One cut, every shape the placement asks for
The buy wants a square, a story and a widescreen. You shot one of them. Cropping to the other two is how the product ends up out of frame — so the picture is drawn out to the new edges instead, and the subject stays where it was shot.
On every plan
The company that does this work is named in our register of subprocessors, and the data processing addendum promises that nothing of yours reaches a new one until you have accepted that register with the company on it. The first time you submit after it changes, the screen names it and asks. Until you answer, nothing is sent.
A finished cut of ten seconds or less, up to 200 MB, and — if you want one — a sentence saying what the shot is, up to 6,000 characters. The sentence is optional: leave it empty and the shape and the resolution you picked are the instruction.
The same footage in the shape you asked for, as an MP4, at the resolution you picked — with the picture the new edges need drawn rather than cropped in.
The frame is redrawn, not cropped
A crop is the fast way to another shape and it throws away the half of the frame the placement wanted — a centre crop of a widescreen hero takes the product out of the corner it was styled into. This draws the picture out to the new edges instead, so what was in the shot stays in the shot.
Priced on the file you send, before it runs
The rate is per second and the seconds are the ones in your own file, rounded up to a whole one, plus one charge for the job itself — the file is handed over once however long it is. You see the total before you spend it, and it is settled against a length we measure ourselves rather than one you typed.
Pick as many shapes as you need, and each is its own charge
Tick one shape or all six. Every shape is its own piece of work and its own charge — there is no bundle and no per-shape discount, because each one is a separate run at the provider and costs us the same as the first. The total on the estimate is that charge times the number of shapes you have ticked, and you see it before you spend it.
It goes to one company and nowhere else
No dubbing provider, no transcription provider, and nothing of the kind that draws a clip from a prompt. The subprocessors page names which company, what it receives and what its terms let it do with it.
Six shapes
| 9:16 | A phone story or reel. Tallest thing on the list. |
| 3:4 | The taller feed placement. |
| 1:1 | A square feed post. |
| 4:3 | The older display slot, and still the one some networks want. |
| 16:9 | Widescreen — the shape a landing page and a pre-roll are cut to. |
| 21:9 | Ultrawide. The widest thing on the list, and the biggest ask of it. |
What it costs
By the second, and the seconds are the ones in the file you send — rounded up to a whole one. Not the length of what comes back, which is a second shorter and cannot be quoted before your file has been measured to the frame; and not a length you asked for, because there is no such setting. There is one charge per job on top of the seconds — the whole file is handed over once however long it is, and that part of the work does not get cheaper because the cut is short. The right-hand column is what the longest source we accept comes to, both lines included.
| 360p | 4 credits a second | 3 a job | 43 for a ten-second cut |
| 540p | 7 credits a second | 3 a job | 73 |
| 720p | 14 credits a second | 3 a job | 143 |
| 1080p | 41 credits a second | 4 a job | 414 |
What it takes
| Longest source | Ten seconds. Their limit, refused at our door rather than after we have taken your credits. |
| Largest file | 200 MB. |
| Prompt | Optional, up to 6,000 characters. Leave it empty and we write one for you, from the shape of the file you sent and the shape you asked for — it names which way the frame has to grow, which is the thing the model cannot see for itself. |
| Shapes | 9:16, 3:4, 1:1, 4:3, 16:9 and 21:9. |
| Resolutions | 360p, 540p, 720p and 1080p — except that 1080p is not available on 9:16 or 3:4. |
| Length of the result | One second shorter than the file you send. It is not a setting and there is nothing to pick. |
What you are charged for
You pay only for what you receive. A recut that comes back with nothing usable is refunded in full and automatically, including the part of it we had already paid for. That loss is ours.
There is one exception, and it is the only one: if you stop a recut after it has started, it is not refunded. The call was already made, on your instruction, and it was paid for.
What it does not do
- Let you choose how long the result is. The request field for it exists at the provider and does nothing: five paid runs asked for five seconds and ten seconds in every combination against a 9.042-second source, and every single output came back 8.042 seconds. The result is the length of your file, less a second, and we would rather print that than draw a picker that moves nothing.
- Give you 1080p on a vertical shape. 9:16 and 3:4 are refused at that rung by the provider — “1080p resolution is not yet available for vertical reframe” — so our door refuses it too rather than taking the credits and handing you back their error. The other three rungs are available on every shape.
- Take anything longer than ten seconds, or larger than 200 MB. Both are the provider’s ceilings and both are checked before anything is sent, so a file over either costs you nothing.
- Give you a frame that is exactly the ratio on the label. The shapes are the provider’s and the pixels come back where their model puts them: a 16:9 request at 1080p was measured at 1920×1088, which is 1.765 and not 1.778. If your placement rejects anything but an exact ratio, check one before you buy a batch.
- Change the audio, the cut, the colour or the speed. It changes the shape of the picture and nothing else.
- Outlive your plan’s storage window. A recut is kept and deleted on exactly the same schedule as everything else the platform produces.
Try it on one cut
A ten-second source at the smallest rung is forty-three credits, and nothing runs until you have seen the figure.