it anchors the left side against the mass of the tree. The mailbox in the middle distance is a small decision that pays off; it gives scale and a hint of domestic life in what would otherwise be a pure mood piece. Feels like a place more than a picture of a place." "The macro work is technically impressive — the beetle in particular has razor-sharp focus on the eye and compound structure — but I find macro harder to respond to aesthetically. A lot of macro photography ends up being about the revelation of detail rather than about composition or mood, and once you've seen that a ladybug has water droplets on it, the image has delivered most of what it has to give. The red flowers image is the one that does something beyond pure detail for me — the dark, moody processing and the way the petals curl against the deep green ground gives it an almost Dutch-still-life quality." "The parrots and eagle are portraiture that I find less interesting than the alligator, even though the parrots are technically more demanding (getting feather detail across that dynamic range is hard). They feel more like specimen photographs — here is what this bird looks like, rendered beautifully. The close crop on the second parrot with the eye tucked into the feathers is more interesting than the first, because it's playing with concealment rather than just showing." "The moss macro is more interesting to me than most of the macro work you've shown. The reason is that it's doing something compositional with the shallow depth of field rather than just using it to isolate a subject. The diagonal from lower-left to upper-right, the repetition of those thin stalks at different focus distances, the way the color palette slides from green through orange to the cool blue-gray background — this feels more like a painting than a documentation. The slight lens aberration or softness isn't a flaw here; it's doing work. This is the kind of image where macro stops being 'look at the detail' and becomes something more abstract." "The hotel facade is the surprise of the set. I wasn't expecting an architectural abstraction and it's working for reasons that aren't obvious at first. The grid is almost perfect but not quite — the variation in chair placement across balconies gives it a found-quality, like a chart where each data point is a slightly different choice by whoever was staying there. The color blocks (magenta, green, teal) are doing some Mondrian-adjacent work but tempered by the repetition of the white railings and tan decking. I'd probably crop it slightly tighter to remove those lamp posts at the bottom, which feel like intrusions from a different image, but the core idea is strong. This is street photography without people, and the absence of people is kind of the point." Now, I don't necessarily agree with everything Claude's saying here - I happen to like bird portraits and technically challenging macro work! - but I found its opinions interesting and well-reasoned, and can't say that I think it's wrong about anything it said here. The two macro photographs it liked the most were genuinely much more artistic than the "here's a super sharp closeup of a cool looking bug", and it's entirely fair for it to have that preference. At the very least, I found its feedback interesting enough that I'm going to continue to show it my photos and see what it says. submitted by /u/LookIPickedAUsername [link] [comments]

I made a Manga for my daughters while experimenting with Images2, wow am I impressed.

In experimenting with Images 2, I resolved to make a Manga for my two daughters that enjoy them. I know nothing about manga, but I know that Japanese storytelling usually involves a bittersweet theme, tragedy mixed with hope. I started with a rather unique kokeshi doll I received as a gift a few months ago. The name of the doll is こぼれ花 (“scattered blossoms” / “fallen petals”) it was created by a master Kokeshi maker named Sekiguchi Sansaku. I asked GPT to imagine what the girl in the Kokeshi doll would look like as a real person. From there I simply story boarded page by page to create a 20 page manga story based on that character. This was all just an experiment to try out Images 2, wow am I impressed. It took direction very well and let me include small details and storytelling that was much more subtle in each frame than I thought possible. I thought someone might enjoy this, so I'm posting it here. submitted by /u/S-Plantagenet [link] [comments]

Why can't AI graphic do plants correctly?

A frequent frustration of mine is the inability of AI graphics to get plants right. OK, I only use free ones: Night Cafe, Bing Image Create, Ideogram and Leonardo. I'm a science fiction writer and wanted a promotional picture of a robe worn by one of my characters (in Tales of Midbar: Poisoned Well, which can be found on Inkitt. This is meant to use the secret language of flowers to send a message. The prompt was: Design for a cloak. In the center is a Titan arum inflorescence and below that a rafflesia flower. The rest of the cloak is covered in stapeliad flowers. This is the result from Night Cafe. Cloak drawn by Night Cafe It got the Titan arum about right. Rafflesia flowers should have 5 petals and no leaves (it's a parasite and all you can see is the flower). There are stapeliad stems (which I didn't ask for) but the stapeliad flowers (should have 5 petals and look rather like starfish) aren't right at all. The other AI's didn't work well either. submitted by /u/RichardPearman [link] [comments]

[P] A new open source MLP symbolic distillation and analysis tool Project

[P] Hey folks! I built a tool that turns neural networks into readable math formulas - SDHCE I've been working on a small project called SDHCE (Symbolic Distillation via Hierarchical Concept Extraction) and wanted to share it here. The core idea: after you train a neural network, SDHCE extracts a human-readable concept hierarchy directly from the weights - no extra data needed. It then checks whether that hierarchy alone can reproduce the network's predictions. If it can, you get a compact symbolic formula at the end that you could implement by hand and throw the network away. The naming works through "concept arithmetic" - instead of just concatenating layer names, it traces every path back to the raw input features, sums the signed contributions, and cancels out opposing signals. So if two paths pull petal_length in opposite directions, it just disappears from the name rather than cluttering it. It also handles arbitrary interval granularity (low/mid/high, or finer splits like low/mid_low/mid/mid_high/high) without you having to manually name anything. Tested on Iris so far - the 4-layer network distilled down to exactly 2 concepts that fully reproduced all predictions. The formula fits in a text file. Code + analyses here: https://github.com/MateKobiashvili/SDHCE-and-analyses/graphs/traffic Feedback welcome - especially on whether the concept naming holds up on messier datasets. TL;DR: Tool that extracts a readable symbolic formula from a trained neural net, verifies it reproduces the network exactly, and lets you delete the model and keep just the formula. submitted by /u/stron44 [link] [comments]