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.
Video is the expensive end of the garden, so it is aimed the way water is aimed — deliberately, and only where it will do some good. The dependable order is this: a still first, grown from the cultivar sheet and already judged, and then a single movement laid over it. For a scene that exists nowhere yet, a text brief carrying the same sheet word for word does the same job. Pricing follows duration and resolution, is calculated on the job itself, and is shown in full before you confirm anything. A failed render refunds itself.
Discipline matters more here than anywhere else in the studio, because every second of footage multiplies every small mistake. A still forgives a crowded background; a clip walks the viewer through it. A still forgives an ambiguous gesture; a clip has to perform it. That is why the workflow below treats the still as the decision and the clip as merely its animation — the woman, the wardrobe and the setting are all settled before a single video credit is discussed, and the brief that remains is only ever about movement.
Image-to-video inherits the woman, the dress and the room from its first frame. It is the cheapest consistency in the studio, and by far the calmest way to work.
A slow turn toward the light. A walk between the planters. One movement, camera held steady. Choreography smears across frames; a single gesture renders cleanly and loops gracefully.
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 a budget quietly doubles.
The strongest frame of the week, given a few seconds of life to draw a viewer toward the full set behind it.
One clean repeating gesture that reads at thumbnail size and survives a platform squeeze without falling apart.
Longer takes briefed from the same cultivar sheet as the stills they sit beside, so nothing in the catalogue feels cast twice.
“She turns slowly toward the conservatory glass and lowers her eyes, one loose wave stirring, camera completely still.”
One movement for the subject and none for the camera. The first frame already decided everything else, so the brief is purely a direction for motion.
“Fictional 34-year-old woman, long chestnut-brown barrel waves swept to one side, deep magenta Vanda orchid at her right ear, champagne-gold robe, crossing a rooftop sky garden between planters at dusk, unhurried, cinematic.”
The cultivar sheet travels into the clip brief unchanged, so the woman in motion is the same woman who fills the still album.
| Lever | Effect on price | Practice |
|---|---|---|
| Duration | Longer costs more | A teaser rarely needs more than a few seconds to do its work |
| Resolution | Higher costs more | Render at the measure of the destination; upscale a winner afterwards |
| Retries | Every 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 ever charged in the dark, and a failed render refunds its credits automatically.
Image-to-video for album work, because the first frame carries the character with it. Text-to-video suits standalone scenes and first experiments.
Yes, through two habits: begin from album stills, and carry the cultivar sheet into text briefs word for word, exactly as written.
Usually because too much is asked of it — several movements, a travelling camera, a crowded room. One movement, a steady camera and open space is the pattern that holds.
No. Clips rest inside your account until you publish or download them. Nothing is ever 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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