Pick a structure that already works, drop in your product, and get a clip that moves exactly like the original. No source footage needed — or bring your own. Free preview before a single credit moves.
Start from
8 built-in structures, or your clip
Source clip
MP4 · MOV · 3–30 s · ≤200 MB
Resolution in
700–2160 px per side · 24–60 fps
References
1 image, up to 15 on Kling 4.0
What transfers
Action · camera · timing · beats
Output
720p / 1080p · 9:16, 16:9, 1:1
Pricing
1 credit/sec at 720p · 1.4 at 1080p
Our one-line verdict: structure is the part worth copying, and the part you're allowed to copy. Start from a template and the rights question disappears — bring your own clip and it's yours anyway.
A clip goes viral and the instinct is to make your own version. What actually made it work is almost never the subject — it's the structure: where the cut lands, how the camera moves, how long the beat holds before the reveal. That structure is reusable, and reusing it is ordinary creative practice; every agency in history has done it. The footage, on the other hand, belongs to whoever shot it. So clone cut works from one of two starting points: a built-in structure template that's ours to give you, or a clip you own. Either way you get a shot plan to approve before anything renders, and a free watermarked preview before any credit moves.
Drop in the clip you want to edit — or start from one of the examples if you don't have footage of your own.

Upload an image of what's going in, then write two lists: what to replace, and what must stay untouched.
Check the shot plan and the credit quote before anything runs, then watch the full watermarked preview and export only when it holds.
The right column is half technical limits and half rules we've chosen. Knowing the failure modes before you upload saves more time than any guide.
• Templates remove the hardest input.
Most people arrive without usable source footage. Eight built-in structures mean you can start with a product photo and nothing else — and the rights question never comes up.
• Structure survives, subject changes.
Action, camera movement and beat placement carry over while the thing in frame becomes yours. That split is the whole product.
• A plan before the spend.
You approve the shot plan — action, shots, camera, audio, what stays fixed — before anything renders. Two free gates before a credit moves, which is two more than most tools give you.
• Four engines, routed by job.
Seedance 2.5 for soundtrack-driven pacing, Kling 4.0 when a full reference kit steers it, Kling O3 for locked identity across variants, Wan 2.7 for predictable deadline work.
• Fine detail and identity drift.
Motion and timing transfer reliably; fabric texture, small text and exact facial identity are where it slips. Other tools hedge this with 'aims to preserve' — the honest version is to check the preview at full size.
• Fast cuts and heavy motion.
Whip pans, rapid cutting and subjects passing behind objects all degrade the swap. The templates above are chosen partly because they clone cleanly.
• Short sources only.
3 to 30 seconds. Longer references get segmented, and segment boundaries are where continuity breaks.
• Other people's footage.
Downloading a clip and republishing it with a swap isn't reusing a structure, it's reusing their work. Refused — and the templates exist precisely so you don't need to.
A creative that tests well, rebuilt with ten products or ten hooks. This is where the volume is — not chasing a trend once, but iterating on a shape that already converts.
One structure, the whole catalogue. Motion and lighting stay consistent across products, which is what makes a listing page look designed rather than assembled.
The video of yours that did numbers, rebuilt with a new angle or a seasonal hook. Cloning your own back catalogue is the lowest-risk version of this and usually the most profitable.
This section is the product, not the fine print — on a tool like this the rules are most of what separates it from the ones that get taken down.
• Deleted within 24 hours.
Source clip, reference image and rendered output are removed from storage automatically.
• Not used for training.
Your footage and images never enter a training set — ours or a partner's.
• Nothing published.
No gallery, no featured results, nothing built out of material people uploaded.
• Templates are ours to give.
The eight structures above were produced in-house for this purpose. Using them carries no third-party rights question, and the output is yours commercially.
• Someone else's footage.
A clip downloaded from a platform isn't yours to edit and republish, whatever gets swapped into it. Use it as a structural reference, then start from a template or your own shoot.
• Real people who didn't agree.
Replacing a person needs their consent, and the person being replaced has rights too. No public figures in either slot.
• Anyone under 18.
In the source footage or the reference image, in any context, with no exceptions.
• Anything deceptive.
Nothing built to pass as real footage of an event that didn't happen, no fake endorsements, nothing implying a person or brand said or did something they didn't.
Reusing a short video's structure — the action, the camera movement, the timing of the cuts — while replacing what's actually in frame: the person, product, object, background or text. You start from one of our built-in structure templates or your own clip, add a reference image, approve a shot plan, and get a version that moves like the original with your subject in it.
General restyling, object removal and extension on footage you have.
The hub for everything you can do to existing footage.
No structure in mind? Generate the whole thing from a prompt.