Repair wardrobe, setting and light on frames that are almost right. One change per job, 21 credits, originals preserved.
Per-job credit pricing is shown before you confirm. An edit produces a new piece; your original stays untouched in your account.
Pick an effect, upload your photo, and the built-in recipe does the rest. Same photo, far more reliable results.
You have been writing prompts by hand. Templates skip all of that — pick a card below, upload your photo, and get the same scene in one click.
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Every crossing produces frames that are nearly right. The pose holds. The light is true. The dress belongs to a different pack, or the cabin behind her belongs to a different port. The editor exists for exactly those frames. State the change in plain words — wardrobe, setting, light, a single detail — and the frame is re-rendered with that change made and everything else left standing. Editing costs 21 credits a job, shown before you confirm, and the original is never touched: it stays in your account beside its repair, like a chart kept after the course correction.
The discipline that makes editing cheap is the same one that makes the generator honest: one change per job. A repair that moves the dress, the room and the hour in a single instruction is not a repair at all — it is a new voyage wearing a repair’s fare, and it will drift the way new voyages do. Named singly, protected explicitly, a change lands exactly where it was aimed.
Strong bones, wrong details. A frame whose composition has failed costs more to repair than to remake, and the workshop is not where pride should be spent.
A single instruction keeps the rest of the frame still and the fare predictable. Three changes at once unsettles the very parts you asked to keep.
Original and repair rest side by side in your account. Ship the winner. The other costs nothing further and asks nothing of you.
The same pose dressed for three different packs — the quickest multiplication a catalogue knows, bought at repair fares instead of new voyages.
Bedroom to island suite to bare studio wall, without moving the woman or the light that holds her in place.
Daylight to violet evening, flat to dramatic — a frame re-graded to sit quietly among the set it is joining at the next port.
“Change the violet robe to deep burgundy silk. Keep the pose, the hair and the cabin light exactly as they are.”
The change is named, and everything else is explicitly protected. The words “keep exactly” are cheap insurance on any crossing, and they work.
“Move the scene to an island resort suite at night, floor-to-ceiling windows, moonlit surf beyond the glass. The subject and her pose do not change.”
One environment, moved once. A new setting, a new dress and a new pose in a single job is a new photograph, and should be briefed as one.
| Situation | The better move |
|---|---|
| Pose and light are right; details are wrong | Edit — it keeps the bones and costs less than re-sailing |
| The composition itself has missed | Remake the frame with a corrected brief |
| One keeper, three packs | Edit three times from the one keeper |
21 credits per job, shown before you confirm. Repairing a keeper below deck is normally cheaper than remaking and re-judging a whole set.
No. The repair is a new frame. The original rests untouched, and both remain yours for the rest of the crossing.
One. Stacked changes unsettle the very parts you asked to keep, and the frame drifts off course.
Yes — your own photographs, under the same consent rules as every upload in the studio.
Narrow the instruction, and name what must stay identical. Vagueness is the usual cause of a drifting repair.
Drafts, edits, animation and finishing share one credit balance and one private library. Start with the piece you need today.
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Browse filesFailed jobs are refunded automatically. Results land in My Collection.
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