How this studio behaves, and why. Every rule described here is one the software actually enforces.
How much of the work the studio does before it asks you.
What the studio can and cannot spend without asking again.
A second opinion on the picture, before you spend on video.
What happens, and why the new prompt is usually the better shot.
Tight, natural and hero — and why the film may give time back.
When a join should be soft, and where the studio cuts.
Choosing a narrator by ear, and why the read varies.
Two frames make a real camera move; one makes a guess.
Drag it, paste it, or pick it out of your library.
One conversation, one button, a whole film — at any length.
Stills first, then video, then the cut. The order is the whole design.
The shortest path from nothing to a finished file.
Video is almost all of it. Stills are cheap. Voice and music are included.
The plan includes credits every month. Unused ones roll over while you stay subscribed.
Reverting to a version you already generated costs nothing.
Cartoon, cinematic, documentary — and one face that stays one face.
Off by default. One per-shot control with three answers: nobody speaks, seen speaking, or speaks and is heard.
It can settle cheaper. It cannot settle at a dearer rate.
Nothing spent deletes; money spent archives — or deletes its media, if you ask.
Free, and the only way your actual premises appear in the film.
It is the only reliable way to get the same room twice.
Describe them once, and only the shots they appear in are affected by a change.
References shape every still. For video they are an optional per-shot mode with a stated trade-off.
The model is always told to hold the camera still. Movement is added afterwards.
Eight seconds are generated and two or three are used. This chooses which.
Never how long one shot runs. This is the difference between a film and a slideshow.
A button in the cut editor writes the script over the shots you already have.
So it plays over the right picture, not near it.
One click fills them from the script; you choose burned-in, a caption file, or both.
Composed to your cut's own length, turned down under the voice, and measured.
Pick the platform when you plan; extra sizes are re-framed from the finished master.
Browse every still, clip and upload, and reuse any of it in a new project for free.
The finished master, the video alone, the voice alone, the music alone, and a captions file.
The card shows the provider's own words, and refusals never fix themselves by retrying.
A broken cut is stopped before it is rendered, not after.
The studio reads the page you link and tells you whether it actually says that.
A second opinion. It suggests; it never changes your cut.
The still has not been approved yet.
Every beat must be real video before a cut can be produced.
That is the design, not a fault.
Try the free fix first — it is often the whole problem.
Two different problems with two different fixes.
The provider limits how many videos can be made per day.
A person, a garment, the views you want — then a picture of that person wearing it.
The result is only as good as the two pictures it is made from.
Put the person in heels, sneakers, boots… instead of the shoes in their photo. Same price.
Put the person in a real-looking place, then make a short walk there. The picture costs what a view costs.
A Turn video becomes a 360° view you drag with the mouse or your finger. It is free.
A small price per view or place, a larger one per video — always on the button.
It shows how a garment looks on someone. It does not tell you what size to buy.
Permission, where the photo goes, and how to remove it.