Text-to-video and image-to-video starting from your stills. One movement per clip; cost by duration and resolution, printed 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.
Video is the longest and costliest entry in any log here, so it is planned like one. The dependable order of work is stills first — a frame that is already on character and already judged — and then a single movement laid over it. For a scene that exists nowhere yet, a text brief can carry the same log header your stills use, so the woman in motion is recognisably the woman in the record. Pricing follows duration and resolution, is calculated on the job itself, and is printed in full before you confirm. A failed render refunds itself, like every failed job in this studio. Every finished clip is then entered under the same date and the same log header as the still it came from, so the record never splits into two stories.
Image-to-video inherits the character, the outfit and the room from its first frame. It is the cheapest consistency in the whole logbook, and the calmest way to work.
A turn toward the reading light. A slow walk between the shelves. One movement, camera held steady. Choreography smears across frames; a single gesture renders clean and loops gracefully.
Decide where the clip will live before it is rendered. A feed teaser and a store piece are different entries, and rendering the maximum of everything is how budgets quietly double.
The strongest 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 platform compression.
Longer takes briefed from the same log header as the stills beside them, so nothing feels cast twice.
“She turns slowly toward the bookshelf ladder and looks back over her shoulder, hair swaying a little with the turn, camera still.”
One movement for the character, none for the camera. The first frame already decided everything else, so the brief only directs the motion.
“Fictional 32-year-old woman, long dark-chocolate hair in a high half-up ponytail, electric-blue satin camisole set, crossing a lamplit private library toward camera, unhurried, cinematic.”
The log header travels into the clip brief word for word, so the woman in motion is the woman in the stills.
| Lever | Effect on cost | Practice |
|---|---|---|
| Duration | Longer costs more | A teaser rarely needs more than a few seconds of footage |
| 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 it. Nothing is charged in the dark, and a failed render refunds automatically.
Image-to-video for series work, because the first frame carries the character with it. Text-to-video suits standalone scenes and first experiments with a new log header.
Yes, with two habits: start from series stills, and carry the log header into text briefs word for word.
Usually too much is asked of one entry — several movements, a travelling camera, a crowded room. One movement, a steady camera and an uncluttered 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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