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 starting from your stills. One movement per clip; cost by duration and resolution, quoted before the job runs.
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 booking in the house, so it is arranged like one. The dependable order of an evening is stills first — a portrait that is already received, already judged — and then a single movement laid over it. For a scene that exists nowhere yet, a text brief can carry the same guest card your stills use, so the woman in motion is announced exactly as the woman in the portraits. Pricing follows duration and resolution, is calculated on the job itself, and is quoted in full before you confirm. A failed render refunds itself, like every failed job in this house, so a well-planned evening is never taxed by machinery.
Image-to-video inherits the character, the outfit and the room from its first frame. It is the cheapest consistency in the house, and the calmest way to open the screening.
A turn toward the window light. A slow walk across the terrace. One movement, camera held steady. Choreography smears across frames; a single gesture renders clean and loops gracefully.
Decide where the clip will be shown before it is rendered. A feed teaser and a store piece are seated differently, and rendering the maximum of everything is how budgets quietly double.
The strongest portrait 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 guest card as the stills beside them, so nothing feels cast twice.
“She turns slowly toward the tall window and lowers her eyes, hair settling over one shoulder, camera still.”
One movement for the subject, none for the camera. The first frame already arranged everything else, so the brief only directs the motion.
“Fictional 36-year-old woman, long copper-red waves pinned with a gold comb, emerald satin lingerie set, crossing a marble-floored hotel lobby toward camera under soft chandelier light, unhurried, cinematic.”
The guest card 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 motion |
| Resolution | Higher costs more | Render at the destination’s size; 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 quoted before you confirm it. Nothing is charged unseen, and a failed render refunds automatically.
Image-to-video for series work, because the first frame carries the guest card with it. Text-to-video suits standalone scenes and first experiments with a new character.
Yes, with two habits: start from series stills, and carry the guest card into text briefs word for word.
Usually too much is asked of one clip — 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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