Text-to-video and image-to-video starting from your stills at Photos18Pro. One movement per clip; cost by duration and resolution, printed 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.
Motion is the most expensive work done at the print desk, and it is planned accordingly. The reliable order is stills first — a frame that is already hers and already judged — then one movement laid over it. For a scene that exists nowhere yet, a text brief can carry the same print card your stills use, so the woman in motion is the woman in the stills. Video pricing follows duration and resolution, is worked out on the job itself, and is printed in full before you confirm anything. A failed render refunds itself, like every failed job at Photos18Pro, so careful planning is never taxed by the machinery.
Image-to-video inherits the character, the outfit and the setting from its first frame. It is the cheapest consistency there is, and the calmest way to begin.
A turn toward the light. A slow walk across the room. One movement, camera held steady. Choreography smears across frames; a single gesture renders clean and loops gracefully.
Decide where the clip will live before it is rendered. A feed teaser and a store piece are judged differently, and rendering the maximum of everything is how budgets quietly double.
The strongest frame 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 print card as the stills beside them, so nothing feels cast twice.
“She turns slowly toward the 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 decided everything else, so the brief only directs the motion.
“Fictional adult woman, exactly as described on her print card, crossing the room toward camera under a single warm lamp, unhurried, cinematic.”
The print 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 size of the destination; upscale a winner later |
| Retries | Each render is a job | Correct the brief or the first frame before rendering again |
A clip leaves the character for predictable reasons: several movements asked of one take, a travelling camera, a crowded room, a first frame that was never judged. The pattern that holds is the opposite of all four — one movement, a steady camera, an uncluttered setting, and a first frame that already passed the five checks as a still. Motion multiplies whatever it is given; give it a decided frame and it multiplies decision, give it a vague one and it multiplies vagueness for the full duration.
By duration and resolution, calculated on the job and shown 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 print 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 print 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 setting 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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