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 open from your charted stills. One movement per clip; price 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 most expensive seat at the desk, so the desk charts it last and aims it carefully. The order that holds up is always the same: a still first — charted, judged, already approved — and then exactly one movement laid over it. For a scene that exists nowhere yet, a text brief carries the same chart card as your stills, so the woman in motion is the woman on the chart. Pricing follows duration and resolution, is calculated on the job itself, and is printed in full before you confirm. A failed render refunds itself automatically.
Image-to-video inherits the performer, the outfit and the room from the first frame. It is the cheapest consistency on the desk, and the calmest way to cast a clip.
A turn toward the light. A slow walk-in. A glance lowered. One movement for the subject and none for the camera — choreography smears, while a single gesture renders clean and loops gracefully.
Decide where the clip will live before it is rendered. A teaser and a store piece sit at different measures, and rendering everything at the top specification is how a budget quietly doubles.
The strongest frame of the week, animated just enough to pull a viewer toward the full set it fronts.
One clean gesture on repeat. It has to read at thumbnail size and survive whatever compression the platform applies.
Longer takes briefed from the same chart card as the stills beside them, so nothing in the catalogue feels cast twice.
“She turns slowly toward the spotlight and lowers her eyes, hair settling as she moves, camera held perfectly still.”
The first frame already settled casting, wardrobe and room, so the brief directs motion and nothing else. One instruction, cleanly rendered.
“Fictional 34-year-old woman, glossy chestnut hair in a side-swept finger-wave bob, black satin lace corset, crossing a spotlighted studio set toward camera, judging boards behind her, unhurried, cinematic.”
The chart card travels into the clip brief word for word. That is the entire trick behind a performer who matches herself across formats.
| Lever | Effect on price | Desk practice |
|---|---|---|
| Duration | Longer clips cost more | A teaser rarely earns more than a few seconds |
| Resolution | Higher measures cost more | Render at the destination’s measure; upscale a winner afterwards |
| Retries | Every render is a separate job | Correct the brief or the first frame before paying to render again |
By duration and resolution, calculated on the job and printed before you confirm it. Nothing is charged unseen, and a failed render refunds its credits automatically.
Image-to-video for series work, because the first frame carries your charted character with it. Text-to-video suits standalone scenes and first experiments.
Yes, with two habits: open from series stills wherever you can, and carry the chart card into text briefs word for word, exactly as written on the card.
Usually because too much was asked of them — several movements, a travelling camera, a crowded set. One movement, a still camera and an uncluttered room is the pattern that holds.
No. Clips rest in your account until you publish or download them. The desk never posts anything 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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