18+ only · Fictional adult characters · A private, account-based studio
18+ only · Fictional adult characters · A private, account-based studio
Text-to-video and image-to-video that begin from your stills. One movement per clip; price by duration and resolution, read out 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 studio, so it is surveyed rather than scattered. The reliable order of work: a still first — on character, already judged against the baseline — and then one movement laid across it. Or, for a scene that exists nowhere yet, a text brief carrying the same baseline description as your stills, word for word. Pricing follows duration and resolution, is calculated on the job itself, and is read out in full before you confirm. A failed render refunds itself.
Think of every clip as a short traverse between two fixed points: the frame it starts from and the frame it must arrive at. Everything between those points is interpolation, and interpolation stays honest when the endpoints are honest. That is why the still matters more than the motion line, and why a clip briefed from a stranger still will never sit comfortably inside your series.
Image-to-video inherits the woman, the dress and the room from its first frame. It is the cheapest consistency available, and the calmest to judge.
A turn toward the light. A slow walk-in. One movement, camera held steady. Choreography smears; a single gesture renders clean and loops well.
Decide where the clip will live before rendering it. A teaser and a store piece are different measures, and rendering the maximum of everything is how budgets quietly double.
The strongest frame of the week, given a few seconds of life, drawing a viewer toward the full set.
One clean repeating gesture. It has to read at thumbnail size and survive a platform’s compression intact.
Longer takes, briefed from the same baseline as the stills filed beside them, so nothing feels cast twice.
“She turns slowly toward the window light and lowers her eyes, hair shifting a little, camera still.”
One movement for the subject, none for the camera. The first frame already fixed everything else, so the brief only directs motion.
“Fictional 34-year-old woman, long dark-brown hair in a halo crown braid, ivory satin lingerie, crossing a bright survey studio toward camera, contour maps on the wall behind her, cold daylight, unhurried, cinematic.”
The baseline travels into the clip brief 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’s measure; enlarge 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 read out 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 with it. Text-to-video suits standalone scenes and first experiments.
Yes, by two habits: begin from series stills, and carry the baseline description into text briefs word for word.
Usually too much is asked of it — several movements, a travelling camera, a crowded room. One movement, a still camera, open 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.
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