Product

Localize what you have. Make what you don’t.

Cralio is the platform and the lines below are what it sells, each named for what it does. Some take a finished asset and hand it back changed — into another language, into another shape, into another market. The rest make one that did not exist. Every line on this page is a finished product with a price — one account, one balance, one history.

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Generate

A clip or a still made from a prompt — four to ten seconds, or one to four images.

You give

A written prompt, and — for three of the four tools — one to five reference images the prompt can name.

You get

One clip of four to ten seconds at the resolution you picked, or one, two or four stills.

The other lines here need something to start from. This one needs a sentence. What it costs depends on what you ask for — a longer clip, a larger frame and a second still are each their own charge, and every one of them is priced in front of you before it runs.

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Video Localization

A finished video in another language — subtitled, dubbed, lip-synced.

You give

A finished cut with audio on it: MP4, MOV, AVI, WebM or MKV, up to 500 MB and five minutes.

You get

The same cut in each language you ticked, named to match the file you sent.

Four ways to localize at four prices, because a screen recording with no face on camera should not cost what a talking-head hero costs. Subtitles are yours to style, and restyling a finished video costs a fraction of what making it did.

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Reframer

One cut, every shape the placement asks for — widescreen, square, ultrawide.

You give

A finished cut of ten seconds or less, up to 200 MB, and a sentence saying what the shot is.

You get

The cut you sent, one second shorter, in the shape you asked for, at 360p, 540p, 720p or 1080p, with the picture the new edges need drawn rather than cropped in.

A vertical hero does not become a widescreen by cropping — the crop is what throws away the half of the frame the placement wanted. This redraws the picture out to the new edges instead, so the subject stays where it was shot. It is priced by the second, on the length of the file you send, before it runs.

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Statics

One layout, every market and every placement.

You give

A finished static creative with the copy already baked into the pixels — PNG, JPG or WebP — and the language it is written in.

You get

The same creative repainted for each market, at the resolution you picked, in each placement you asked for.

A static creative in six languages across five placements is thirty files a designer makes by hand, then remakes when the claim changes. Translating the copy is the easy half; making it still fit — German runs about a third longer, and a square is not a story — is the half that costs the day.

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Music

An original track, with its title, its words and — if you want one — its cover.

You give

A description of the track: mood, voice, theme, tempo, key. Your own lyrics instead of ours, if you have them.

You get

An MP3, a short title, the lyrics as plain text, and a square cover when the cover box is ticked.

The one product here that is not localization. It does not attach itself to a video, does not appear as an option inside one, and does not need one to exist. What it shares with the other two is the account, the balance and the billing — not the machinery.

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Why they sit in one place

Video and Statics are the same problem twice. Text has to be translated so a brand still sounds like itself. The translated text has to fit — a claim that filled the frame in English will overrun it in German and float in Japanese. And it has to sit in the right place in a frame that is a different shape from the one it was designed in. The machinery that decides where a subtitle sits when a 9:16 cut becomes a 16:9 one is the machinery a static creative needs when a story becomes a square.

The Reframer is that same sentence with the words taken out. A placement asks for a shape the footage was not shot in, and cropping to it throws away the half of the frame the placement wanted. It is the third answer to one question this platform keeps being asked: the copy has to fit, the layout has to fit, and so does the frame.

Two places you can see that being one product rather than two, on your own files. The glossary is one glossary: a brand term you fix once is spelled the same way in a dubbed video and in a banner, because both are corrected in the same pass over the same list rather than handed to two different suppliers who each control something else. And filenames come back in your convention, not ours — the language token is swapped in its own position, so YG_93473_86189_WO_EN_chy_Vid_Var_1080x1920_1.png has its EN replaced and its WO and chy left alone, with the extension forced to match the bytes we actually produced rather than inherited from what you uploaded. One rule, one implementation, both products.

Music is not that, and it would be dishonest to claim it is. It shares no layout machinery with either, it is not a bed under a video job, and no video job produces one. What it shares is everything around the work — the same account, the same credits, the same reserve-then-settle billing, the same refund rule and the same storage window. That machinery was built for Video, which is why Music is a product here rather than somewhere else, and it is a better reason than a story about synergy. The same is true of Generate: a sentence in, a clip or a still out, sharing the account and the billing and none of the layout work.

One account, one balance

Credits are spent by whichever product you point them at, and the cost of a batch is shown before anything runs.

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