Text-to-video and image-to-video that begin from your stills. One movement per clip; price by duration and resolution, shown before you confirm.
Video is priced by duration and resolution. The exact credit cost is calculated on the job and shown before you confirm; failed jobs refund automatically.
Pick an effect, upload your photo, and the built-in recipe does the rest. Same photo, far more reliable results.
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Video is the most expensive crossing in the studio, so it is planned like one. The dependable order is still first, motion second: a frame that already carries the muse, the outfit and the light, judged and approved at still prices, and only then a single movement laid across it. The alternative — a text brief carrying the same anchor brief as your stills — suits scenes that exist nowhere yet. Pricing follows duration and resolution, is calculated on the job, and is shown in full before you confirm. A failed render refunds itself.
What makes a clip belong to a series is rarely the motion itself. It is inheritance. An image-to-video clip inherits the woman from its first frame for free, which is why the strongest teasers in a catalogue usually began life as the strongest stills. Text-to-video has to earn that inheritance through wording, which is why the anchor brief travels into clip briefs unchanged, word for word, exactly as it travels into still prompts.
Image-to-video carries muse, outfit and setting in from the first frame. It is the cheapest consistency on the whole route, and the calmest to judge.
A turn toward the strait light. A slow walk along the deck. One movement, camera held steady. Choreography smears; a single gesture renders clean and loops gracefully.
Decide where the clip will live before it is rendered. A teaser and a store piece are different crossings, and rendering the maximum of everything is how budgets quietly double.
The strongest frame of the week, moving just enough to pull a viewer toward the full set behind it.
One clean repeating gesture that reads at thumbnail size and survives platform compression.
Longer takes briefed from the same anchor brief as the stills they sit beside, so nothing feels cast twice.
“She turns slowly toward the violet light over the water and lets the wrap slip from her shoulder, hair barely moving, camera still.”
One movement for the subject, none for the camera. The first frame already decided everything else, so the brief only directs motion.
“Fictional 33-year-old woman, long violet-black hair in a single rope braid, deep violet silk teddy, walking slowly along a bridge observation deck above a strait at dusk, island lights behind her, unhurried, cinematic.”
The anchor brief crosses into the clip unchanged, so the woman in motion is the woman in the stills.
| Lever | Effect on price | Practice |
|---|---|---|
| Duration | Longer costs more | A teaser rarely needs more than a few seconds |
| Resolution | Higher costs more | Render at the destination measure; upscale a winner later |
| Retries | Each render is a job | Fix the brief or the first frame before rendering again |
By duration and resolution, calculated on the job and shown in full before you confirm. Nothing is charged in the dark, and a failed render refunds automatically. There is no fixed per-clip number, because no two crossings are the same length.
Image-to-video for series work, because the first frame carries the muse across with it. Text-to-video suits standalone scenes and first experiments.
Yes, through two habits: begin from series stills, and carry the anchor brief into text briefs word for word.
Usually because too much was asked of it — several movements, a travelling camera, a crowded setting. One movement, a steady camera and open space is the pattern that holds.
No. Clips rest in your account until you publish or download them. Nothing is posted on your behalf.
Drafts, edits, animation and finishing share one credit balance and one private library. Start with the piece you need today.
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Browse filesFailed jobs are refunded automatically. Results land in My Collection.
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