Credit systems earn suspicion, usually fairly: the trick is always in what a credit buys. So here is this studio’s arithmetic in plain numbers, and a way to think about spending that treats a pack like a production budget.
The anchor price
Everything is sized against the standard image: 6 credits, the workhorse frame. The daily check-in pays exactly 6, which is deliberate — the free rhythm and the paid rhythm are denominated in the same honest unit. A 1,000-credit pack is, before anything else, about 166 standard frames. Start every comparison there.
Why the other numbers are what they are
Premium images (41) buy a stronger model for frames that must carry weight. Edits (21) are priced between a draft and a final because that is their job: rescuing a near-right frame for a third of a premium re-render. Face swaps (26 still, from 31 in video) buy identity — the one thing re-rendering cannot reliably give you. Upscales (61 still, from 101 video) are finishing processes, priced like finishing: expensive, occasional, and wasted on drafts. Video generation floats with duration and resolution because compute does; the exact figure is always shown before you confirm, which is the part of the contract that matters.
Spend like a producer
Draft at 6. Edit at 21 before you re-render at 41. Swap when identity breaks, upscale only what is locked, and let the check-in carry your sketchbook days. Producers are not misers; they simply refuse to pay finishing prices for exploring. And remember what credits are not: not money, not an asset, not anything with a life outside your account — a unit for buying renders, priced in the open.