Genjutsu motion transfer: keep the motion, rebuild the world

What motion transfer means in Genjutsu

Motion transfer takes a clip you already shot and keeps its performance: the movement, the camera and the timing stay frame-anchored, while references rebuild everything around them - the cast, the wardrobe, the location and the props.

It is not a filter and not a body swap. The model regenerates the footage with your references applied, and treats your clip as the choreography. That is why the result can look like a different production while the punch still lands on the same frame.

What transfers, and what gets rebuilt

• Transfers from your clip: the performance and choreography, the camera moves, the cuts and pacing, contact points like footsteps and punches, and the overall timing.
• Rebuilt from your references: who is in the shot, their wardrobe and features, the location and set, products and props, and the grade and atmosphere.
• Decided by your prompt: which elements change in this particular run, and which ones the reference set should leave untouched.

Motion Transfer vs Object Swap

Motion Transfer is a full restage: the scene is rebuilt from your references while the motion stays. Reach for it when the shot is right and the world inside it should be different - a new cast, a new location, a new campaign.

Object Swap is a point edit: one element is replaced and the rest of the original frame survives. Reach for it when a single thing is wrong - the jacket, the bottle, the sign in the background.

How to shoot source clips that recast cleanly

• Keep the clip between 3 and 30 seconds, and keep it to a single shot. Recast multi-shot sequences shot by shot.
• Give the frame one clear subject. Two people trading places in frame is the hardest thing to keep stable.
• Use steady or deliberate camera movement. Handheld chaos survives, but everything it touches gets harder to rebuild.
• Avoid heavy motion blur, whip pans and moments where the subject leaves the frame.
• Shoot with enough light. Dark, noisy footage gives the model less to anchor on.

The reference kit: 3 to 6 images per element

• One full-body image, one face close-up and one detail shot per character covers most recasts.
• For products, use clean shots where the label is legible, and include more than one angle.
• Up to 40 reference images per project - enough for a full cast, wardrobe and location set.
• Keep one reference set per series. Reusing it is what makes the cast consistent across every clip.

Step by step: from clip to recast

• Upload your source clip and switch the generator to Motion Transfer.
• Attach the references for every element you plan to change.
• Write the prompt in the three-part form - or build it with the prompt generator: what changes, what to use instead, what must stay.
• Check the credit cost shown before you confirm, then run the recast.
• Review the result: faces at every camera angle, hands, edges and any text in frame. Fix one variable and rerun if something drifts.

Where motion transfer breaks, and how to recover

• Fast cuts between angles: recast each shot separately and assemble afterwards.
• Subjects that leave the frame: trim the clip to the window where everyone stays visible.
• Extreme blur or strobing: pick a steadier take, or slow the movement down.
• Two subjects swapping places: try Object Swap for the smaller change, or split the recast into two runs.

What teams use motion transfer for

• Music videos: recast the performers or the set while the choreography stays on beat.
• Advertising: turn one performing take into variants with new talent, wardrobes or cities.
• Creators: keep one consistent character across clips by reusing a single reference set.
• Localisation: swap faces and streets for each market while the edit stays identical.