The repair bench of the townhouse-doorway studio: one named defect, one surgical repaint, original untouched.
Per-job credit pricing is shown before you confirm. An edit produces a new piece; your original stays untouched in your account.
Most imperfect frames are one defect away from right, and the editor exists for that defect. Mark a region or describe a change — the dress in another colour, the stray object gone, the background extended an arm to the left — and the bench repaints only what you named, keeping the original untouched beside the result. At 21 credits it sits deliberately between a draft and a re-render, and priced like the rescue it is.
The discipline of the bench is naming. “Make it better” is not an edit; “repaint the scarf deep green, keep the knot and the folds” is. One defect, one instruction, one look at the result — the editor rewards the same single-change habit the generator teaches.
It also rewards restraint in a second way: the editor is where series go to be made consistent. The necklace that changed between frames, the prop that wandered, the wall colour that warmed as the light clause drifted — these are one-line repairs here, against a full re-render at the generator with no guarantee the new frame keeps what the old one had. Professionals reserve re-renders for composition. Everything smaller has a bench, and this is it.
One sentence: what is wrong, and where. If you cannot name it in a sentence, the frame needs a re-render, not an edit.
Say what the region should become — colour, fabric, object, empty wall — in the same concrete nouns you would use in a brief.
The original stays untouched. Judge the edit at full size, especially at the seams of the repainted region.
A series stays consistent when the dress that changed colour between frames is corrected instead of re-shot.
The cup on the table, the modern lamp in a period room — local removals are the editor cheapest work.
A frame cropped too tight gains breathing room without disturbing its centre.
Brief: “Repaint the scarf deep emerald, keep the knot, the fringe and the way it falls.” Colour changes; structure is ordered to stay.
Brief: “Remove the picture frame on the wall behind her and continue the panelling.” Removal plus what replaces it — both halves matter.
| Region size | Tight regions edit cleanly; half-frame repaints drift toward re-renders |
|---|---|
| Instruction nouns | Name fabric, colour and object exactly — adjectives alone smear |
| Originals | Every edit is a sibling of the original, never an overwrite |
| Order | Edit before upscaling; finishing an unedited frame wastes the upscale |
21 credits per job, shown before you confirm — priced between a standard draft (6) and a premium re-render (41) because that is where the work sits.
Never. The edited version is saved alongside; the original stays as it was.
Your own media, yes. Other adults photographs follow the consent rule: documented consent, producible on request.
If the photograph underneath is right and a named detail is wrong, edit. If the pose, room or light is wrong, re-render.
Failed jobs refund automatically to your balance.
Drafts, edits, animation and finishing share one credit balance and one private library. Start with the piece you need today.
Open the generator