Repair wardrobe, setting and light on frames that are almost right. One change per job, 21 credits, originals preserved.
Per-job credit pricing is shown before you confirm. An edit produces a new piece; your original stays untouched in your account.
Pick an effect, upload your photo, and the built-in recipe does the rest. Same photo, far more reliable results.
You have been writing prompts by hand. Templates skip all of that — pick a card below, upload your photo, and get the same scene in one click.
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Every route has a frame that nearly made it. The pose holds, the light is true, and the outfit belongs to another pack entirely. The editor exists for those frames. State the change in plain words — wardrobe, setting, light, a single detail — and the frame is re-rendered with that change made and everything else left standing. Editing costs 21 credits a job, shown before you confirm, and the original is never touched: it stays in your account beside its repair, so the link back is never lost.
Think of an edit as maintenance on one span rather than a new crossing. That framing keeps the tool honest. The moment a frame needs a new pose, a new muse and a new setting, it is not asking for maintenance — it is asking to be generated again, and generation is both cheaper and cleaner for that job. The editor rewards restraint: the smaller the stated change, the more faithfully the rest of the frame survives it.
Strong bones, wrong details. A frame whose composition has failed costs more to repair than to remake, and pride is a poor reason to spend credits.
A single instruction keeps the rest of the frame still and the cost predictable. Three changes at once is not an edit; it is a regeneration wearing an edit’s price.
Original and repair rest side by side in your account. Ship the winner. The other costs nothing further and asks nothing of you.
The same pose dressed for three different packs. The fastest multiplication a catalogue knows.
Terrace to hotel suite to bare studio wall, without moving the muse or the light that holds her.
Dusk to dawn, flat to dramatic — a frame re-graded to sit quietly among the set it is joining.
“Change the violet teddy to a black lace bodysuit. Keep the pose, the hair and the light exactly as they are.”
The change is named, and everything else is explicitly protected. The words “keep exactly” are cheap insurance, and they work.
“Move the scene to the edge of an open-air hot-spring pool at night, steam rising, violet lantern light. The subject and her pose do not change.”
One environment, moved once. A new setting, a new outfit and a new pose in a single job is a new photograph, and should be briefed as one.
| Situation | The better move |
|---|---|
| Pose and light are right; details are wrong | Edit — it keeps the bones and costs less |
| The composition itself has missed | Remake the frame with a corrected brief |
| One keeper, three packs | Edit three times from the one keeper |
21 credits per job, shown before you confirm. Repairing a keeper is normally cheaper than remaking and re-judging a whole set. And the daily check-in’s 6 free credits go toward any balance, so small repairs stay within reach of the free route.
No. The repair is a new frame. The original rests untouched, and both remain yours.
One. Stacked changes unsettle the very parts you asked to keep, and the frame drifts off route.
Yes — your own photographs, under the same consent rules as every upload in the studio.
Narrow the instruction, and name what must stay identical. Vagueness is the usual cause of a drifting repair.
Drafts, edits, animation and finishing share one credit balance and one private library. Start with the piece you need today.
Open the generatorYour image is deleted after generation.
Browse filesFailed jobs are refunded automatically. Results land in My Collection.
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