Fix the footage you already have.

Upscaling to 4K, with real detail

Replaces a reshoot at a higher resolution

Soft, compressed or low-resolution footage goes back through a generative re-detailer and comes out at up to 4K. It draws in texture the camera never captured instead of smoothing pixels, so foliage, fabric and water hold up at full size. The flip side: the detail is new, so on a close-up face it can add a freckle that was never there. We check faces against the source before anything ships.

Recasting the people in a shot

Replaces a reshoot with new talent

Up to three people in an existing clip, swapped for new characters in one pass. The motion, the set, the camera move and the clip's own sound stay exactly where they were; only the people change. Every new face is generated.

Relighting a finished shot

Replaces a reshoot for the light

Night becomes golden hour, a heavy colour cast neutralises, and the sun moves to where we want it. All of it on footage that was already shot and graded, so shadows move rather than the whole frame getting tinted.

We measured where this works and where it breaks: read the findings.

Moving the camera after the shoot

Replaces a second unit and extra coverage

One take, a second angle. Each pair holds the original shot against the same moment re-rendered from a camera position that was never on set. No coverage was filmed for these and nobody went back out.

Emptying a location

Replaces a street closure and a crowd wrangle

Four shots across three films, every person gone. The model regenerates each background as one coherent empty plate, so the colonnade, the dune grass, the carved stone and the tents all survive with their light intact. It works when people are what you add to a place. It cannot help when the people are the place: an army filling the frame stays put, because there is no scene left underneath to rebuild.

Keeping one person, losing the rest

Replaces a closed set and a permit

The harder version of emptying a location. The background regenerates as an empty plate, then the person you want is composited back in with their own shadow transferred onto the new ground, so they still belong in the shot. Film in a busy place, deliver it as if nobody else was there.

Taking one object out

Replaces a rotoscope and paint-out

Not the whole background, just the thing you name. A craft is described in a caption and lifted out of the sky, leaving the haze, the ridge line and the falling debris behind it untouched. This one is precise rather than broad: it holds for discrete objects, and large structures filling the frame are beyond it.