Text-to-video and image-to-video that begin from your filed 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.
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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Video is the most expensive drawer in the cabinet, so entries there are deliberate. The dependable order is the directory order: file the still first — on card, already judged — and then record one movement against it. For a scene that exists nowhere yet, a text brief carries the same character card as your stills, word for word. Pricing follows duration and resolution, is calculated on the job, and is printed in full before you confirm. A failed render refunds itself.
Image-to-video inherits the performer, the wardrobe and the room from the first frame. It is the cheapest consistency in the building, and the calmest to direct.
A turn toward the bar light. A slow step closer. One movement, camera held still. Choreography smears across frames; a single gesture renders clean and loops well.
Decide where the clip will live before it is rendered. A teaser and a store piece are different measures, and rendering the maximum of everything is how budgets quietly double.
The strongest filed frame of the week, given a few seconds of life to draw a viewer toward the full set.
One clean repeating gesture that reads at thumbnail size and survives a platform’s compression.
Longer takes briefed from the same card as the stills they sit beside, so nothing in the catalogue feels cast twice.
“She turns slowly toward the amber bar light and rests one hand on the brass rail, hair settling, camera still.”
One movement for the subject, none for the camera. The first frame already decided everything else, so the brief only directs the motion.
“Fictional 33-year-old woman, long dark hair in a sleek low ponytail tied with a black satin ribbon, burgundy satin-and-lace slip, crossing a dim private club lounge toward camera, low amber light, unhurried, cinematic.”
The character card travels into the clip brief unchanged, so the woman in motion is the woman on file 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’s measure; upscale a winner later |
| Retries | Each render is a job | Correct the brief or the first frame before rendering again |
By duration and resolution, calculated on the job and shown before you confirm. Nothing is charged in the dark, and a failed render refunds automatically.
Image-to-video for series work — the first frame carries the character card with it. Text-to-video is for standalone scenes and first experiments.
Yes, by two habits: begin from filed stills, and carry the character card into text briefs word for word.
Usually too much is asked of it — several movements, a moving camera, a crowded room. One movement, a still camera, an uncluttered space: that 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.
Open the generatorYour image is deleted after generation.
Browse filesFailed jobs are refunded automatically. Results land in My Collection.
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