One still photograph goes in and eight seconds of video come out, at thirty frames a second. The scene is generated, not found: nothing in the clip happened, and the only thing carried over from your picture is the person.
Making a body move is the easy half. Keeping one face recognisably the same face across two hundred and forty frames is the half that separates a clip worth keeping from the drifting, melting impressions most tools produce after the first second.
That is why a clip costs more than a still and takes minutes rather than seconds, and why the source photograph matters even more here: a small or blurred face gives the model too little to hold on to, and it will wander.
Each video mode is a scene with its own movement. Some run eight seconds, a few run longer and are built from two renders joined into one continuous clip. The catalogue shows what each one does with a real example rather than a stock image.
Frame rate and quality are set before you press Generate, and the price moves with them. The sheet shows the cost of the exact combination you picked before anything is charged.
Use a photograph where the face is large, sharp and lit from the front, and where the body is unobstructed. Crop to one person. Avoid heavy makeup shadows and sunglasses, which the model reads as facial structure and then animates.
If a clip drifts, the fix is the source picture rather than a second attempt at the same one. A larger, sharper face solves nine failures out of ten.
Framing matters as much as sharpness. A photograph cropped tight to the head gives the model nothing to move; one taken from far enough away that the person is a few dozen pixels tall gives it nothing to recognise. Waist up, facing the camera, is the frame these modes were built around, and it is worth picking a different photograph to get it rather than paying for a clip that starts from the wrong one.
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