Plans that scale with your output.
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You pay only for what you receive
If a job fails — ours, a provider’s, or a file that turned out to be unusable — the credits come back in full, automatically, and the refund is visible in your ledger. That holds even when we have already paid a provider for the work. The loss is ours, not yours.
One exception, and it is the only one: if you stop a generation after it has started, it is not refunded. The call to the provider was already made, on your instruction, and it was paid for.
Questions people actually ask
Video is priced per second, and how many credits a second depends on how much of it has to be rebuilt. A recut is priced per second of the file you send. An image or a track is a flat price each. Annual billing is ten months for twelve months of credits.
Annual plans are charged once, up front, at ten times the monthly price — two months free. Credits arrive month by month and unused ones roll over until the year ends. Need more than Scale? Talk to us.
One storage rule for everything a plan produces, not one rule per kind of file. Whatever the plan made is kept for the window in the table above and then deleted, and you are told the date before it passes.
The credits it reserved are returned automatically and in full, and the failure says why. You are never charged for output you did not get — including when the failure was ours after a provider had already been paid.
You can, and it is the one thing that is not refunded: the provider was already called on your instruction and that call was paid for. Everything else — our failure, theirs, an empty result — comes back in full.
Subscription credits run to the end of the billing period you paid for — a month on monthly billing, the whole year on annual, which is why annual credits arrive month by month and still keep until the year ends. Credits you top up with do not expire at all.
Yes, and it costs a fraction of the original — the localized audio and video are reused, so only the subtitles are burned again.
You see the total cost before anything is submitted, and a batch you cannot afford is refused before a single file is uploaded. The figure is read from the durations of the files in front of you; if a file turns out to be longer than it declared, the final charge follows the real length rather than the estimate.
Yes — Video, Statics, Generate, the Reframer and the music generator, on the entry plan and on the free tier too. The first two take work you already have and localize it, the third makes a clip or a still from a prompt, the fourth recuts a finished video into the shape a placement asks for, and the fifth writes a track from a description. All five are paid for out of the same credits, so what limits them is the balance rather than the plan. The brand glossary — for subtitles and creatives, not the dubbed voice — and extra aspect ratios from one localization are on every plan too. The plans differ in how many credits a month they come with, how long results are stored, how many seats they carry and the extras in the table above — not in which products they can open.
One creative, in one language, in one placement. The layout is read and repainted in the words it actually has, and the price on the card covers both. Every placement of the same creative is translated in the same pass, so the wording matches across them — that promise holds inside one creative, not across a campaign.